The immense effect that Michelangelo had on many artists working in the sixteenth century is widely acknowledged by historians of Italian Renaissance art. Yet until recently greater stress has been placed on the individuality of these artists' styles and interpretation rather than on the elucidation of their debts to others. There has been little direct focus on the ways in which later sixteenth-century artists actually confronted Michelangelo, or how those areas or aspects of their artistic production that are most closely related to his reveal their attitudes and responses to Michelangelo's work. Reactions to the Master presents the first coherent study of the influence exerted by Michelangelo's work in painting and sculpture on artists of the late-Renaissance period including Alessandro Allori, Agnolo Bronzino, Battista Franco, Francesco Parmigianino, Jacopo Pontormo, Francesco Salviati, Raphael, Giorgio Vasari, Marcello Venusti, and Alessandro Vittoria. The essays focus on the direct relations, such as copies and borrowings, previously underrated by art historians, but which here form significant keys to understanding the aesthetic attitudes and broader issues of theory advanced at the time.

Satan, Judas, a Soviet writer, and a talking black cat named Behemoth populate this satire, “a classic of twentieth-century fiction” (The New York Times). In 1930s Moscow, Satan decides to pay the good people of the Soviet Union a visit. In old Jerusalem, the fateful meeting of Pilate and Yeshua and the murder of Judas in the garden of Gethsemane unfold. At the intersection of fantasy and realism, satire and unflinching emotional truths, Mikhail Bulgakov’s classic The Master and Margarita eloquently lampoons every aspect of Soviet life under Stalin’s regime, from politics to art to religion, while interrogating the complexities between good and evil, innocence and guilt, and freedom and oppression. Spanning from Moscow to Biblical Jerusalem, a vibrant cast of characters—a “magician” who is actually the devil in disguise, a giant cat, a witch, a fanged assassin—sow mayhem and madness wherever they go, mocking artists, intellectuals, and politicians alike. In and out of the fray weaves a man known only as the Master, a writer demoralized by government censorship, and his mysterious lover, Margarita. Burned in 1928 by the author and restarted in 1930, The Master and Margarita was Bulgakov’s last completed creative work before his death. It remained unpublished until 1966—and went on to become one of the most well-regarded works of Russian literature of the twentieth century, adapted or referenced in film, television, radio, comic strips, theater productions, music, and opera.

A new edition of the bestselling classic – published with a special introduction to mark its 10th anniversary This pioneering account sets out to understand the structure of the human brain – the place where mind meets matter. Until recently, the left hemisphere of our brain has been seen as the ‘rational’ side, the superior partner to the right. But is this distinction true? Drawing on a vast body of experimental research, Iain McGilchrist argues while our left brain makes for a wonderful servant, it is a very poor master. As he shows, it is the right side which is the more reliable and insightful. Without it, our world would be mechanistic – stripped of depth, colour and value.

Satan comes to Soviet Moscow in this critically acclaimed translation of one of the most important and best-loved modern classics in world literature. The Master and Margarita has been captivating readers around the world ever since its first publication in 1967. Written during Stalin’s time in power but suppressed in the Soviet Union for decades, Bulgakov’s masterpiece is an ironic parable on power and its corruption, on good and evil, and on human frailty and the strength of love. In The Master and Margarita, the Devil himself pays a visit to Soviet Moscow. Accompanied by a retinue that includes the fast-talking, vodka-drinking, giant tomcat Behemoth, he sets about creating a whirlwind of chaos that soon involves the beautiful Margarita and her beloved, a distraught writer known only as the Master, and even Jesus Christ and Pontius Pilate. The Master and Margarita combines fable, fantasy, political satire, and slapstick comedy to create a wildly entertaining and unforgettable tale that is commonly considered the greatest novel to come out of the Soviet Union. It appears in this edition in a translation by Mirra Ginsburg that was judged “brilliant” by Publishers Weekly. Praise for The Master and Margarita “A wild surrealistic romp. . . . Brilliantly flamboyant and outrageous.” —Joyce Carol Oates, The Detroit News “Fine, funny, imaginative. . . . The Master and Margarita stands squarely in the great Gogolesque tradition of satiric narrative.” —Saul Maloff, Newsweek “A rich, funny, moving and bitter novel. . . . Vast and boisterous entertainment.” —The New York Times “The book is by turns hilarious, mysterious, contemplative and poignant. . . . A great work.” —Chicago Tribune “Funny, devilish, brilliant satire. . . . It’s literature of the highest order and . . . it will deliver a full measure of enjoyment and enlightenment.” —Publishers Weekly

This book was created to help teachers as they instruct students through the Master’s Class Chemistry course by Master Books. The teacher is one who guides students through the subject matter, helps each student stay on schedule and be organized, and is their source of accountability along the way. With that in mind, this guide provides additional help through the laboratory exercises, as well as lessons, quizzes, and examinations that are provided along with the answers. The lessons in this study emphasize working through procedures and problem solving by learning patterns. The vocabulary is kept at the essential level. Practice exercises are given with their answers so that the patterns can be used in problem solving. These lessons and laboratory exercises are the result of over 30 years of teaching home school high school students and then working with them as they proceed through college. Guided labs are provided to enhance instruction of weekly lessons. There are many principles and truths given to us in Scripture by the God that created the universe and all of the laws by which it functions. It is important to see the hand of God and His principles and wisdom as it plays out in chemistry. This course integrates what God has told us in the context of this study. Features: Each suggested weekly schedule has five easy-to-manage lessons that combine reading and worksheets. Worksheets, quizzes, and tests are perforated and three-hole punched — materials are easy to tear out, hand out, grade, and store. Adjust the schedule and materials needed to best work within your educational program. Space is given for assignments dates. There is flexibility in scheduling. Adapt the days to your school schedule. Workflow: Students will read the pages in their book and then complete each section of the teacher guide. They should be encouraged to complete as many of the activities and projects as possible as well. Tests are given at regular intervals with space to record each grade. About the Author: DR. DENNIS ENGLIN earned his bachelor’s from Westmont College, his master of science from California State University, and his EdD from the University of Southern California. He enjoys teaching animal biology, vertebrate biology, wildlife biology, organismic biology, and astronomy at The Master’s University. His professional memberships include the Creation Research Society, the American Fisheries Association, Southern California Academy of Sciences, Yellowstone Association, and Au Sable Institute of Environmental Studies.