An exploration of the role of the book, the map, and the European concept of literacy in the conquest of the New World

A new account of the birth of the West through its birthplace--Renaissance Italy The period between 1492--resonant for a number of reasons--and 1571, when the Ottoman navy was defeated in the Battle of Lepanto, embraces what we know as the Renaissance, one of the most dynamic and creatively explosive epochs in world history. Here is the period that gave rise to so many great artists and figures, and which by its connection to its classical heritage enabled a redefinition, even reinvention, of human potential. It was a moment both of violent struggle and great achievement, of Michelangelo and da Vinci as well as the Borgias and Machiavelli. At the hub of this cultural and intellectual ferment was Italy. The Beauty and the Terror offers a vibrant history of Renaissance Italy and its crucial role in the emergence of the Western world. Drawing on a rich range of sources--letters, interrogation records, maps, artworks, and inventories--Catherine Fletcher explores both the explosion of artistic expression and years of bloody conflict between Spain and France, between Catholic and Protestant, between Christian and Muslim; in doing so, she presents a new way of witnessing the birth of the West.

More than ever before, the Renaissance stands as one of the defining moments in world history. Between 1400 and 1600, European perceptions of society, culture, politics and even humanity itself emerged in ways that continue to affect not only Europe but the entire world. This wide-ranging exploration of the Renaissance sees the period as a time of unprecedented intellectual excitement and cultural experimentation and interaction on a global scale, alongside a darker side of religion, intolerance, slavery, and massive inequality of wealth and status. It guides the reader through the key issues that defined the period, from its art, architecture, and literature, to advancements in the fields of science, trade, and travel. In its incisive account of the complexities of the political and religious upheavals of the period, the book argues that Europe's reciprocal relationship with its eastern neighbours offers us a timely perspective on the Renaissance as a moment of global inclusiveness that still has much to teach us today.

Preserving an engaging, little-known slice of American life, The Dark Side of Hopkinsville is a collection of ten picaresque tales bearing witness to a black child's life in a southern town at the turn of the century. Born and reared in Hopkinsville, Kentucky, Ted Poston (1906-1974) became the first black career-long reporter for a major metropolitan daily (the New York Post) and served as a member of Franklin D. Roosevelt's "Negro Cabinet" in Washington in 1940. After thirty-five years at the Post, Poston was without question the "Dean of Black Journalists." Acquainted with the major figures of the Harlem Renaissance, Poston regaled his associates with tales of his childhood. These memories resulted in the stories collected in The Dark Side of Hopkinsville. Told from the vantage point of "Ted," a bright, high-spirited student at Booker T. Washington Colored Grammar School, the stories focus on a coterie of imaginative children, their entertainments and games, ties to the church, and relations with immediate and extended families. The memorable, recurring characters in the stories are based on individuals Poston knew: Cousin Blind Mary, a fortune teller who can see into someone's future only after consulting with the servants of the family in question; Ted's father, Ephraim, "the only Negro Democrat in our Hopkinsville, Kentucky, or in the whole state of Kentucky for that matter"; Fertilizer Ferguson, whom Ted credits with coining the phrase "eating higher up on the hog"; and Ted's schoolmate Knee Baby Watkins, the "catalytic agent who precipitated the most disasterous social feud in the history of Hopkinsville." Though the presence of prejudice--both within and outside the race--is acknowledged throughout the stories, that social reality does not lessen the characters' exuberant enjoyment of being young. After watching Bronco Billy and his black sidekick, Pistol Pete, at the nickel movie on Saturdays, Ted and his friends make Pistol Pete the hero and Bronco Billy the sidekick of their games in "The Werewolf of Woolworth's." In "The Revolt of the Evil Fairies," Ted uses Palmer's Skin Success ("guaranteed to give you a light complexion in just seven days") so that he can play Prince Charming opposite his fair-skinned sweetheart in the school play. Kathleen A. Hauke has annotated the stories with recollections of the author's family and friends, who are often major characters in the stories. An extended biographical and critical introduction offers background information on the life and work of Ted Poston, and on old Hopkinsville and its residents.

A fascinating and counterintuitive portrait of the sordid, hidden world behind the dazzling artwork of Michelangelo, Leonardo da Vinci, Botticelli, and more Renowned as a period of cultural rebirth and artistic innovation, the Renaissance is cloaked in a unique aura of beauty and brilliance. Its very name conjures up awe-inspiring images of an age of lofty ideals in which life imitated the fantastic artworks for which it has become famous. But behind the vast explosion of new art and culture lurked a seamy, vicious world of power politics, perversity, and corruption that has more in common with the present day than anyone dares to admit. In this lively and meticulously researched portrait, Renaissance scholar Alexander Lee illuminates the dark and titillating contradictions that were hidden beneath the surface of the period’s best-known artworks. Rife with tales of scheming bankers, greedy politicians, sex-crazed priests, bloody rivalries, vicious intolerance, rampant disease, and lives of extravagance and excess, this gripping exploration of the underbelly of Renaissance Italy shows that, far from being the product of high-minded ideals, the sublime monuments of the Renaissance were created by flawed and tormented artists who lived in an ever-expanding world of inequality, dark sexuality, bigotry, and hatred. The Ugly Renaissance is a delightfully debauched journey through the surprising contradictions of Italy’s past and shows that were it not for the profusion of depravity and degradation, history’s greatest masterpieces might never have come into being.

How can one study the absence of knowledge, the voids, the conscious and unconscious unknowns through history? Investigations into late medieval and early modern practices of measuring, of risk calculation, of ignorance within financial administrations, of conceiving the docta ignorantia as well as the silence of the illiterate are combined with contributions regarding knowledge gaps within identification procedures and political decision-making, with the emergence of consciously delimited blanks on geographical maps, with ignorance as a factor embedded in iconographic programs, in translation processes and the semantic potentials of reading. Based on thorough archival analysis, these selected contributions from conferences at Harvard and Paris are tightly framed by new theoretical elaborations that have implications beyond these cases and epochal focus. Contributors: Giovanni Ceccarelli, Taylor Cowdery, Lucile Haguet, John T. Hamilton, Lucian Hölscher, Moritz Isenmann, Adam J. Kosto, Marie-Laure Legay, Andrew McKenzie-McHarg, Fabrice Micallef, William T. O ́Reilly, Eleonora Rohland, Mathias Schmoeckel, Daniel L. Smail, Govind P. Sreenivasan, and Cornel Zwierlein.

Examines "melancholia" as a philosophical, medical, and social phenomenon in early modern art. Argues that, despite advances in art and science, the topos of the dispirited intellectual continues to function metaphorically as a locus for society's fears and tensions.