The theory of law and economics that dominates American jurisprudence today views the market as rational and individuals as driven by the desire to increase their wealth. It is a view riddled with misconceptions, as Jeanne Lorraine Schroeder demonstrates in this challenging work, which looks at contemporary debates in legal theory through the lens of psychoanalysis and continental philosophy. Through metaphors drawn from classical mythology and interpreted via Lacanian psychoanalysis and Hegelian philosophy, Schroeder exposes the hidden and repressed erotics of the market. Her work shows how the predominant economic analysis of markets and the standard romantic critique of markets are in fact mirror images, reflecting the misconception that reason and passion are inalterably opposed.

Even though there were relatively few people of color in postrevolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Vénus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country’s postrevolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution. Vénus Noire explores the ramifications of this defeat in examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known as the Hottentot Venus, represented distorted memories of Haiti in the French imagination, and Mitchell shows how her display, treatment, and representation embodied residual anger harbored by the French. Ourika, a young Senegalese girl brought to live in France by the Maréchal Prince de Beauvau, inspired plays, poems, and clothing and jewelry fads, and Mitchell examines how the French appropriated black female identity through these representations while at the same time perpetuating stereotypes of the hypersexual black woman. Finally, Mitchell shows how demonization of Jeanne Duval, longtime lover of the poet Charles Baudelaire, expressed France’s need to rid itself of black bodies even as images and discourses about these bodies proliferated. The stories of these women, carefully contextualized by Mitchell and put into dialogue with one another, reveal a blind spot about race in French national identity that persists in the postcolonial present.

A “thrilling adventure story" (San Francisco Chronicle) that brings to life the astronomers who in the 1700s embarked upon a quest to calculate the size of the solar system, and paints a vivid portrait of the collaborations, rivalries, and volatile international politics that hindered them at every turn. • From the author of Magnificent Rebels and New York Times bestseller The Invention of Nature. On June 6, 1761, the world paused to observe a momentous occasion: the first transit of Venus between the Earth and the Sun in more than a century. Through that observation, astronomers could calculate the size of the solar system—but only if they could compile data from many different points of the globe, all recorded during the short period of the transit. Overcoming incredible odds and political strife, astronomers from Britain, France, Russia, Germany, Sweden, and the American colonies set up observatories in the remotest corners of the world, only to be thwarted by unpredictable weather and warring armies. Fortunately, transits of Venus occur in pairs; eight years later, they would have another opportunity to succeed. Thanks to these scientists, neither our conception of the universe nor the nature of scientific research would ever be the same.

Alessandra Cecchi is not quite fifteen when her father, a prosperous cloth merchant, brings a young painter back from northern Europe to decorate the chapel walls in the family’s Florentine palazzo. A child of the Renaissance, with a precocious mind and a talent for drawing, Alessandra is intoxicated by the painter’s abilities. But their burgeoning relationship is interrupted when Alessandra’s parents arrange her marriage to a wealthy, much older man. Meanwhile, Florence is changing, increasingly subject to the growing suppression imposed by the fundamentalist monk Savonarola, who is seizing religious and political control. Alessandra and her native city are caught between the Medici state, with its love of luxury, learning, and dazzling art, and the hellfire preaching and increasing violence of Savonarola’s reactionary followers. Played out against this turbulent backdrop, Alessandra’s married life is a misery, except for the surprising freedom it allows her to pursue her powerful attraction to the young painter and his art. The Birth of Venus is a tour de force, the first historical novel from one of Britain’s most innovative writers of literary suspense. It brings alive the history of Florence at its most dramatic period, telling a compulsively absorbing story of love, art, religion, and power through the passionate voice of Alessandra, a heroine with the same vibrancy of spirit as her beloved city.

In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600. Organized chronologically, each of the six chapters investigates one of the goddess's alluring attributes – her golden splendor, rosy-hued complexion, enchanting fashions, green gardens, erotic anatomy, and gifts from the sea. By examining these attributes in the context of the visual arts, Compton uncovers an array of materials and techniques employed by artists, patrons, rulers, and lovers to manifest Venusian virtues. Her book explores technical art history in the context of love's protean iconography, showing how different discourses and disciplines can interact in the creation and reception of art. Venus and the Arts of Love in Renaissance Florence offers new insights on sight, seduction, and desire, as well as concepts of gender, sexuality, and viewership from both male and female perspectives in the early modern era.

The dark side has infiltrated many governments and much of the world of finance. The mission from Venus threatens their planned takeover of Earth. Failing a takeover, the dark lords will cause the planet's destruction through nuclear war, to prevent Earth from ascending to the fourth dimension on the path of light. The volunteer wanderers are all that stand in the way.

This catalogue contains a reproduction and complete description of each of the more than four hundred European paintings in the collection of the Museum, including the important new acquisitions, among them Fra Bartolommeo’s Rest on the Flight into Egypt, Jan van de Capella’s Shipping in a Calm, and Paul Cézanne’s Still Life with Apples. It also reflects the latest research regarding attribution and dating. An introduction by David Jaffé, curator of paintings at the Museum, explores the collecting activities and tastes of J. Paul Getty, who founded the Museum and was responsible for its earliest acquisitions.