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History World
A revelatory new account of the magus--the learned magician--and his place in the intellectual, social, and cultural world of Renaissance Europe.
In literary legend, Faustus is the quintessential occult personality of early modern Europe. The historical Faustus, however, was something quite different: a magus--a learned magician fully embedded in the scholarly currents and public life of the Renaissance. And he was hardly the only one. Anthony Grafton argues that the magus in sixteenth-century Europe was a distinctive intellectual type, both different from and indebted to medieval counterparts as well as contemporaries like the engineer, the artist, the Christian humanist, and the religious reformer. Alongside these better-known figures, the magus had a transformative impact on his social world. Magus details the arts and experiences of learned magicians including Marsilio Ficino, Pico della Mirandola, Johannes Trithemius, and Heinrich Cornelius Agrippa. Grafton explores their methods, the knowledge they produced, the services they provided, and the overlapping political and social milieus to which they aspired--often, the circles of kings and princes. During the late fifteenth and early sixteenth centuries, these erudite men anchored debates about licit and illicit magic, the divine and the diabolical, and the nature of "good" and "bad" magicians. Over time, they turned magic into a complex art, which drew on contemporary engineering as well as classical astrology, probed the limits of what was acceptable in a changing society, and promised new ways to explore the self and exploit the cosmos. Resituating the magus in the social, cultural, and intellectual order of Renaissance Europe, Grafton sheds new light on both the recesses of the learned magician's mind and the many worlds he inhabited.
A preeminent Renaissance scholar illuminates early modern encounters with books, in which literature became a portal to self-awareness and miraculous communion between author and reader.
The experience of reading is often presented as personal and transformative--a journey of self-discovery and, perhaps, renewal. In A Marvelous Solitude, Lina Bolzoni examines the early modern roots of this attitude toward the readerly act. Between the fourteenth and sixteenth centuries, European men of letters increasingly came to see books as something more than compendia of knowledge: they could also help readers understand the human condition. As Bolzoni shows, Petrarch, Boccaccio, Machiavelli, Montaigne, and Tasso all presented reading as a private encounter and a dialogue with the author. For many Renaissance intellectuals, reading was instrumental to the construction of the self, which was enriched by contact with other learned men. These readers imagined the book as a mirror image of its author, with whom they held a secret affinity. In their letters to one another, humanists described the book as a body, reflecting the notion that reading literature placed its author in the room with oneself. Reading the work of a deceased author became akin to a necromantic rite, as the writers of bygone times were resurrected and placed in contemporary conversation. The vogue for hanging portraits of authors in libraries and studios ensured that the image of the creator was never far from his words, cementing bonds of friendship across barriers of time. These myths--charming, fragile, and powerful--invested the readerly encounter with miraculous properties that lingered in the hearts of the Romantics. And something of those wonders persists today, in the intimate feeling that reading yet provokes.
Elizabeth Ambler started compiling her household book of cures in the early eighteenth century, including historic treatments passed down over the decades. These intriguing remedies include Sir Walter Raleigh's Receipt against Plague, Viper Broth and Snail Milk Water, as well as Ginger Bread and Apricot Ratafia. In addition to traditional flowers and herbs, ingredients consist of precious stones, exotic and expensive spices, and large amounts of brandy and wine.
Set against the backdrop of the family's country houses, silverware and lavish portraits, this book is much more than just a collection of curiosities: it offers a fascinating insight into the sickness and health of our Georgian ancestors, and into what really went on in their kitchens.
"Lively, timely and gloriously energetic. Each page bursts with life, and every chapter swirls with personalities left out of traditional narratives of Britain's past. Philippa Gregory has produced something rare and wonderful: a genuinely new history of [Britain], with women at its beating heart." --Dan Jones, New York Times bestselling author of The Plantagenets
"You've devoured her novels, but now Gregory shows off chops as a historian. . . . An amazing read." --The Los Angeles Times
The #1 New York Times bestselling historical novelist delivers her magnum opus--a landmark work of feminist nonfiction that radically redefines our understanding of the extraordinary roles ordinary women played throughout British history.
AN INDIE BESTSELLER
Did you know that there are more penises than women in the Bayeux Tapestry? That the Peasants' Revolt of 1381 was started and propelled by women who were protesting a tax on women? Or that celebrated naturalist Charles Darwin believed not just that women were naturally inferior to men, but that they'd evolve to become ever more inferior?
These are just a few of the startling findings you will learn from reading Philippa Gregory's Normal Women. In this ambitious and groundbreaking book, she tells the story of England over 900 years, for the very first time placing women--some fifty per cent of the population--center stage.
Using research skills honed in her work as one of our foremost historical novelists, Gregory trawled through court records, newspapers, and journals to find highwaywomen and beggars, murderers and brides, housewives and pirates, female husbands and hermits. The "normal women" you will meet in these pages went to war, ploughed the fields, campaigned, wrote, and loved. They rode in jousts, flew Spitfires, issued their own currency, and built ships, corn mills and houses. They committed crimes or treason, worshipped many gods, cooked and nursed, invented things, and rioted. A lot.
A landmark work of scholarship and storytelling, Normal Women chronicles centuries of social and cultural change--from 1066 to modern times--powered by the determination, persistence, and effectiveness of women.
*INCLUDES ILLUSTRATIONS THROUGHOUT AND A FULL-COLOR INSERT*
"An expansive, inclusive and elegantly woven nonfiction account of the lives of women in England from the Norman Conquest to the modern day. To describe it as merely a retelling is to undermine a core principle: This is a history of women in England, yes, but it is also a history of England, full stop. . . . At more than 500 pages, with extensive endnotes and a 30-page index, Normal Women is a behemoth you may be inclined to skim, until you realize you're actually luxuriating in every word." --The New York Times
NATIONAL BESTSELLER - A "gripping" (The Washington Post) account of how the major transformations in history--from the rise of Homo sapiens to the birth of capitalism--have been shaped not by humans but by germs "Superbly written . . . Kennedy seamlessly weaves together scientific and historical research, and his confident authorial voice is sure to please readers of Yuval Noah Harari or Rutger Bregman."--The Times (U.K.) According to the accepted narrative of progress, humans have thrived thanks to their brains and brawn, collectively bending the arc of history. But in this revelatory book, Professor Jonathan Kennedy argues that the myth of human exceptionalism overstates the role that we play in social and political change. Instead, it is the humble microbe that wins wars and topples empires. Drawing on the latest research in fields ranging from genetics and anthropology to archaeology and economics, Pathogenesis takes us through sixty thousand years of history, exploring eight major outbreaks of infectious disease that have made the modern world. Bacteria and viruses were protagonists in the demise of the Neanderthals, the growth of Islam, the transition from feudalism to capitalism, the devastation wrought by European colonialism, and the evolution of the United States from an imperial backwater to a global superpower. Even Christianity rose to prominence in the wake of a series of deadly pandemics that swept through the Roman Empire in the second and third centuries: Caring for the sick turned what was a tiny sect into one of the world's major religions. By placing disease at the center of his wide-ranging history of humankind, Kennedy challenges some of the most fundamental assumptions about our collective past--and urges us to view this moment as another disease-driven inflection point that will change the course of history. Provocative and brimming with insight, Pathogenesis transforms our understanding of the human story.
Richard Whittington, known to many as Dick Whittington, was the hero of modern pantomime. Born to a disgraced knight in Gloucester, he travelled to London seeking his fame and fortune. Whittington lived through five reigns - Edward III, Richard, II, Henry IV, Henry V and Henry VI - and was personally known and regarded by all these Medieval monarchs. A fabulously wealthy mercer and prosperous wool merchant, he became the most important benefactor to the City of London. His projects numbered funding a refuge for unmarried women; instituting a novel piped water system; creating a grand latrine that discharged into the River Thames; rebuilding Newgate Gaol; improving Guildhall Library; repairing London Bridge; and creating a College of Priests with an Almshouse that still flourishes today at Felbridge, Sussex. He also financed Henry V's French campaign that culminated in the spectacular victory at the Battle of Agincourt. ... But what of his ubiquitous cat?
A wide-ranging and dramatic account of the Antonine plague, the mysterious disease that struck the Roman Empire at its pinnacle
In the middle of the second century AD, Rome was at its prosperous and powerful apex. The emperor Marcus Aurelius reigned over a vast territory that stretched from Britain to Egypt. The Roman-made peace, or Pax Romana, seemed to be permanent. Then, apparently out of nowhere, a sudden sickness struck the legions and laid waste to cities, including Rome itself. This fast-spreading disease, now known as the Antonine plague, may have been history's first pandemic. Soon after its arrival, the Empire began its downward trajectory toward decline and fall. In Pox Romana, historian Colin Elliott offers a comprehensive, wide-ranging account of this pivotal moment in Roman history. Did a single disease--its origins and diagnosis still a mystery--bring Rome to its knees? Carefully examining all the available evidence, Elliott shows that Rome's problems were more insidious. Years before the pandemic, the thin veneer of Roman peace and prosperity had begun to crack: the economy was sluggish, the military found itself bogged down in the Balkans and the Middle East, food insecurity led to riots and mass migration, and persecution of Christians intensified. The pandemic exposed the crumbling foundations of a doomed Empire. Arguing that the disease was both cause and effect of Rome's fall, Elliott describes the plague's "preexisting conditions" (Rome's multiple economic, social, and environmental susceptibilities); recounts the history of the outbreak itself through the experiences of physician, victim, and political operator; and explores postpandemic crises. The pandemic's most transformative power, Elliott suggests, may have been its lingering presence as a threat both real and perceived.
Giants, cannibals and other monsters were a regular feature of Renaissance illustrated maps, inhabiting the Americas alongside other indigenous peoples. In a new approach to views of distant peoples, Surekha Davies analyzes this archive alongside prints, costume books and geographical writing. Using sources from Iberia, France, the German lands, the Low Countries, Italy and England, Davies argues that mapmakers and viewers saw these maps as careful syntheses that enabled viewers to compare different peoples. In an age when scholars, missionaries, native peoples and colonial officials debated whether New World inhabitants could - or should - be converted or enslaved, maps were uniquely suited for assessing the impact of environment on bodies and temperaments. Through innovative interdisciplinary methods connecting the European Renaissance to the Atlantic world, Davies uses new sources and questions to explore science as a visual pursuit, revealing how debates about the relationship between humans and monstrous peoples challenged colonial expansion.
How did the characters and events of Scottish history make the Scotland of today? These stories make sense of it all. How much do you know about Scottish history? We all know bits of it. This book by the authors of Scottish History: Strange but True sets out to show how these 'bits' fit together - how the characters and events of Scottish history made the country of Scotland. How did Scotland embrace kilts and tartan after it banned them?How was Robert the Bruce the real Braveheart?How are there more songs about Jacobites than anybody else?How did a King of Scots declare war on Scotland?How did a 'Merry Monarch' destroy the Covenanters?How did King David save Scotland AND give it away?How did John Knox have trouble with Marys?How did a Scottish King love fart jokes and write a bible?
Explores the deployment of racial thinking and racial formations in the visual culture of the pre-modern world. The capacious visual archive studied in this volume includes a trove of materials such as annotated or illuminated manuscripts, Renaissance costume books and travel books, maps and cartographic volumes produced by Europeans as well as Indigenous peoples, mass-printed pamphlets, jewelry, decorative arts, religious iconography, paintings from around the world, ceremonial objects, festival books, and play texts intended for live performance. Contributors explore the deployment of what coeditor Noémie Ndiaye calls "the racial matrix" and its interconnected paradigms across the medieval and early modern chronological divide and across vast transnational and multilingual geographies. This volume uses items from the Fall 2023 exhibition "Seeing Race Before Race"--a collaboration between RaceB4Race and the Newberry Library--as a starting point for an ambitious theoretical conversation between premodern race studies, art history, performance studies, book history, and critical race theory.