In spite of many setbacks, living standards have trended upwards over the last 10,000 years. One of my main interests as an economist has been to understand the sources of this trend and its broad effects. The key driving force is new technologies. We are better off than our Victorian ancestors, not because we have more of what they had but because we have new things, such as airplanes and indoor plumbing. However, these new technologies have also brought some unfortunate side effects. We need to understand that dealing with these successfully depends, not on returning to the use of previous technologies, but on developing newer technologies such as wind and solar power.
When we began our research on our book, we were surprised to read challenges to the conventional view we had been taught that the Middle Ages were a time of largely stagnant Western societies. The source of this new view is in several books, including the one recommended here. Gimpel challenges the traditional view writing instead: “The Middle Ages introduced machinery into Europe on a scale no civilization had previously known.” He goes on to chronicle the ingenuity that architects, engineers, and other technicians devoted to innovations in agriculture, light industry, construction, and mining ̶ innovations that anticipated, and were often credited to, later figures of the Renaissance.
A close examination of the industrial life and institutions of the Middle Ages and of that inventiveness that laid the foundations for our present technologically oriented society
It is a great (true) story about how ancient understandings were brought back into the world through the struggles and determination of medieval scholars.
In particular, it tells the story of “the book hunter”, Poggio Bracciolini, as he scoured European monasteries, seeking old manuscripts which had been copied, and recopied from ancient Latin texts.
In the winter of 1417, a short, genial, cannily alert man in his late thirties plucked a very old manuscript off a dusty shelf in a remote monastery, saw with excitement what he had discovered, and ordered that it be copied. He was Poggio Bracciolini, the greatest book hunter of the Renaissance. His discovery, Lucretius' ancient poem On the Nature of Things, had been almost entirely lost to history for more than a thousand years.
It was a beautiful poem of the most dangerous ideas: that the universe functions without the aid of gods, that religious fear is damaging to…
I was the type of kid who tossed a coin in a fountain and wished that every day could be Valentine’s Day. So, it’s no surprise that my younger years were dominated by dating, love, and heartbreak. I learned enough about the matter to even have my own dating advice column for a few years. Mostly what I’ve learned is how important it is to have compassion for yourself and to know you’re not the only one having a hard time finding your forever love. I hope these book picks bring you some comfort.
A lot of people know Rachel Cargle because of her activism and her community building. But her life story shows how sometimes you have to let go of what you’ve been taught to want so you’re free to go after what you really want.
Rachel wasn’t satisfied being a well-loved, stay-at-home wife in a small Ohio town. But it was hard for her to exit her marriage because we’ve all been taught to find a good man and hang on tight. Rachel did manage to leave and step onto a radically different life path. She’s open in the book about fluidity around her sexuality and exploring non-monogamy.
What would life be like if we had the courage to say, 'I want something different'?
'Elegant, thoughtful, vulnerable, and inspiring' Elizabeth Gilbert
From a highly lauded modern voice in feminism and racial justice comes a deeply personal and insightful testament to the power of reimagining - the act of creating in our mind's eye that which does not but can and should exist
We all experience breaking points, those moments when we realise that something must change. For activist, philanthropist, and CEO Rachel E. Cargle, reimagining - relationships, work, education, rest, faith and power - saw her through some…
I teach medieval and early modern European history at Dublin City University, with a particular interest in 16th-18th century Italian history. My own research focuses on the religious, legal, and popular culture of northern Italy, particularly Venice and the Veneto region. I became fascinated with Renaissance Italian history as an undergraduate at the College of William and Mary, and then went on to do a masters and a PhD at Northwestern University. I have taught at Northwestern, the College of William and Mary, the University of Warwick/Warwick in Venice, and the State University of New York at Cortland.
This is an excellent and fascinating book on the scientific culture of Renaissance Italy, where intellectuals and the wealthy elite began collecting and cataloging curiosities long before their northern European counterparts. Findlen demonstrates a key way in which Renaissance intellectuals could look back to an idealized ancient past while also creating new knowledge and institutions – namely the museum. This book is beautifully written, full of engaging stories, and shows a side of early modern science often ignored.
In 1500 few Europeans regarded nature as a subject worthy of inquiry. Yet fifty years later the first museums of natural history had appeared in Italy, dedicated to the marvels of nature. Italian patricians, their curiosity fueled by new voyages of exploration and the humanist rediscovery of nature, created vast collections as a means of knowing the world and used this knowledge to their greater glory. Drawing on extensive archives of visitors' books, letters, travel journals, memoirs, and pleas for patronage, Paula Findlen reconstructs the lost social world of Renaissance and Baroque museums. She follows the new study of natural…
I’ve been in love with the Middle Ages ever since my mother handed me a copy of The Conquering Family, by Thomas B. Costain, when I was in the 7th grade. Eventually, I went on to earn a degree in history from the University of Arizona. In addition to the many colorful characters who impacted the medieval world, I became entranced with the art of the time period, particularly manuscript paintings. Their beauty, reverence, whimsy, even their occasional naughtiness, are, to me, simply enchanting! It was impossible not to share my love of this artform in at least one of my novels. Below are some of the books that helped me on my writing journey.
One cannot dismiss the importance of religion during the Middle Ages. It was intertwined with nearly every aspect of people’s lives, so it was natural that medieval illuminators like my heroine and her father would spend a tremendous amount of their time and talent on creating artwork for religious books. The Book of Hours was one of the most important sources of religious teaching and inspiration during the Middle Ages and indispensable to that inspiration and teaching were the exquisite illuminations that filled their pages.
Time Sanctified places the Book of Hours in its medieval social and religious context and demonstrates through countless visual examples the way illuminated paintings helped bring these religious lessons to life for their medieval owners.
The illuminated manuscript was the primary vehicle of learning, religion, and art during the Middle Ages and Renaissance. Within the pages of these hand-painted treasures, medieval civilisation flourished. Of all the illuminated manuscripts from this period, the Book of Hours was, by far, the most popular and among the most exquisitely made. In the words of scholar L. M. J. Delaisse, it was the "best seller" of its time - the most frequently commissioned book by both the aristocracy and the middle classes. A selection of these splendid pages is presented in Time Sanctified, along with a detailed discussion of…
I’ve always loved all things Elizabethan, and I especially love spending time with books and manuscripts where voices from the period speak to us directly. Wanting to understand how Shakespeare and his contemporaries understood themselves led me to investigate their ideas about relations between mind and body, about emotions, about the imagination, and about the minds of women and those of other races. I’ve learned that the Elizabethans grappled with many conflicting ideas about the mind, from classical philosophies, medieval medicine, new theologies, and more – and that this intellectual turmoil was essential fuel for the extraordinary literary creativity of the period.
Elizabethan ideas about the mind were based on the ancient medical theory of humours: fluids whose proportions in the body dictated character, and whose circulation and fluctuation triggered fleeting moods.
Shakespeare and his contemporaries were particularly obsessed with black bile, or melancholy, whose long list of symptoms included sadness, bad dreams, seeking darkness and solitude, and suicidal thoughts. It also enhanced intellectual and creative powers, so had a certain glamour.
Understanding melancholy is essential to understanding Hamlet and many other works from its period. Gowland traces the sources of Robert Burton’s Anatomy of Melancholy, a compendious work published shortly after Shakespeare’s death, and thereby illuminates sixteenth- and seventeenth-century understanding of what we would call psychology.
Angus Gowland investigates the theory of melancholy and its many applications in the Renaissance by means of a wide-ranging contextual analysis of Robert Burton's encyclopaedic Anatomy of Melancholy (first published in 1621). Approaching the Anatomy as the culmination of early modern medical, philosophical and spiritual inquiry about melancholy, Gowland examines the ways in which Burton exploited the moral psychology central to the Renaissance understanding of the condition to construct a critical vision of his intellectual and political environment. In the first sustained analysis of the evolving relationship of the Anatomy (in the various versions issued between 1621 and 1651) to…
I was raised in a rural Baptist parsonage. My family gathered daily for prayer and Bible reading. I learned the story of Adam & Eve before I could read. I encountered evolution in books by evangelical authors who attacked it, vilifying both Darwin and the scientific community. I attended an evangelical college, planning to join the anti-evolution crusade. As I studied science, I came to realize, much to my consternation, that I had been completely wrong about evolution, Darwin, cosmology, and a host of other things. My personal journey was a microcosm of the intellectual upheaval of the last two centuries—a transformation I find exciting.
I was captured by the first sentence in this book: “Between 1550 and 1650 Western thinkers ceased to believe that they could find all important truths in ancient books.” I think this is the greatest intellectual revolution in history—when we stopped looking back in time for the truth about the world and started looking forward.
We stopped believing that ancient thinkers—Moses, Aristotle, Galen—had privileged access to knowledge. We realized that Newton was better equipped to understand the world than Aristotle and that Darwin knew more than Moses. This realization made science possible, but it’s a fragile insight.
Describing an era of exploration during the Renaissance that went far beyond geographic bounds, this book shows how the evidence of the New World shook the foundations of the old, upsetting the authority of the ancient texts that had guided Europeans so far afield. What Anthony Grafton recounts is a war of ideas fought by mariners, scientists, publishers, and rulers over a period of 150 years. In colorful vignettes, published debates, and copious illustrations, we see these men and their contemporaries trying to make sense of their discoveries as they sometimes confirm, sometimes contest, and finally displace traditional notions of…
My goal as a writer is to revive lost women’s stories through historical fiction. After co-authoring several historical novels, our last mystery set in Renaissance Rome, we decided to set the sequel in Venice. When we decided to split amicably before finishing that novel, I had spent so much time researching Renaissance Venice that I instantly knew I wanted to set my first solo novel there and focus on girls and women whose stories are so frequently lost to history. So began a quest to learn everything I could about the females of 15th and 16th-century Venice, leading me toward both academic and fictional works of the era.
A beautiful little book that showcases the paintings of early Renaissance painter Vittore Carpaccio, we see many women in his works. Some of saints, some bordering on the fantastical, a few quite realistic – all the women in Carpaccio’s art would have been inspired by real women living and working in Venice in the late 1400s and early 1500s.
In the course of writing Venice, her 1961 classic, Jan Morris became fascinated by the historical presence of a sometimes-overlooked Venetian painter. Nowadays the name of Vittore Carpaccio (1460-1520) suggests raw beef, but to Morris it conveyed far more profound meanings. Thus began a lifelong infatuation, reaching across the centuries, between a renowned Welsh writer and a great and delightfully entertaining artist of the early Renaissance. Handsomely designed with more than seventy photographs throughout, Ciao,Carpaccio! is a happy caprice of affection. In illuminating the life of the artist and his paintings, Morris throws in digressions about Venetian animals, courtesans, babies,…
I never start a series in the middle except by mistake – but fortunately, though I soon realised that I needed to go back and read the first book, it did not stop me devouring this to the end.
Sixteenth-century Florence is alive and kicking – usually kicking – and the range of characters is fascinating without being confusing. For me, the best characters were the nuns in the convent - it is good to see nuns treated as people!
The author used the of the convent enclosed space to make the horror and violence all the more startling. An excellent historical novel and an excellent murder mystery.
'Pretty much everything I want in an historical thriller - an absolutely terrific read' Philip Gwynne Jones
'A great insight into Renaissance Florence. What I love about these books is the seamless weaving of factual history with a great story' Abir Mukherjee
Florence. Spring, 1537.
When Cesare Aldo investigates a report of intruders at a convent in the Renaissance city's northern quarter, he enters a community divided by bitter rivalries and harbouring dark secrets.
His case becomes far more complicated when a man's body is found deep inside the convent, stabbed more than two dozen times. Unthinkable as it seems,…
I am a scholar of African and African American literature with interests in the cultures, histories, and philosophies of Africa and the diaspora. Currently, I teach and research at Texas A&M University. The history of the transatlantic slave trade and its legacies are huge components of my current research; it is also the topic of my doctoral research which I completed in 2017 at The School of Oriental African Studies (SOAS), The University of London.
Ngugi wa Thiong'o is not just a celebrated writer, but a respected critic of African literature, known for his advocacy of African languages. In this book, wa Thiong'o provides an exploration of slavery’s effects on the historical, cultural, and literary lives of Africans. His focus is on the fragmentations that slavery created in African identities and how these play out in literature. The book advocates for a re-membering of fragments created by slavery. I think this book – and frankly any work by wa Thiong'o – is a necessary addition to the collection of any reader interested in African literature, particularly the legacy of slavery and colonialism in African writings.
Novelist Ngugi wa Thiong'o has been a force in African literature for decades: Since the 1970s, when he gave up the English language to commit himself to writing in African languages, his foremost concern has been the critical importance of language to culture. In Something Torn and New , Ngugi explores Africa's historical, economic, and cultural fragmentation by slavery, colonialism, and globalization. Throughout this tragic history, a constant and irrepressible force was Europhonism: the replacement of native names, languages, and identities with European ones. The result was the dismemberment of African memory. Seeking to remember language in order to revitalize…
