In an exhilarating tale of historic adventure, the Pulitzer Prize-winning author of Confederates in the Attic retraces the voyages of Captain James Cook, the Yorkshire farm boy who drew the map of the modern world Captain James Cook's three epic journeys in the 18th century were the last great voyages of discovery. His ships sailed 150,000 miles, from the Artic to the Antarctic, from Tasmania to Oregon, from Easter Island to Siberia. When Cook set off for the Pacific in 1768, a third of the globe remained blank. By the time he died in Hawaii in 1779, the map of the world was substantially complete. Tony Horwitz vividly recounts Cook's voyages and the exotic scenes the captain encountered: tropical orgies, taboo rituals, cannibal feasts, human sacrifice. He also relives Cook's adventures by following in the captain's wake to places such as Tahiti, Savage Island, and the Great Barrier Reef to discover Cook's embattled legacy in the present day. Signing on as a working crewman aboard a replica of Cook's vessel, Horwitz experiences the thrill and terror of sailing a tall ship. He also explores Cook the man: an impoverished farmboy who broke through the barriers of his class and time to become the greatest navigator in British history. By turns harrowing and hilarious, insightful and entertaining, BLUE LATITUDES brings to life a man whose voyages helped create the 'global village' we know today.

A "New York Times" - bestselling author presents the true story of a pivotal moment in modern history when a group of strange, tormented geniuses--Isaac Newton chief among them--invented science and remade our understanding of the world.

Pirate Enlightenment playfully dismantles the central myths of the Enlightenment. In their place comes a story about the magic, sea battles, purloined princesses, manhunts, make-believe kingdoms, fraudulent ambassadors, spies, jewel thieves, poisoners and devil worship that lie at the origins of modern freedom.[Bokinfo]

"From the writers behind the acclaimed documentary series Enslaved (starring Samuel L. Jackson), comes a rich and timely narrative of the true global and human scope of the transatlantic slave trade. The trade existed for four-hundred years, during which twelve million people were trafficked, and almost two million died at sea. Throughout this journey we meet the remarkable group, Diving With A Purpose (DWP), as they dive sunken slave ships around the world. They search for remains testifying to the millions of Africans trafficked to Europe, the Americas, and the Caribbean. From manilla bracelets to elephant tusks, these wrecks bring the stories of lost lives back from the deep. By hunting down wrecks and their backstories, Jacobovici and Kingsley's research puts the archeology and history of sunken slave ships lost between 1670 and 1858 in vivid context. From the ports of Gold Coast Africa to the hubs of trading companies in England, Portugal, and the Netherlands, to the final destinations in the New World, Jacobovici and Kingsley show how the slave trade touched every nation and every society on Earth. Though global in scope, Enslaved makes the past personal through the divers' sadness, anger, reverence, and awe as they hold in their hands tangible pieces of their ancestors' world. This book ensures that centuries of slave trading will always be remembered. Enslaved is the first book to tell the story of the transatlantic slave trade from the bottom of the sea."--page 2 of cover.

"This entertaining and enlightening graphic narrative tells the exciting story of the seventeenth-century thinkers who challenged authority--sometimes risking excommunication, prison, and even death--to lay the foundations of modern philosophy and science and help usher in a new world...Heretics! tells the story of their ideas, lives, and times in a vivid new way. Crisscrossing Europe as it follows them in their travels and exiles, the narrative describes their meetings and clashes with each other--as well as their confrontations with religious and royal authority. It recounts key moments in the history of modern philosophy, including the burning of Giordano Bruno for heresy, Galileo's house arrest for defending Copernicanism, Descartes's proclaiming cogito ergo sum, Hobbes's vision of the "nasty and brutish" state of nature, and Spinoza's shocking Theological-Political Treatise." -- Publisher's description.

For Rembrandt as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance; the strutting and mincing; the wardrobe and the face paint; the full repertoire of gesture and grimace; the flutter of hands and the roll of the eyes; the belly laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, to wheedle, and to console; to strike a pose or preach a sermon; to shake a fist or uncover a breast; how to sin and how to atone; how to commit murder and how to commit suicide. No artist had ever been so fascinated by the fashioning of personae, beginning with his own. No painter ever looked with such unsparing intelligence or such bottomless compassion at our entrances and our exits and the whole rowdy show in between. More than three centuries after his death, Rembrandt remains the most deeply loved of all the great masters of painting, his face so familiar to us from the self-portraits painted at every stage in his life, yet still so mysterious. As with Shakespeare, the facts of his life are hard to come by; the Leiden miller's son who briefly found fame in Amsterdam, whose genius was fitfully recognized by his contemporaries, who fell into bankruptcy and died in poverty. So there is probably no other painter whose life has engendered more legends, nor to whom more unlikely pictures have been attributed (a process now undergoing rigorous reversal). "Rembrandt's Eyes," about which Simon Schama has been thinking for more than twenty years, shows that the true biography of Rembrandt is to be discovered in his pictures. Though a succession of superbly incisive descriptions and interpretations of Rembrandt'spaintings threaded into his narrative, he allows us to see Rembrandt's life clearly and to think about it afresh. But this book moves far beyond the bounds of conventional biography or art history. With extraordinary imaginative sympathy, Schama conjures up the world in which Rembrandt moved -- its sounds, smells and tastes as well as its politics; the influences on him of the wars of the Protestant United Provinces against Spain, of the extreme Calvinism of his native Leiden, of the demands of patrons and the ambitions of contemporaries; the importance of his beloved Saskia and, after her death (Rembrandt was later forced to sell her grave, so complete was his ruin), of his mistress Hendrickje Stoffels; and, above all, the profound effect on him of the great master of the immediately preceding generation, the Catholic painter from Antwerp, Peter Paul Rubens: "the prince of painters and the painter of princes" with whom Rembrandt was obsessed for the first part of his life, and whose career was the shaping force that drove Rembrandt to test the farthest reaches of his own originality. "Rembrandt's Eyes" shows us "why" Rembrandt is such a thrilling painter, so revolutionary in his art, so penetrating of the hearts of those who have looked for three hundred years at his pictures. Above all, Schama's understanding of Rembrandt's mind and the dynamic of his life allows him to re-create Rembrandt's life on the page. Through a combination of scholarship and literary skill, Schama allows us to actually see that life through Rembrandt's own eyes. In overcoming the paucity of conventional historical evidence, it is the most intelligently true biography of Rembrandt that has ever beenwritten, and the most dazzling achievement to date of the art historian whose work has been hailed as "marvelously rich and eloquent" ... "rare, imaginative" ... "provocative" ... "astoundingly learned with verve, humor, and an unflagging sense of delight" ... that of "a master storyteller ... and a master of history."* Quotes from the "New York Times Book Review, Time," the "New York Times, The Independent on Sunday," and "Nature," respectively. "From the Hardcover edition."

Salem, Massachusetts, 1692. In a plain meetinghouse a woman stands before her judges. The accusers, girls and young women, are fervent and overexcited. The accused is a poor, unpopular woman who had her first child before she was married. As the trial proceeds the girls begin to wail, tear their clothing, and scream that the woman is hurting them. Some of them expose wounds to the horrified onlookers, holding out the pins that have stabbed them -- pins that appeared as if by magic. Are they acting or are they really tormented by an unseen evil? Whatever the cause, the nightmare has begun: The witch trials will eventually claim twenty-five lives, shatter the community, and forever shape the American social conscience.

Much new research and writing on the Glorious Revolution of 1688-91 in England, Scotland, Ireland and North America, and on the Dutch role in the Revolution, has materialized in the last few years in connection with the tercentenary celebrations of 1988 and 1989 and the various accompanying conferences, symposia, and exhibitions in Britain, the Netherlands and the United States. There has also been a spate of associated publications. This is, however, the first large-scale work to emerge from the tercentenary commemoration, and the first to attempt to bring together the main strands of the new research and writing for the general reader and for the student, placing the English Revolution of 1688-89 for the first time in its full British, European and American setting, and showing how fundamentally our picture of the Revolution itself, as well as the Revolutionary process of 1688-91 as a whole, is now being transformed.

The specific course of the Reformation in England in the 16th-17th centuries brought about interest in the Jewish Bible, i.e. the Old Testament, and the emergence of a self-image held by the British that they constitute a people of the Book, beside the Jews. This, in turn, gave rise to philosemitism, which marked British culture from the days of Cromwell to those of Churchill, being tinged in various tones, from millenarianism to philo-Zionism. However, the tradition of philosemitism in England was accompanied by manifestations of antisemitism; the same people who extolled the Jews opposed their admission to Parliament; people who defended Jewish rights in the 18th-19th centuries often shared anti-Jewish stereotypes of their time; and leaders who sympathized with Zionism could believe in a Jewish conspiracy against Christian civilization. Ch. 4 (pp. 83-117), "Fictional Heroes and Heroines", deals with 19th-century literature and shows how some writers (e.g. Walter Scott, Dickens, Trollope) could combine philosemitic and antisemitic motifs in their literary works.

This survey history offers the first examination of Jewish life and culture to focus on the sixteenth and seventeenth centuries as a radically new phase in Jewish history.

René Descartes (1596–1650) is one of the towering and central figures in Western philosophy and mathematics. His apothegm “ Cogito, ergo sum ” marked the birth of the mind-body problem, while his creation of so-called Cartesian coordinates have made our physical and intellectual conquest of physical space possible. But Descartes had a mysterious and mystical side, as well. Almost certainly a member of the occult brotherhood of the Rosicrucians, he kept a secret notebook, now lost, most of which was written in code. After Descartes’s death, Gottfried Leibniz, inventor of calculus and one of the greatest mathematicians in history, moved to Paris in search of this notebook—and eventually found it in the possession of Claude Clerselier, a friend of Descartes. Leibniz called on Clerselier and was allowed to copy only a couple of pages—which, though written in code, he amazingly deciphered there on the spot. Leibniz’s hastily scribbled notes are all we have today of Descartes’s notebook, which has disappeared. Why did Descartes keep a secret notebook, and what were its contents? The answers to these questions lead Amir Aczel and the reader on an exciting, swashbuckling journey, and offer a fascinating look at one of the great figures of Western culture.

There is a popular and romantic myth about Rembrandt and the Jewish people. One of history's greatest artists, we are often told, had a special affinity for Judaism. With so many of Rembrandt's works devoted to stories of the Hebrew Bible, and with his apparent penchant for Jewish themes and the sympathetic portrayal of Jewish faces, it is no wonder that the myth has endured for centuries. Rembrandt's Jews puts this myth to the test as it examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In his elegantly written and engrossing tour of Jewish Amsterdam—which begins in 1653 as workers are repairing Rembrandt's Portuguese-Jewish neighbor's house and completely disrupting the artist's life and livelihood—Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth-century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period, evidenced in the dispassionate, even ordinary ways in which Jews and their religion are represented—far from the demonization and grotesque caricatures, the iconography of the outsider, so often found in depictions of Jews during the Middle Ages and the Renaissance. Through his close look at paintings, etchings, and drawings; in his discussion of intellectual and social life during the Dutch Golden Age; and even through his own travels in pursuit of his subject, Nadler takes the reader through Jewish Amsterdam then and now—a trip that, under ever-threatening Dutch skies, is full of colorful and eccentric personalities, fiery debates, and magnificent art.

Synopsis: The last two centuries have witnessed a radical transformation of Jewish life. Marked by such profound events as the emancipation from the ghettoes of Europe, the Holocaust and the establishment of the State of Israel, Judaism's long journey through the modern age has been a complex and tumultuous one, leading many Jews to ask themselves not only where they have been and where they are going, but what it means to be a Jew in today's world. Tracing the dramatic changes in Jewish religion, culture, and identity from the seventeenth century to the present, The Jew in the Modern World, Third Edition, remains the most complete sourcebook on modern Jewish history available. Now thoroughly expanded and updated, this critically acclaimed volume of primary materials features previously unpublished and inaccessible sources concerning the Jewish experience in Eastern Europe, the Middle East, and North Africa; women in Jewish history; American Jewish life; the Holocaust; and Zionism and the nascent Jewish community in Palestine on the eve of the establishment of the State of Israel. The documents are arranged chronologically in each chapter and are meticulously and extensively annotated and cross-referenced. Providing useful tables detailing Jewish demographic trends, this unique text is ideal for courses in modern Jewish history, Zionism and Israel, the Holocaust, or modern European history. New to this Edition: Over 100 new documents address important issues to understanding modern Jewish history, including the status of women, and debates between traditional and secular Jews and the role of Zionism in modern Jewish life; Two entirely new chapters-Chapter 8, "Sephardi and Middle Eastern Jewry," and Chapter 12, "Jewish Identity Challenged and Redefined" -enhance the book's scope and chronology; Four new maps show the concentration of Jews throughout the Mediterranean and Middle East. The Appendix has been completely updated with the latest population figures

From an acclaimed historian of early America, a compelling account of the first great transit of people from Britain, Europe, and Africa to the British colonies of North America and their involvements with each other and the indigenous peoples of the eastern seaboard

Traces four hundred years of Jewish history from the seventeenth to the twenty-first century, and discusses the anti-Semitism facing European Jews, the Jews of czarist Russia, their struggle for civil rights in the 1830s and 1840s, Jewish life in America, the effects of World War One and the Holocaust of World War Two, and much more.

A unique combination of philosophy, biography, and art history. The philosopher, the priest, and the painter investigates the remarkable individuals and the circumstances behind a small portrait.

Covers scientific discovery from approximately 1500-1699.--

"Messianism, Secrecy and Mysticism tells the history of Early American Jews, focusing on the objects of everyday life used and created by Jews, such as ritual baths, food, gravestones, portraits, furniture, as well as the synagogue. By uncovering these objects and exposing the common culture of the Jewish Atlantic world, the book provides a fresh understanding of a crucial era in Jewish and American history. It offers new insights about the origins of Jewish American messianism, helping readers better understand messianism in contemporary American society. It charts the shared culture of these Jews who lived in the port towns in the Caribbean and on both sides of the Atlantic, and author Laura Arnold Leibman argues that thinking about Judaism as an embodied religion is key to understanding their culture. Messianism, Secrecy and Mysticism makes early Jewish American history entertaining, accessible, and interesting to general readers, as well as to academic audiences." -- Publisher's website.

Twenty years ago, Benjamin Moser followed a love affair to an ancient Dutch town. In order to make sense of this new place, he threw himself into the Dutch museums. Soon, he found himself unearthing the strange, inspiring and sometimes terrifying stories of the artists who shaped one of the most luminous moments in the history of human creativity, the Dutch Golden Age. As he explored the hidden world of the Dutch Masters (and one Mistress), Moser met a crowd of fascinating personalities- the stormy Rembrandt, the intimate Ter Borch, the mysterious Vermeer. Through their art, he got to know their country, too- from Pieter Saenredam's translucent churches to Paulus Potter's muddy barnyards, and from Pieter de Hooch's cozy hearths to Jacob van Ruisdael's tragic trees. Over the years, Moser found himself on increasingly intimate terms with these centuries-dead artists, and found that they, too, were struggling with the same questions he was. Why do we make art? What is art, anyway - and what is an artist? What does it mean to succeed as an artist, and what does it mean to fail? The Upside-Down World is an invitation to ask these questions, and to turn them on their heads- to look, and then to look again. It is a brilliant, colourful and learned book for anyone, whether lifelong scholar or curious tourist, who has ever felt the lure of the Dutch galleries. It shows us art, and artists, as we have never seen them before.