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Young Queens
WATERSTONES' BEST BOOKS OF THE YEAR: HISTORY
The boldly original, dramatic intertwined story of Catherine de' Medici, Elisabeth de Valois and Mary, Queen of Scots – three queens exercising power in a world dominated by men.
Sixteenth-century Europe: Renaissance masters paint the ceilings of Florentine churches, kings battle for control of the Continent, and the Reformation forever changes the religious organisation of society. Amidst it all, three young women come of age and into power in an era of empires and revolutions.
Catherine de' Medici's story begins in a convent stormed by soldiers intent on seizing the key to power in Florence – Catherine herself, a girl barely 11 years old. It ends with her as the controversial queen mother of France, a woman both revered and reviled.
Mary, Queen of Scots' story begins in Scotland and ends in England. A queen turned traitor, from the confines of her English prison she longs for the idyll of her childhood in France.
Elisabeth de Valois' story begins in France, where she is born the beloved daughter of a king. It ends tragically in Spain as a cherished queen consort and mother – one who must make the ultimate sacrifice for her kingdom.
Catherine, Mary and Elisabeth lived at the French court together for many years before scattering to different kingdoms. These years bound them to one another through blood and marriage, alliance and friendship, love and filial piety; bonds that were tested when the women were forced to part and take on new roles. To rule, they would learn, was to wage a constant war against the deeply entrenched misogyny of their time. A crown could exalt a young woman. Equally, it could destroy her.
Drawing on new archival research, Young Queens masterfully weaves the personal stories of these three queens into one, revealing their hopes, dreams, desires and regrets in a time when even the most powerful women lived at the mercy of the state.
Astonish Me!
Astonish Me! is an adrenaline-charged rollercoaster through history's seismic first nights, exploring how individual artists can change and shape the story of culture - and allow us to see ourselves in new ways.
It tells of times when 'the air between people seems to alter' as art achieves profound change, across the globe and across history.
Dominic Dromgoole has created a radical and fresh canon. He begins in New York in 1963, as Lorraine Hansberry remakes American theatre and a nation's perception of race. And then, as the lights go up, we find ourselves in Renaissance Florence, watching Michelangelo's David being hauled into the Piazza della Signoria. The dust settles and we are transported to the birth of theatre in fifth-century Athens - and then to Paris to meet with Diaghilev and Stravinsky for the Rite of Spring. We witness kabuki's creation, as a radical women's performance, in Kyoto; the Sex Pistols shattering Thatcherite Britain at Manchester's Free Trade Hall; and watch as Hitchcock directs Psycho.
Romantismus XX. století
Svazek vznikl na podzim 1994 jako dobový deník. Navazuje na Romantismus XX. století od Z. Lorence a J. Istlera, vydaný ilegálně za okupace v roce 1943, na Prolegomena k Romantismu XX. století od Z. Lorence a J. Istlera, jenž vznikl u příležitosti retrospektivní výstavy Skupiny Ra v roce 1988, a na Zavazadlo s posledním romantismem XX. století aneb konec, z léta 1992.
This is Leonardo
Leonardo da Vinci lived an itinerant life. Throughout his career - from its beginnings in the creative maelstrom of fifteenth-century Florence to his role as genius in residence at the court of the king of France - Leonardo created a kind of private universe for himself and his work. Leonardo also spent a great deal of time away from his easel, pursuing his interest in engineering, natural science, sculpture, poetry, fables, music and anatomy. In the time that another artist would finish a series of paintings, he would work on one. Sometimes a painting would take decades, accompanying him on his travels as he worked on other commissions. Leonardo's private world was both vibrant and active. It sometimes did and at other times did not interact with the wider world. But what emerged from it has established Leonardo as the definition of the Renaissance Man.