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Artists like Botticelli, Holbein, Leonardo, DĂĽrer, and Michelangelo and works such as the Last Supper fresco and the monumental marble statue of David, are familiar symbols of the Renaissance. But who were these artists, why did they produce such memorable images, and how would their original beholders have viewed these objects? Was the Renaissance only about great masters and masterpieces, or were women artists and patrons also involved? And what about the "minor" pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This Very Short Introduction answers such questions by considering both famous and lesser-known artists, patrons, and works of art within the cultural and historical context of Renaissance Europe. The volume provides a broad cultural and historical context for some of the Renaissance's most famous artists and works of art. It also explores forgotten aspects of Renaissance art, such as objects made for the home and women as artists and patrons. Considering Renaissance art produced in both Northern and Southern Europe, rather than focusing on just one region, the book introduces readers to a variety of approaches to the study of Renaissance art, from social history to formal analysis.

'Who is going to marry Eugenie Grandet?' This is the question that fills the minds of the inhabitants of Saumur, the setting for Eugenie Grandet (1833), one of the the earliest and most famous novels in Balzac's Comedie humaine. The Grandet household , oppressed by the exacting miserliness of Grandet himself, is jerked violently out of routine by the sudden arrival of Eugenie's cousin Charles, recently orphaned and penniless. Eugenie's emotional awakening, stimulated by her love for her cousin, b rings her into direct conflict with her father, whose cunning and financial success are matched against her determination to rebel. Eugenie's moving story is set against the backdrop of provincial oppression, the vicissitudes of the wine trade, and t he workings of the financial system in the aftermath of the French Revolution. It is both a poignant portrayal of private life and a vigorous fictional document of its age.

When Machiavelli's brief treatise on Renaissance statecraft and princely power was posthumously published in 1532, it generated a debate that has raged unabated until the present day. Based upon Machiavelli's first-hand experience as an emissary of the Florentine Republic to the courts of Europe, The Prince analyses the usually violent means by which men seize, retain, and lose political power. Machiavelli added a dimension of incisive realism to one of the major philosophical and political issues of his time, especially the relationship between public deeds and private morality. His book provides a remarkably uncompromising picture of the true nature of power, no matter in what era or by whom it is exercised. This fluent new translation is accompanied by an introduction that considers the true purpose of The Prince and dispels some of the myths associated with it. It has the most comprehensive explanatory and critical notes found in any currently available English translation and the most comprehensive bibliography in any edition of the work. It also contains a helpful Glossary of Proper Names, an Index and a map.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

The job was too good. There had to be a problem - and there was. John Duncan was an honest man, but he needed money. He had children to look after. He was ready to do anything, and his bosses knew it. They gave him the job because he couldn't say no; he couldn't afford to be honest. And the job was like a poison inside him. It changed him and blinded him, so that he couldn't see the real poison - until it was too late.

The activities in Dominoes keep students engaged in the stories and help to reinforce their understanding of the key language. They can be completed at home or in class. The project activities in Dominoes build on the themes from the story and encourage s

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Bathsheba Everdene is young, proud, and beautiful. She is an independent woman and can marry any man she chooses - if she chooses. In fact, she likes her independence, and she likes fighting her own battles in a man's world. But it is never wise to ignore the power of love. There are three men who would very much like to marry Bathsheba. When she falls in love with one of them, she soon wishes she had kept her independence. She learns that love brings misery, pain, and violent passions that can destroy lives ...

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Focusing on rapid vocabulary development as an effective means to early communicative confidence, this title has a gradual syllabus which never overloads the student and incorporates cyclical revision. It also offers practice material, including role-play, transfer activities, songs, and games.

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Our hero confronts a large and varied cast, including Wackford Squeers, the fantastic ogre of a schoolmaster, and Vincent Crummles, the grandiloquent ham actor, on his comic and satirical adventures up and down the country. Punishing wickedness, befriendi