Kissing Galileo

Her professor just saw her mostly naked. Awkwardness is guaranteed to ensue. Proceeds for the month of release go to College Track (501c3), providing college scholarships and resources for vulnerable / limited resource populations. At collegetrack.org What do you do when your freakishly smart and wickedly sarcastic Research Methods professor sees you mostly naked? You befriend him, of course. ‘Kissing Galileo’ is the second book in the Dear Professor series, is 60k words, and can be read as a standalone. A shorter version of this story (40k words) was entitled ‘Nobody Looks Good Naked’ and was available via Penny Reid’s newsletter for free over the course of 2018-19.

Oscar Wilde's philosophy leads him on a path to destruction. The Judas Kiss describes two pivotal moments: the day Wilde decides to stay in England and face imprisonment, and the night when the lover for whom he risked everything betrays him. With a burning sense of outrage, David Hare presents the consequences of an uncompromisingly moral position in a world defined by fear and conformity. Originally produced in the West End and on Broadway, this new edition coincides with a 2012 revival. 'Superbly written... Hare has taken a history and pieced it together with heroic grace... Vastly rich, sophisticated and heartbreaking.' Time Out, New York

At the heart of a provocative narrative that stretches from Renaissance Italy to the moons of Jupiter is the father of modern science: Galileo Galilei. To the inhabitants of the Jovian moons, Galileo is a revered figure whose actions will influence the subsequent history of the human race. From the summit of their distant future, a charismatic renegade named Ganymede travels to the past to bring Galileo forward in an attempt to alter history and ensure the ascendancy of science over religion. And if that means Galileo must be burned at the stake, so be it. From Galileo’s heresy trial to the politics of far-future Jupiter, Kim Stanley Robinson illuminates the parallels between a distant past and an even more remote future—in the process celebrating the human spirit and calling into question the convenient truths of our own moment in time.

Heilbron takes in the landscape of culture, learning, religion, science, theology, and politics of late Renaissance Italy to produce a richer and more rounded view of Galileo, his scientific thinking, and the company he kept.

Called "the theater conscience of our times," Eric Bentley has been both a leading critic and a playwright. Rallying Cries presents three of his best known works: Are You Now or Have You Ever Been, successfully staged around the world and on television; The Recantation of Galileo Galilei; and the controversial From the Memoirs of Pontius Pilate, a work initially rejected as insufficiently Christian by its commissioning theater but then successfully produced in New York at the Actors Studio and American Jewish Theater.

Intended for scholars in the fields of philosophy, history of science and music, this book examines the legacy of the historical coincidence of the emergence of science and opera in the early modern period. But instead of regarding them as finished products or examining their genesis, or `common ground', or `parallel' ideas, opera and science are explored by a phenomenology of the formulations of consciousness (Gurwitsch) as compossible tasks to be accomplished in common (Schutz) which share an ideal possibility or `essence' (Husserl). Although the ideas of Galileo and Monteverdi form the parameters of the domain of phenomenological clarification, the scope of discussion extends from Classical ideas of science and music down to the beginning of the nineteenth century, but always with reference to the experience of sharing the sociality of a common world from which they are drawn (Plessner) and to which those ideas have given shape, meaning and even substance. At the same time, this approach provides a non-historicist alternative to understanding the arts and science of the modern period by critically clarifying the idea of whether their compossibility can rest on any other formulation of consciousness.

Galileo's trial by the Inquisition is one of the most dramatic incidents in the history of science and religion. Today, we tend to see this event in black and white--Galileo all white, the Church all black. Galileo in Rome presents a much more nuanced account of Galileo's relationship with Rome. The book offers a fascinating account of the six trips Galileo made to Rome, from his first visit at age 23, as an unemployed mathematician, to his final fateful journey to face the Inquisition. The authors reveal why the theory that the Earth revolves around the Sun, set forth in Galileo's Dialogue, stirred a hornet's nest of theological issues, and they argue that, despite these issues, the Church might have accepted Copernicus if there had been solid proof. More interesting, they show how Galileo dug his own grave. To get the imprimatur, he brought political pressure to bear on the Roman Censor. He disobeyed a Church order not to teach the heliocentric theory. And he had a character named Simplicio (which in Italian sounds like simpleton) raise the same objections to heliocentrism that the Pope had raised with Galileo. The authors show that throughout the trial, until the final sentence and abjuration, the Church treated Galileo with great deference, and once he was declared guilty commuted his sentence to house arrest. Here then is a unique look at the life of Galileo as well as a strikingly different view of an event that has come to epitomize the Church's supposed antagonism toward science.

Galileo Galilei (1564–1642), his life and his work have been and continue to be the subject of an enormous number of scholarly works. One of the con- quences of this is the proliferation of identities bestowed on this gure of the Italian Renaissance: Galileo the great theoretician, Galileo the keen astronomer, Galileo the genius, Galileo the physicist, Galileo the mathematician, Galileo the solitary thinker, Galileo the founder of modern science, Galileo the heretic, Galileo the courtier, Galileo the early modern Archimedes, Galileo the Aristotelian, Galileo the founder of the Italian scienti c language, Galileo the cosmologist, Galileo the Platonist, Galileo the artist and Galileo the democratic scientist. These may be only a few of the identities that historians of science have associated with Galileo. And now: Galileo the engineer! That Galileo had so many faces, or even identities, seems hardly plausible. But by focusing on his activities as an engineer, historians are able to reassemble Galileo in a single persona, at least as far as his scienti c work is concerned. The impression that Galileo was an ingenious and isolated theoretician derives from his scienti c work being regarded outside the context in which it originated.