Mad Blood Stirring

Winner of the Howard R. Marraro Prize for Italian History from the American Historical Association Nobles were slaughtered and their castles looted or destroyed, bodies were dismembered and corpses fed to animals—the Udine carnival massacre of 1511 was the most extensive and damaging popular revolt in Renaissance Italy (and the basis for the story of Romeo and Juliet). Mad Blood Stirring is a gripping account and analysis of this event, as well as the social structures and historical conflicts preceding it and the subtle shifts in the mentality of revenge it introduced. This new reader's edition offers students and general readers an abridged version of this classic work which shifts the focus from specialized scholarly analysis to the book's main theme: the role of vendetta in city and family politics. Uncovering the many connections between the carnival motifs, hunting practices, and vendetta rituals, Muir finds that the Udine massacre occurred because, at that point in Renaissance history, violent revenge and allegiance to factions provided the best alternative to failed political institutions. But the carnival massacre also marked a crossroads: the old mentality of vendetta was soon supplanted by the emerging sense that the direct expression of anger should be suppressed—to be replaced by duels.

The war of 1812 is over, but for the inmates at Dartmoor Prison, peace—like home—is still a long way away.On New Year’s Eve 1814, the American sailors of the Eagle finally arrive at Dartmoor prison, bedraggled, exhausted, but burning with hope. They’ve only had one thing to sustain them during the har- rowing voyage—a snatched whisper overheard along the way. The war is finally over.Joe Hill thought he’d left the war outside these walls but it’s quickly clear that there’s a different type of fight to be had within. The seven prison blocks surrounding him have been segregated; six white and one black.Inspired by true events, this novel recounts the remarkable story of the first ever all-black Shakespeare production, staged by segregated American prisoners of war. It is a story of hope and freedom, of loss and suffering. It is a story about how sometimes, in our darkest hour, it can be the most unlikely of things that see us through.

With a rare clarity and fearless honesty, journalist Daemon Fairless tackles the horrors and compulsions of male violence from the perspective of someone who struggles with violent impulses himself, creating a non-fiction masterpiece with the narrative power of novels such as Fight Club and A History of Violence. A man, no matter how civilized, is still an animal--and sometimes a dangerous one. Men are responsible for the lion's share of assault, rape, murder and warfare. Conventional wisdom chalks this up to socialization, that men are taught to be violent. And they are. But there's more to it. Violence is a dangerous desire--a set of powerful and inherent emotions we are loath to own up to. And so there remains a hidden geography to male violence--an inner ecosystem of rage, dominance, blood-lust, insecurity and bravado--yet to be mapped. Mad Blood Stirring is journalist Daemon Fairless's riveting first-person travelogue through this territory as he seeks to understand the inner lives of violent men and, ultimately, himself.

“An astonishing account of an explosive piece of neglected history. Shakespeare’s Romeo and Juliet is woven through a tense prison drama. Epic.” —Sir Kenneth Branagh The war of 1812 is over, but for the inmates at Dartmoor Prison, peace—like home—is still a long way away.On New Year’s Eve 1814, the American sailors of the Eagle finally arrive at Dartmoor prison, bedraggled, exhausted, but burning with hope. They’ve only had one thing to sustain them during the har- rowing voyage—a snatched whisper overheard along the way. The war is finally over.Joe Hill thought he’d left the war outside these walls but it’s quickly clear that there’s a different type of fight to be had within. The seven prison blocks surrounding him have been segregated; six white and one black. Inspired by true events, this novel recounts the remarkable story of the first ever all-black Shakespeare production, staged by segregated American prisoners of war. It is a story of hope and freedom, of loss and suffering. It is a story about how sometimes, in our darkest hour, it can be the most unlikely of things that see us through.

1993 Reports from India of parents killing their children in public because of social shame related to forbidden marriage began coming to world attention. 1993 Admira Ismi (Bosniak) and Boko Brki (Serb) were killed by sniper fire while fleeing the besieged city of Sarejevo on Vrbanja bridge, now known as the ‘Romeo and Juliet Bridge.’ Their bravery ‘became a symbol for the suffering of the people on all sides of the conflict.’ The challenge of young people for rights to options is highlighted by the phenomenon and imperative of romance tragedy within and across cultures. Globalisation brings awareness of other cultures: of their legends and real life heroic stories; of their struggles and sacrifices; and of their social progress. This study focuses on the time period from 1993 to the present time during which romance tragedy in India especially, began attracting world attention through the media. The first pillar of Gandhi’s ‘Satyagraha’ is truth, claiming that openness to, and awareness of the greater community – the world community – is a necessity of peace, both at the family level and for the world community. Nonviolence (the second pillar) is seen as the first step in the path of peace, using the word ‘peace’ here to equate with ‘the enjoyment of good relationships’. Principles for the attainment and maintenance of good relations apply to individuals at the local level and to states and nations at the government level. Martyrdom of romantic lovers choosing Gandhian-like self sacrifice (the third pillar) continues today. Reflecting hugely intense joy and sorrow, storytelling of romance tragedy through the arts and media brings compelling heroism to our attention. It leaves us with a message of hope for the new generation.

Venice Reconsidered offers a dynamic portrait of Venice from the establishment of the Republic at the end of the thirteenth century to its fall to Napoleon in 1797. In contrast to earlier efforts to categorize Venice's politics as strictly republican and its society as rigidly tripartite and hierarchical, the scholars in this volume present a more fluid and complex interpretation of Venetian culture. Drawing on a variety of disciplines—history, art history, and musicology—these essays present innovative variants of the myth of Venice—that nearly inexhaustible repertoire of stories Venetians told about themselves.

This Handbook re-examines the concept of early modern history in a European and global context. The term 'early modern' has been familiar, especially in Anglophone scholarship, for four decades and is securely established in teaching, research, and scholarly publishing. More recently, however, the unity implied in the notion has fragmented, while the usefulness and even the validity of the term, and the historical periodisation which it incorporates, have been questioned. The Oxford Handbook of Early Modern European History, 1350-1750 provides an account of the development of the subject during the past half-century, but primarily offers an integrated and comprehensive survey of present knowledge, together with some suggestions as to how the field is developing. It aims both to interrogate the notion of 'early modernity' itself and to survey early modern Europe as an established field of study. The overriding aim will be to establish that 'early modern' is not simply a chronological label but possesses a substantive integrity. Volume I examines 'Peoples and Place', assessing structural factors such as climate, printing and the revolution in information, social and economic developments, and religion, including chapters on Orthodoxy, Judaism and Islam.