The Art Of The Machiavellianist

"The Art of the Machiavellianist" is an enthralling novel that centres on Joseph, a character deeply influenced by the political philosophies of Niccolò Machiavelli, particularly as outlined in "The Prince." The story begins with Joseph's early exposure to Machiavellian concepts and follows his ascent as he skilfully applies these principles in various spheres of his life. Joseph, portrayed as a complex figure with a keen understanding of human nature, navigates through challenging scenarios in politics, business, and personal relationships. His journey highlights the practical application of Machiavellian tactics, ranging from subtle manipulations to overt power plays. The novel meticulously details his strategies for gaining influence, controlling outcomes, and safeguarding his interests. As the plot progresses, the narrative delves into the psychological aspects of Machiavellianism, examining how traits like manipulation, moral flexibility, and a focus on self-interest play out in Joseph's interactions and decisions. The story provides a rich exploration of the psychological underpinnings of this trait and its manifestation in different environments. A critical aspect of the novel is its exploration of the ethical implications of Machiavellian practices. It engages the reader in a philosophical debate over the morality of Joseph's actions, questioning whether the ends justify the means and the potential moral cost of such tactics on an individual and societal level. Through various subplots and interactions with other characters, the novel presents real-world parallels, drawing comparisons to historical and contemporary figures known for their Machiavellian tactics. These examples serve to ground Joseph's story in a broader context, offering insights into the pervasive influence of Machiavellianism in modern society. In conclusion, "The Art of the Machiavellianist" offers a comprehensive, thought-provoking examination of Machiavellianism through the lens of a captivating fictional narrative. It appeals to readers interested in psychology, philosophy, politics, and the intricate dynamics of power and influence.

"The Art of the Machiavellianist" is an enthralling novel that centres on Joseph, a character deeply influenced by the political philosophies of Niccolò Machiavelli, particularly as outlined in "The Prince." The story begins with Joseph's early exposure to Machiavellian concepts and follows his ascent as he skilfully applies these principles in various spheres of his life. Joseph, portrayed as a complex figure with a keen understanding of human nature, navigates through challenging scenarios in politics, business, and personal relationships. His journey highlights the practical application of Machiavellian tactics, ranging from subtle manipulations to overt power plays. The novel meticulously details his strategies for gaining influence, controlling outcomes, and safeguarding his interests. As the plot progresses, the narrative delves into the psychological aspects of Machiavellianism, examining how traits like manipulation, moral flexibility, and a focus on self-interest play out in Joseph's interactions and decisions. The story provides a rich exploration of the psychological underpinnings of this trait and its manifestation in different environments. A critical aspect of the novel is its exploration of the ethical implications of Machiavellian practices. It engages the reader in a philosophical debate over the morality of Joseph's actions, questioning whether the ends justify the means and the potential moral cost of such tactics on an individual and societal level. Through various subplots and interactions with other characters, the novel presents real-world parallels, drawing comparisons to historical and contemporary figures known for their Machiavellian tactics. These examples serve to ground Joseph's story in a broader context, offering insights into the pervasive influence of Machiavellianism in modern society. In conclusion, "The Art of the Machiavellianist" offers a comprehensive, thought-provoking examination of Machiavellianism through the lens of a captivating fictional narrative. It appeals to readers interested in psychology, philosophy, politics, and the intricate dynamics of power and influence.

A NEW YORK TIMES EDITORS’ CHOICE In a series of poignant vignettes, a preeminent historian makes a compelling case for Machiavelli as an unjustly maligned figure with valuable political insights that resonate as strongly today as they did in his time. Whenever a tempestuous period in history begins, Machiavelli is summoned, because he is known as one for philosophizing in dark times. In fact, since his death in 1527, we have never ceased to read him to pull ourselves out of torpors. But what do we really know about this man apart from the term invented by his detractors to refer to that political evil, Machiavellianism? It was Machiavelli's luck to be disappointed by every statesman he encountered throughout his life—that was why he had to write The Prince. If the book endeavors to dissociate political action from common morality, the question still remains today, not why, but for whom Machiavelli wrote. For princes, or for those who want to resist them? Is the art of governing to take power or to keep it? And what is “the people?” Can they govern themselves? Beyond cynical advice for the powerful, Machiavelli meditates profoundly on the idea of popular sovereignty, because the people know best who oppresses them. With verve and a delightful erudition, Patrick Boucheron sheds light on the life and works of this unclassifiable visionary, illustrating how we can continue to use him as a guide in times of crisis.

There is an undeniable and persisting fascination with Niccolò Machiavelli and his infamous political theories in contemporary pop culture. Many comic books, video games, TV series, movies, and graphic novels make explicit or implicit references to the most infamous political thinker of all-time. By offering the reader an idea of how Machiavelli is present and represented in contemporary media (in particular, in Assassin’s Creed, House of Cards, Homeland, pop art, American and Italian politics, Italian cinema, and Trump’s rise to power), Machiavelli in Contemporary Media gives new life to Machiavellian thought and shows how his theories—but also the several different interpretations of them (Machiavellianism)—are still influential today. Andrea Polegato is Assistant Professor in Italian Studies at California State University, Fresno, USA. He works on the political language of Niccolò Machiavelli and Florence between the Quattrocento and Cinquecento. His publications include articles on Machiavelli, Pietro Aretino, and the Italian filmmaker Ermanno Olmi. He is also working on a comparison between Renaissance Italy and Ancient China. Fabio Benincasa is Adjunct Professor for Duquesne University – Rome Campus and Università Nicola Cusano, Italy. As well as several essays on cinema, he co-edited Come rovesciare il mondo ad arte (2015) with Giorgio de Finis and Andrea Facchi, and with de Finis Nome plurale di città (2016), and Il mondo degli umani si è fermato (2020). He is editor of Frontiere della Psicoanalisi and has collaborated with the Museum of Contemporary Art of Rome.

Professor Skinner presents a lucid analysis of Machiavelli's text as a response to the world of Florentine politics.

The world abounds with tricksters, swindlers, and impostors. Many of them may well be described with the term Machiavellian. Such individuals disrespect moral principles, deceive their fellow beings, and take advantage of others’ frailty and gullibility. They have a penetrating, rational, and sober mind undisturbed by emotions. At times we cannot help but be enchanted by their talent even though we know they misuse it. Recent studies have revealed that Machiavellians possess a complex set of abilities and motivations. This insightful book examines the complexities of the Machiavellian trait, in relation to attitude, behaviour, and personality. By integrating results and experiences from social, personality, cognitive, and evolutionary psychology, Tamás Bereczkei explores the characteristics of Machiavellianism (such as social intelligence, deception, manipulation, and lack of empathy), and the causes and motives guiding Machiavellian behaviour. The author also demonstrates how Machiavellianism is related to strategic thinking and flexible long-term decisions rather than to a short-term perspective, as previously thought, and explores Machiavellianism in relation to the construct of the Dark Triad. The first comprehensive psychological book on Machiavellianism since Christie and Geis’ pioneering work in 1970, Machiavellianism summarises the most important research findings over the last few decades. This book is fascinating reading for students and researchers of psychology and related courses, as well as professionals dealing with Machiavellians in their work and practice.

The Art of War (Dell'arte della guerra), is one of the lesser-read works of Florentine statesman and political philosopher Niccolò Machiavelli. The format of 'The Art of War' was in socratic dialogue. The purpose, declared by Fabrizio (Machiavelli's persona) at the outset, "To honor and reward virtù, not to have contempt for poverty, to esteem the modes and orders of military discipline, to constrain citizens to love one another, to live without factions, to esteem less the private than the public good." To these ends, Machiavelli notes in his preface, the military is like the roof of a palazzo protecting the contents. Written between 1519 and 1520 and published the following year, it was the only historical or political work printed during Machiavelli's lifetime, though he was appointed official historian of Florence in 1520 and entrusted with minor civil duties. Many, Lorenzo, have held and still hold the opinion, that there is nothing which has less in common with another, and that is so dissimilar, as civilian life is from the military. Whence it is often observed, if anyone designs to avail himself of an enlistment in the army, that he soon changes, not only his clothes, but also his customs, his habits, his voice, and in the presence of any civilian custom, he goes to pieces; for I do not believe that any man can dress in civilian clothes who wants to be quick and ready for any violence; nor can that man have civilian customs and habits, who judges those customs to be effeminate and those habits not conducive to his actions; nor does it seem right to him to maintain his ordinary appearance and voice who, with his beard and cursing, wants to make other men afraid: which makes such an opinion in these times to be very true. But if they should consider the ancient institutions, they would not find matter more united, more in conformity, and which, of necessity, should be like to each other as much as these (civilian and military); for in all the arts that are established in a society for the sake of the common good of men, all those institutions created to (make people) live in fear of the laws and of God would be in vain, if their defense had not been provided for and which, if well arranged, will maintain not only these, but also those that are not well established.