The first major volume to explore one of China's most influential yet little known dynasties which brings to life one of China's forgotten empires and its unique culture.

Journey through the splendor and the excesses of the Gilded Age "Every aspect of life in the Gilded Age took on deeper, transcendent meaning intended to prove the greatness of America: residences beautified their surroundings; works of art uplifted and were shared with the public; clothing exhibited evidence of breeding; jewelry testified to cultured taste and wealth; dinners demonstrated sophisticated palates; and balls rivaled those of European courts in their refinement. The message was unmistakable: the United States had arrived culturally, and Caroline Astor and her circle were intent on leading the nation to unimagined heights of glory."—From A Season of Splendor Take a dazzling journey through the Gilded Age, the period from roughly the 1870s to 1914, when bluebloods from older, established families met the nouveau riche headlong—railway barons, steel magnates, and Wall Street speculators—and forged an uneasy and glittering new society in New York City. The best of the best were Caroline Astor's 400 families, and she shaped and ruled this high society with steel. A Season of Splendor is a panoramic sweep across this sumptuous landscape, presenting the families, the wealth, the balls, the clothing, and the mansions in vivid detail—as well as the shocking end of the era with the sinking of the Titanic.

A sweeping look at Chinese art across the millennia that upends traditional perspectives and offers new pathways for art history Throughout Chinese history, dynastic time—the organization of history through the lens of successive dynasties—has been the dominant mode of narrating the story of Chinese art, even though there has been little examination of this concept in discourse and practice until now. Chinese Art and Dynastic Time uncovers how the development of Chinese art was described in its original cultural, sociopolitical, and artistic contexts, and how these narratives were interwoven with contemporaneous artistic creation. In doing so, leading art historian Wu Hung opens up new pathways for the consideration of not only Chinese art, but also the whole of art history. Wu Hung brings together ten case studies, ranging from the third millennium BCE to the early twentieth century CE, and spanning ritual and religious art, painting, sculpture, the built environment, and popular art in order to examine the deep-rooted patterns in the historical conceptualization of Chinese art. Elucidating the changing notions of dynastic time in various contexts, he also challenges the preoccupation with this concept as the default mode in art historical writing. This critical investigation of dynastic time thus constitutes an essential foundation to pursue new narrative and interpretative frameworks in thinking about art history. Remarkable for the sweep and scope of its arguments and lucid style, Chinese Art and Dynastic Time probes the roots of the collective imagination in Chinese art and frees us from long-held perspectives on how this art should be understood. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

1779, France. On the island paradise of Martinique, two beautiful, well-bred cousins have reached marriageable age. Sixteen-year-old Rose must sail to France to marry Alexandre, the dashing Vicomte de Beauharnais. Golden-haired Aimee will finish her education at a French convent in hopes of making a worthy match. Once in Paris, Rose’s illusions are shattered by her new husband, who casts her off when his mistress bears him a son. Yet revolution is tearing through the land, changing fortunes—and fates—in an instant, leaving Rose free to reinvent herself. Soon she is pursued by a young general, Napoleon Bonaparte, who prefers to call her by another name: Josephine. Presumed dead after her ship is attacked by pirates, Aimee survives and is taken to the Sultan of Turkey’s harem. Among hundreds at his beck and call, Aimee’s loveliness and intelligence make her a favorite not only of the Sultan, but of his gentle, reserved nephew. Like Josephine, the newly crowned Empress of France, Aimee will ascend to a position of unimagined power. But for both cousins, passion and ambition carry their own burden. From the war-torn streets of Paris to the bejeweled golden bars of a Turkish palace, Brandy Purdy weaves some of history’s most compelling figures into a vivid, captivating account of two remarkable women and their extraordinary destinies.

From one of the sharpest up-and-coming voices in contemporary poetry, a stunning collection that explores our most fundamental instincts, capacity for affection, and the ways in which we resemble the wild Find Me as the Creature I Am is a book full of tenderness and violence, longing and love. Ranging from inherited family tales to meditations on the body to animals’ display of love and grief alike, Emily Jungmin Yoon holds up a mirror to humanity to show that we are animal, too. In poems full of wonder and want, she showcases our tendencies to fight or fly, act with affection and cruelty, and ultimately, overflow with life itself. “And when I say we are beasts, / is that a metaphor?” Yoon asks, exploring how we—like language, like any creature—stem from our surroundings. Braiding together reflections about the natural world, family heritage, and adoration, Yoon shows that what passes between us—body to body, generation to generation—is what defines a life. Deeply felt and beautifully crafted, Find Me as the Creature I Am is a rapturous collection by a rising star in the poetry landscape.

A powerful account of the way imperialism and the global economy shape and reshape our lives.--"Tikkun"

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