He's one of the most controversial thinkers of the 19th century: Nietzsche and his works have been by turns vilified, lauded, and subjected to numerous contradictory interpretations, and yet he remains a figure of profound important, and his works a necessary component of a well-rounded education.In this 1873 essay, Nietzsche discusses the inevitably subjective lenses through which we see, explore, examine, and lend meaning to the events and characters of the past. As we find ourselves plunged into times that feel of urgent and "historic" significance, Nietzsche's reflections and speculations are newly provocative, whether we agree with them or not.German psychologist and philosopher FRIEDRICH WILHELM NIETZSCHE (1844-1900) was appointed special professor of classical philology at the University of Basel at the precocious age of 24, but soon found himself dissatisfied with academic life and created an alternative intellectual society for himself among friends including composer Richard Wagner, historian Jakob Burckhardt, and theologian Franz Overbeck. Among his philosophical works are Thus Spoke Zarathustra, Beyond Good and Evil, and Ecce Homo.

Few artworks have been the subject of more extensive modern interpretation than Melencolia I by renowned artist, mathematician, and scientist Albrecht Durer (1514). And yet, did each of these art experts and historians miss a secret manifesto that Durer included within the engraving? This is the first work to decrypt secrets within Melencolia I based not on guesswork, but Durer's own writings, other subliminal artists that inspired him (i.e., Leonardo da Vinci), the Jewish and Christian Bibles, and books that inspired Durer (De Occulta Philosophia and the Hieorglyphica). To read the covert message of Melencolia I is to understand that Durer was a humanist in his interests in mathematics, science, poetry, and antiquity. This book recognizes his unparalleled power with the burin, his mathematical skill in perspective, his dedication to precise language, and his acute observation of nature. Melencolia I may also be one of the most controversial (and at the time most criminal) pieces of art as it hid Durer's disdain for the hierarchy of the Catholic Church, the Kaiser, and the Holy Roman Empire from the general public for centuries. This book closely ties the origins of philosophy (science) and the work of a Renaissance master together, and will be of interest for anyone who loves scientific history, art interpretation, and secret manifestos.

Looking at the breadth of Joan Didion’s writing, from journalism, essays, fiction, memoir and screen plays, it may appear that there is no unifying thread, but Matthew R. McLennan argues that ‘the ethics of memory’ – the question of which norms should guide public and private remembrance – offers a promising vision of what is most characteristic and salient in Didion’s works. By framing her universe as indifferent and essentially precarious, McLennan demonstrates how this outlook guides Didion’s reflections on key themes linked to memory: namely witnessing and grieving, nostalgia, and the paradoxically amnesiac qualities of our increasingly archived public life that she explored in famous texts like Slouching Towards Bethlehem, The Year of Magical Thinking and Salvador. McLennan moves beyond the interpretive value of such an approach and frames Didion as a serious, iconoclastic philosopher of time and memory. Through her encounters with the past, the writer is shown to offer lessons for the future in an increasingly perilous and unsettled world.