Few philosophers are more often referred to and more often misunderstood than Machiavelli. He was truly a product of the Renaissance, and he was as much a revolutionary in the field of political philosophy as Leonardo or Michelangelo were in painting and sculpture. He watched his native Florence lose its independence to the French, thanks to poor leadership from the Medici successors to the great Lorenzo (Il Magnifico). Machiavelli was a keen observer of people, and he spent years studying events and people before writing his famous books. Descended from minor nobility, Machiavelli grew up in a household that was run by a vacillating and incompetent father. He was well educated and smart, and he entered government service as a clerk. He eventually became an important figure in the Florentine state but was defeated by the deposed Medici and Pope Julius II. He was tortured but eventually freed by the restored Medici. No longer employed, he retired to his home to write the books for which he is remembered. Machiavelli had seen the best and the worst of human nature, and he understood how the world operated. He drew his observations from life, and he was appropriately cynical in his writing, given what he had personally experienced. He was an outstanding writer, and his work remains fascinating nearly 500 years later.

"Magnifico" is a vividly colorful portrait of Lorenzo de' Medici, the uncrowned ruler of Florence during its golden age. A true "Renaissance man," Lorenzo dazzled contemporaries with his prodigious talents and magnetic personality. Known to history as "Il Magnifico" (the Magnificent), Lorenzo was not only the foremost patron of his day but also a renowned poet, equally adept at composing philosophical verses and obscene rhymes to be sung at Carnival. He befriended the greatest artists and writers of the time -- Leonardo, Botticelli, Poliziano, and, especially, Michelangelo, whom he discovered as a young boy and invited to live at his palace -- turning Florence into the cultural capital of Europe. He was the leading statesman of the age, the fulcrum of Italy, but also a cunning and ruthless political operative. Miles Unger's biography of this complex figure draws on primary research in Italian sources and on his intimate knowledge of Florence, where he lived for several years.
Lorenzo's grandfather Cosimo had converted the vast wealth of the family bank into political power, but from his earliest days Lorenzo's position was precarious. Bitter rivalries among the leading Florentine families and competition among the squabbling Italian states meant that Lorenzo's life was under constant threat. Those who plotted his death included a pope, a king, and a duke, but Lorenzo used his legendary charm and diplomatic skill -- as well as occasional acts of violence -- to navigate the murderous labyrinth of Italian politics. Against all odds he managed not only to survive but to preside over one of the great moments in the history of civilization.
Florence in the age of Lorenzo was a city of contrasts, of unparalleled artistic brilliance and unimaginable squalor in the city's crowded tenements; of both pagan excess and the fire-and-brimstone sermons of the Dominican preacher Savonarola. Florence gave birpth to both the otherworldly perfection of Botticelli's "Primavera" and the gritty realism of Machiavelli's "The Prince." Nowhere was this world of contrasts more perfectly embodied than in the life and character of the man who ruled this most fascinating city.

This work, which establishes Irenaeus as the most important of the theologians of the second century, is a detailed and effective refutation of Gnosticism, and a major source of information on the various Gnostic sects and doctrines. This volume contains Book One.

Among the immortals-Leonardo, Rembrandt, Picasso-Michelangelo stands alone as a master of painting, sculpture, and architecture. He was not only the greatest artist in an age of giants, but a man who reinvented the practice of art itself. Throughout his long career he clashed with patrons by insisting that he had no master but his own demanding muse and promoting the novel idea that it was the artist, rather than the lord who paid for it, who was creative force behind the work. Miles Unger narrates the astonishing life of this driven and difficult man through six of his greatest masterpieces. Each work expanded the expressive range of the medium, from the Pieta Michelangelo carved as a brash young man, to the apocalyptic Last Judgment, the work of an old man tested by personal trials. Throughout the course of his career he explored the full range of human possibility. In the gargantuan David he depicts Man in the glory of his youth, while in the tombs he carved for the Medici he offers a sustained meditation on death and the afterlife. In the Sistine Chapel ceiling he tells the epic story of Creation, from the perfection of God's initial procreative act to the corruption introduced by His imperfect children. In the final decades of his life, his hands too unsteady to wield the brush and chisel, he exercised his mind by raising the soaring vaults and dome of St. Peter's in a final tribute to his God. A work of deep artistic understanding, Miles Unger's Michelangelobrings to life the irascible, egotistical, and undeniably brilliant man whose artistry continues to amaze and inspire us after 500 years.

Die Studie fragt nach den Ursachen der Schwierigkeiten nichtprivilegierter Kinder beim Kompetenzerwerb und der Bildungsreproduktion, wobei fur die Erklarung der bestehenden Bildungsungleichheit die Kinder selbst und ihr Verhaltnis zur Schule ins Zentrum gestellt werden. Nicht-privilegierte und privilegierte Primarschulkinder haben eine je eigene und ressourcenspezifische schulische Logik, erleben und gebrauchen die Schule auf unterschiedliche Weise, und daraus erwachsen den einen Nachteile, den anderen hingegen Vorteile im Hinblick auf den Kompetenzerwerb. UEber die Erklarung der Bildungsungleichheit hinaus kann mit der Rekonstruktion ressourcen-spezifischer schulischer Zugange endlich gezeigt werden, was es fur die nichtprivilegierten Kinder bedeutet, im Kreislauf des Nichterfolgs gefangen zu sein.

Photovoltaic (PV) systems are installed by several types of market participants, ranging from residential customers to large-scale project developers and utilities. Each type of market participant frequently uses a different economic performance metric to characterise PV value because they are looking for different types of returns from a PV investment. Choice of economic performance metric by different customer types can significantly shape each customer's perception of PV investment value and ultimately their adoption decision. In this book, PV economic performance is characterised for three ownership types: residential customers who purchase their own PV systems, commercial customers (for-profit companies) who purchase their own PV systems, and residential and commercial customers who lease PV equipment or buy PV electricity from a third-party company.

Previous research on completed defense RD shows that contract expenditures can be fit well with a Rayleigh model. With fixed outlay rates, as prescribed by the OSD comptroller, the budget profile must have most of the funds in the early years to produce Rayleigh-distributed expenditures. RD programs with more delayed funding profiles may also produce expenditures that a Rayleigh model fits through schedule slips and cost overruns. This research tests how well the initial funding profile produces Rayleigh-distributed expenditures that can be related to the program's final cost overrun and schedule slips. Based only on the initial budget profile, we explain 53.4% of cost overruns and 50.5% of percent schedule slip in 37 completed programs.