Breaking Point captures the essence of teenage suicide and the "trigger" factors that cause it. Compelling new information with vignettes that remind us of each tragic loss.

New York Times bestseller and Pulitzer Prize-winning author Gordon S. Wood elucidates the debates over the founding documents of the United States. The half century extending from the imperial crisis between Britain and its colonies in the 1760s to the early decades of the new republic of the United States was the greatest and most creative era of constitutionalism in American history, and perhaps in the world. During these decades, Americans explored and debated all aspects of politics and constitutionalism-the nature of power, liberty, representation, rights, the division of authority between different spheres of government, sovereignty, judicial authority, and written constitutions. The results of these issues produced institutions that have lasted for over two centuries. In this new book, eminent historian Gordon S. Wood distills a lifetime of work on constitutional innovations during the Revolutionary era. In concise form, he illuminates critical events in the nation's founding, ranging from the imperial debate that led to the Declaration of Independence to the revolutionary state constitution making in 1776 and the creation of the Federal Constitution in 1787. Among other topics, he discusses slavery and constitutionalism, the emergence of the judiciary as one of the major tripartite institutions of government, the demarcation between public and private, and the formation of states' rights. Here is an immensely readable synthesis of the key era in the making of the history of the United States, presenting timely insights on the Constitution and the nation's foundational legal and political documents.

List of Tables and Figures - Acknowledgements - Notes on the Contributors - Restructuring and Recession; K.Purcell and S.Wood - Contract Work in the Recession; R.Fevre - Re-dividing Labour: Factory Politics and Work Reorganisation; B.Jones and M.Rose - Recruitment as a Means of Control; M.Maguire - Multinational Companies and Women's Labour; R.Pearson - Work, Home and the Restructuring of Jobs; H.Bradley - Word Processing and the Secretarial Labour Process; J.Webster - New Technology and the Service Class; J.Child - Rationalisation, Technical Change and Employee Relations; W.Littek - Women and Technology: Opportunity is not Enough; C.Cockburn - Gender, Exploitation and Consent amongst Sheltered Housing Wardens; S.Cunnison - Bibliography - Index

Increasingly high unemployment has brought with it a multitude of consequences affecting those without jobs and, beyond them, their families, friends and communities. This book reports findings from original research. It explores, often in the words of the unemployed and others involved, what life without a job is like. It challenges many widely held beliefs about the unemployed - that they are workshy, price themselves out of jobs or earn money illegally on the side - and explores where such misconceptions come from. It reveals the inherent contradictions involved in trying to search for work whilst coping with the experience of unemployment.

Robert Browning both denied and affirmed the value of biography for an understanding of literature. This book narrates the development of his controversial creative life through responses to his work by five key 19th-century figures: John Stuart Mill, William Charles Macready, Thomas Carlyle, John Ruskin, and Matthew Arnold. It also relates Browning's sense of literary vocation to Victorian publishing. Browning emerges as a writer vividly engaged with contemporary assumptions, yet deeply aware of the unaccountability of writing.

This book examines the Australia-ASEAN Dialogue Partnership since its inception in 1974 and looks at the networks of engagement that have shaped relations across three areas: regionalism, non-traditional security, and economic engagement.

A new study of the early Renaissance portrait In fourteenth-century Italy, ever more women and men—not only clergy but also laity—introduced their own portraits into sacred paintings. Images of modern supplicants, submissive and prayerful, shared space with the holy narratives. The portraits mimicked the first worshippers of Christ: Mary, the Three Magi, Mary Magdalene. At the same time, they modeled, for modern viewers, ideal involvement in the emotion-laden stories. In The Embedded Portrait, Christopher S. Wood traces these incursions of the real and profane into Florentine sacred painting between Giotto and Fra Angelico. The portraits not only intruded upon a sacred space, but also intervened in an artwork. The pressure exerted by the modern interlopers—their lives and experiences, implied by their portraits—threatened the formal closure that had served as a powerful symbolic form of the pact between God and humans. The Embedded Portrait reconstructs this art historical drama from the point of view of the artists rather than the patrons. Following clues left by Vasari, the book assigns a leading role to the painter Giottino, or “little Giotto.” Little-known today but highly regarded in his lifetime, Giottino proposed a new manner of painting that was later realized by Fra Angelico through his own innovative approach to the problem of the embedded portrait. Seeking not to stabilize the artworks but to extend their reach, the interpretations offered in The Embedded Portrait re-create and update the psychic and libidinal energies that gave rise to these works in the first place.

America between the Revolution and the Civil War was a society in full adolescence. Vibrant, cocky, feeling its own strength, and ready to take on the world, America was driven by an upstart economy and a capitalist bravado. The early republic, argues Paul Gilje in his cogent introduction, was the crucial period in the development of that trademark characteristic of American society modern capitalism. In this collection of essays, eight social and economic historians consider the rise of capitalism in the early American republic. Expanding upon traditional interpretations of economic development encouraged and controlled by merchants and financiers these essays demonstrate the centrality of common men and women as artisans, laborers, planters and farmers in the dramatic transitions of the period. They show how changes in the workshop, home, and farm were as crucial as those in banks and counting houses. Capping these fundamental changes was the rise of consumerism among Americans and the development of a "mentality of capitalism" that ensured the success of this new economic system with all its benefits and costs. Contributing authors include Paul A. Gilje, Jeanne Boydston, Christopher Clark, Douglas R. Egerton, Cathy D. Matson, Jonathan Prude, Richard Stott, and Gordon S. Wood.

Since 1790, bicycle designs have been improved and become popular. This comprehensive book introduces bicycle history, design changes, newsletters and dealers for today's enthusiast. Hundreds of bicycles are shown in advertising, catalogs, postcards and collectibles.

A reconsideration of the problem of time in the Renaissance, examining the complex and layered temporalities of Renaissance images and artifacts. In this widely anticipated book, two leading contemporary art historians offer a subtle and profound reconsideration of the problem of time in the Renaissance. Alexander Nagel and Christopher Wood examine the meanings, uses, and effects of chronologies, models of temporality, and notions of originality and repetition in Renaissance images and artifacts. Anachronic Renaissance reveals a web of paths traveled by works and artists-a landscape obscured by art history's disciplinary compulsion to anchor its data securely in time. The buildings, paintings, drawings, prints, sculptures, and medals discussed were shaped by concerns about authenticity, about reference to prestigious origins and precedents, and about the implications of transposition from one medium to another. Byzantine icons taken to be Early Christian antiquities, the acheiropoieton (or "image made without hands"), the activities of spoliation and citation, differing approaches to art restoration, legends about movable buildings, and forgeries and pastiches: all of these emerge as basic conceptual structures of Renaissance art. Although a work of art does bear witness to the moment of its fabrication, Nagel and Wood argue that it is equally important to understand its temporal instability: how it points away from that moment, backward to a remote ancestral origin, to a prior artifact or image, even to an origin outside of time, in divinity. This book is not the story about the Renaissance, nor is it just a story. It imagines the infrastructure of many possible stories.

This book examines the Australia-ASEAN Dialogue Partnership since its inception in 1974 and looks at the networks of engagement that have shaped relations across three areas: regionalism, non-traditional security, and economic engagement.

Robert Browning both denied and affirmed the value of biography for an understanding of literature. This book narrates the development of his controversial creative life through responses to his work by five key 19th-century figures: John Stuart Mill, William Charles Macready, Thomas Carlyle, John Ruskin and Matthew Arnold. It also relates Browning's sense of literary vocation to Victorian publishing. Browning emerges as a writer vividly engaged with contemporary assumptions, yet deeply aware of the unaccountability of writing.

An authoritative history of art history from its medieval origins to its modern predicaments In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance-Lorenzo Ghiberti and Giorgio Vasari-measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however-Jacob Burckhardt, Aby Warburg, Heinrich Wo lfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich-struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.

An authoritative history of art history from its medieval origins to its modern predicaments In this authoritative book, the first of its kind in English, Christopher S. Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.

A New York Times bestseller! "Of those writing about the founding fathers, [Gordon Wood] is quite simply the best." -The Philadelphia Inquirer In this brilliantly illuminating group portrait of the men who came to be known as the Founding Fathers, the incomparable Gordon Wood has written a book that seriously asks, What made these men great, and shows us, among many other things, just how much character did in fact matter. The life of each, Washington, Adams, Jefferson, Franklin, Hamilton, Madison, Paine, is presented individually as well as collectively, but the thread that binds these portraits together is the idea of character as a lived reality. They were members of the first generation in history that was self-consciously self-made men who understood that the arc of lives, as of nations, is one of moral progress. Lin-Manuel Miranda's smash Broadway musical Hamilton sparked new interest in the Revolutionary War and the Founding Fathers. In addition to Alexander Hamilton, the production also features George Washington, Thomas Jefferson, James Madison, Aaron Burr, Lafayette, and many more. Look for Gordon's 2017 release, Friends Divided: John Adams and Thomas Jefferson.

The Oxford History of the United States is by far the most respected multi-volume history of the USA. The series includes three Pulitzer Prize winners, two New York Times bestsellers, and winners of the Bancroft and Parkman Prizes. Now, in the newest volume in the series, one of America's most esteemed historians, Gordon S. Wood, offers a brilliant account of the early American Republic, ranging from 1789 and the beginning of the national government to the end of the War of 1812. As Wood reveals, the period was marked by tumultuous change in all aspects of American life-in politics, society, economy, and culture. The men who founded the new government had high hopes for the future, but few of their hopes and dreams worked out quite as they expected. They hated political parties but parties nonetheless emerged. Some wanted the United States to become a great fiscal-military state like those of Britain and France; others wanted the country to remain a rural agricultural state very different from the European states. Instead, by 1815 the United States became something neither group anticipated. Many leaders expected American culture to flourish and surpass that of Europe; instead it became popularized and vulgarized. The leaders also hope to see the end of slavery; instead, despite the release of many slaves and the end of slavery in the North, slavery was stronger in 1815 than it had been in 1789. Many wanted to avoid entanglements with Europe, but instead the country became involved in Europe's wars and ended up waging another war with the former mother country. Still, with a new generation emerging by 1815, most Americans were confident and optimistic about the future of their country. Integrating all aspects of life, from politics and law to the economy and culture, Empire of Liberty offers a marvelous account of this pivotal era when America took its first unsteady steps as a new and rapidly expanding nation.

“An elegant synthesis done by the leading scholar in the field, which nicely integrates the work on the American Revolution over the last three decades but never loses contact with the older, classic questions that we have been arguing about for over two hundred years.”
-Joseph J. Ellis, author of Founding Brothers

A magnificent account of the revolution in arms and consciousness that gave birth to the American republic.

When Abraham Lincoln sought to define the significance of the United States, he naturally looked back to the American Revolution. He knew that the Revolution not only had legally created the United States, but also had produced all of the great hopes and values of the American people. Our noblest ideals and aspirations-our commitments to freedom, constitutionalism, the well-being of ordinary people, and equality-came out of the Revolutionary era. Lincoln saw as well that the Revolution had convinced Americans that they were a special people with a special destiny to lead the world toward liberty. The Revolution, in short, gave birth to whatever sense of nationhood and national purpose Americans have had.

No doubt the story is a dramatic one: Thirteen insignificant colonies three thousand miles from the centers of Western civilization fought off British rule to become, in fewer than three decades, a huge, sprawling, rambunctious republic of nearly four million citizens. But the history of the American Revolution, like the history of the nation as a whole, ought not to be viewed simply as a story of right and wrong from which moral lessons are to be drawn. It is a complicated and at times ironic story that needs to be explained and understood, not blindly celebrated or condemned. How did this great revolution come about? What was its character? What were its consequences? These are the questions this short history seeks to answer. That it succeeds in such a profound and enthralling way is a tribute to Gordon Wood’s mastery of his subject, and of the historian’s craft.


From the Hardcover edition.

In the early sixteenth century, Albrecht Altdorfer promoted landscape from its traditional role as background to its new place as the focal point of a picture. His paintings, drawings, and etchings appeared almost without warning and mysteriously disappeared from view just as suddenly. In "Albrecht Altdorfer and the Origins of Landscape," Christopher S. Wood shows how Altdorfer transformed what had been the mere setting for sacred and historical figures into a principal venue for stylish draftsmanship and idiosyncratic painterly effects. At the same time, his landscapes offered a densely textured interpretation of that quintessentially German locus--the forest interior. This revised and expanded second edition contains a new introduction, revised bibliography, and fifteen additional illustrations.