History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

Byzantine Dress: Representations of Secular Dress in Eighth- to Twelfth-century Painting (The New Middle Ages)

Average customer rating:

Byzantine Dress: Representations of Secular Dress in Eighth- to Twelfth-century Painting (The New Middle Ages)
Jennifer L. Ball
Manufacturer: Palgrave Macmillan
ProductGroup: Book
Binding: Hardcover

Byzantine | Schools, Periods & Styles | Arts & Photography | Subjects | Books

Medieval | Schools, Periods & Styles | Arts & Photography | Subjects | Books

Textile & Costume | Design & Decorative Arts | Arts & Photography | Subjects | Books

General | Fashion | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

General | Beauty & Fashion | Health, Mind & Body | Subjects | Books

General | World | History | Subjects | Books

Medieval | World | History | Subjects | Books

Byzantine | World | History | Subjects | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books

Arts & Photography | Qualifying Textbooks - Fall 2007 | Stores | Books
Similar Items:

Accessories:

philosophy hope in a jar daily moisturizer

ASIN: 1403967008
Release Date: 2006-01-19

Book Description

In Byzantium two overlapping systems of dress existed: a semiotic one whereby dress was a code for rank and wealth; and a fashion system where dress was based on the desire to look a certain way. Courtiers participated in a semiotic system of dress, but fashion crept into their prescribed outfits; the nobility chose their clothing based primarily on individual taste, but status was encoded within their fashions. This book elucidates secular dress from the eighth to the twelfth centuries through an examination of painted representations, helping the reader to envision an entire society of dressed citizens.

Eating Beauty: The Eucharist And the Spiritual Arts of the Middle Ages

Average customer rating:

Eating Beauty: The Eucharist And the Spiritual Arts of the Middle Ages
Ann W. Astell
Manufacturer: Cornell University Press
ProductGroup: Book
Binding: Hardcover

General | Europe | History | Subjects | Books

General | World | History | Subjects | Books

Medieval | World | History | Subjects | Books

Medieval | Classics | Literature & Fiction | Subjects | Books

General | Religion & Spirituality | Subjects | Books

Ritual | Other Practices | Religion & Spirituality | Subjects | Books

History | Religious Studies | Religion & Spirituality | Subjects | Books

All Titles | Qualifying Textbooks - Fall 2007 | Stores | Books
Similar Items:

ASIN: 0801444667

Book Description

"The enigmatic link between the natural and artistic beauty that is to be contemplated but not eaten, on the one hand, and the eucharistic beauty that is both seen (with the eyes of faith) and eaten, on the other, intrigues me and inspires this book. One cannot ask theo-aesthetic questions about the Eucharist without engaging fundamental questions about the relationship between beauty, art (broadly defined), and eating."-from Eating Beauty

In a remarkable book that is at once learned, startlingly original, and highly personal, Ann W. Astell explores the ambiguity of the phrase "eating beauty." The phrase evokes the destruction of beauty, the devouring mouth of the grave, the mouth of hell. To eat beauty is to destroy it. Yet in the case of the Eucharist the person of faith who eats the Host is transformed into beauty itself, literally incorporated into Christ. In this sense, Astell explains, the Eucharist was "productive of an entire 'way' of life, a virtuous life-form, an artwork, with Christ himself as the principal artist." The Eucharist established for the people of the Middle Ages distinctive schools of sanctity-Cistercian, Franciscan, Dominican, and Ignatian-whose members were united by the eucharistic sacrament that they received.

Reading the lives of the saints not primarily as historical documents but as iconic expressions of original artworks fashioned by the eucharistic Christ, Astell puts the "faceless" Host in a dynamic relationship with these icons. With the advent of each new spirituality, the Christian idea of beauty expanded to include, first, the marred beauty of the saint and, finally, that of the church torn by division-an anti-aesthetic beauty embracing process, suffering, deformity, and disappearance, as well as the radiant lightness of the resurrected body. This astonishing work of intellectual and religious history is illustrated with telling artistic examples ranging from medieval manuscript illuminations to sculptures by Michelangelo and paintings by Salvador Dalí. Astell puts the lives of medieval saints in conversation with modern philosophers as disparate as Simone Weil and G. W. F. Hegel.

Average customer rating:

The Beauty of God

Brilliant and uet it could have been blindingly bright

Strike Out

Art and Beauty in the Middle Ages
Umberto Eco
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Paperback

General | History & Criticism | Arts & Photography | Subjects | Books
Medieval | Schools, Periods & Styles | Arts & Photography | Subjects | Books
Renaissance | Schools, Periods & Styles | Arts & Photography | Subjects | Books
General | Arts & Photography | Subjects | Books
Medieval | World | History | Subjects | Books
Italian | World Literature | Literature & Fiction | Subjects | Books
Aesthetics | Philosophy | Nonfiction | Subjects | Books
Look Inside History Books | Trip | Specialty Stores | Books
Similar Items:

The Aesthetics of Thomas Aquinas

History of Beauty

Image on the Edge: The Margins of Medieval Art (Reaktion Books - Essays in Art and Culture)

Kant and the Platypus: Essays on Language and Cognition

Belief or Nonbelief?

ASIN: 0300093047

Book Description

In this authoritative, lively book, the celebrated Italian novelist and philosopher Umberto Eco presents a learned summary of medieval aesthetic ideas. Juxtaposing theology and science, poetry and mysticism, Eco explores the relationship that existed between the aesthetic theories and the artistic experience and practice of medieval culture.

Customer Reviews:

The Beauty of God.......2006-07-15

This is a fascinating and enjoyable survey of the approaches to and embodiments of beauty in the Middle Ages through the 13th century, which is when the Middle Ages gave way to the High Middle Ages (which culminated - or bottomed out, depending on how you look at it - in the Protestant Reformations). Great theologians and mystics such as St. Thomas Aquinas and St. Bernard of Clairvaux are dealt with, as well as lesser figures such as Hugh of St. Victor and Abbot Suger. Theology and mysticism, architecture and music, science, philosophy and even love poetry are brought together as Eco paints (no pun intended) a highly detailed exposition of the ways in which beauty shaped the lives of those in the medieval era.

It is, in many ways, a tour through a land that is as strange as it is wonderful. The entire world - every created thing - was, early on, *seen* as a symbol that was to be read just as the Bible was read: with a sense that it existed not just as it was, but as something beyond itself too, pointing ultimately to God, for God had created it. Nature is understood to be what sociologists and philosophers would now call "enchanted": filled with mystery, depth, existential and metaphysical meaning. The rise of Aristotelian metaphysics (re: science and philosophy as a single entity - they weren't separated back then) is what eventually quashed this such that the world was no longer see as a cosmic spiritual thing so much as a created thing that could be studied as having its own laws. St. Thomas Aquinas, "the Angelic Doctor", did much to push this view and it eventually one out. The medieval era looks curiously modern in this regard.

Although the rise of Aristotelianism may have done much to encourage the development of what is now called "modern science", there were other forces at work, particularly those of stone and glass: the medieval churches. In France, in the 12th century, a priest named Suger designed and oversaw the building of the greatest church of the medieval era: the cathedral of St. Denis. St. Denis is today known as Pseudo-Dionysius, a 5th or 6th century monk whose writings were written under the name of Dionysius the Aeropagite, the first convert of St. Paul. Denis/Dionysius's mystical writings on the light of God were heavily influential on Abbot Suger and as he designed the cathedral, he saw to it that the stained glass and windows allowed the light to filter into the building such that the very experience of the aesthetics would be like an ecstatic experience of God.

This brought him into conflict with St. Bernard of Clairvaux, "the Difficult Saint", who is best known for his four-volume commentary on the Song of Songs. Bernard was unarguably the greatest and most influential figure of the 12th century, and he thought that the great burst of enthusiasm for aesthetics in Abbot Suger's cathedral was perilously close to idolatry. In a certain sense, neither figure won this dispute for the beauty of cathedrals has been with us ever since, without the highly developed sense of theological aesthetics articulated by Abbot Suger being understood by those who marveled in - and at - the cathedrals as "houses for God".

And yet, the vision of beauty permeated theological and mystical writings that dealt with the vision of God and the resurrection of the dead. The very notion of beauty was found throughout much of medieval thought - which was oftentimes theologically rooted, but not always - and it is to Eco's credit that he can so deftly maneuver between theological and philosophical writings on the one hand, and their embodiment in architecture on the other. The vision of God was the summit of the medieval spiritual journey, and this even resulted in the painting of pictures of Jesus as being physically beautiful - a sign of no small level of devotion.

This book is a fascinating read whose short length is by no means matched for its insight and familiarity with both primary and secondary sources. Students of history (whether sociological or intellectual), theology and mysticism, and art will benefit from the lucid work. Casual readers will benefit from it as well, and likely find themselves looking at light - and all that it brings to sight - just a little differently as a result of reading it.

Brilliant and uet it could have been blindingly bright.......2004-11-23

An extremely important book that answers marvellously our prejudices against the Middle Ages. It explores in great details their literature and philosophy to show how people understood beauty then. He sees three phases. First the aesthetics of proportion in direct connection with the greek mathematical heritage and the biblical teachings about the wisdom of the creation by God who projected his own balanced vision and essence in every single creature. Second the asthetics of light which reveals a more sensorial and even sensual approach to beauty in the fact that light and colors are beautiful at first contact and felt as such without any reflection. Finally the aesthetics of the organism that sees beauty in the fact that a complex composition is the creation of perfect balance among all the elements that are themselves balanced in the same way at a lower level. The second great approach is that of allegorical and symbolical beauty. For philosophers and theologians beauty was to be found in the meaning of things and meaning was to be found in the allegorical and symbolical value of every element considered because for them nothing existed that did not represent the higher level of divine nature, divine perfection. Even a representation of the devil can be beautiful if it shows perfectly the ugliness of the beast in him. Yet Thomas Aquinas reveals his deeper sense of beauty in the fact that he provides this concept with a certain amount of autonomy. This autonomy had been in the air for many centuries but he is the first theologian to accept it as an important element in his evaluation of beauty. We find the same dilemma with art. At first art is nothing but what is produced by the manual work of people. But through poetry on one hand, and groups or corporations of artists on the other, the aesthetic value of artistic work is captured at least partly. Yet the book has aged a little bit over the last forty years or so. It does not consider enough the practical and material level of things. The existence of poetical tournaments in important pilgrimage cities like Le Puy in France, the constant use of music and singing (and the specialization of some monks in that field), the training of architects and sculptors in some abbeys to build the churches of their abbeys or their priories. It also does not see that some practices, like poetry, is in perfect continuation of what it was in the celtic, nordic and germanic traditions : the poet was on his way to becoming a druid, or singing epics was part of the know-how of a good warrior, or a celtic god was nothing but a good craftsman in one trade and a good poet and singer, etc. The global evaluation then is slightly defective. This leads him to concentrating on gothic cathedrals and neglecting the romanesque period that built thousands of little marvellous gems in villages with sculptures, paintings, etc. The romanesque period is thus undervalued and the gothic re-orientation is over-valued. The pesrpective is then defective. Finally he takes the present conception of art and beauty too much into account to assess the conceptions of the people in those days. Even when dealing with art history we must not, never, look back at things to assess them but always compare what follows to what has come before. In this case he should have compared medieval art - exclusively - with roman art et celtic-nordic-germanic art without forgetting that the chirstianization of the Roman Empire and the Germanic invaders also brought a complete shift from what was done for the free elite of a fundamentally slave-society to something that was supposed to be done for everyone within the church, the liturgy, but also mass events like pilgrimages, fairs and carnavals, or the famous Masses of Fools or Danses Macabres. It was, in our world, the first time ever the whole society was associated to cultural and artistic activities that were integrated in general social life not as an entertainment or a decoration but as something meaningful, even if we can consider the necessity for that meaning to be religious or articulated on a religious dimension as being a limitation. And these elements were quasi-permanent since situated in all the churches and taking place at all religious occasions, as well as non-religious occasions. We will then note that Troubadors were a regression when they were playing and singing only for the noble elite, though from Eco's point of view they were progress since they introduced a new conception that was closer to our modern conception of poetry. From the slave-owning elite, to mass christian pedagogy, and then to the new noble feudal castle-enclosed elite. From refined feelings going along with the barbarity of circus games, slavery and gladiators, to the massive culture of the Peace of God and God's arts and beauty going along with the barbarity of some warmongering local or not so local barons and other nobles, and then to the refined troubador music and poetry for the castle-protected nobles going along with the continuation of the religious oriented arts for the people abandoned by the poets and the musicians. Maybe the Middle Ages were looking for a uniformized society too much, but it is a selective elite practice that came out of it for the superior social class of the nobility. The Middle Ages is a period that tries to manage its contradictions in a balanced way hence shifting from one elitist contradiction to another elitist contradiction. Umberto Eco misses this last point.

Dr Jacques COULARDEAU

Strike Out.......2001-08-12

Umberto Eco's best efforts are probably contained in this rather labyrinthine and meandering effort to codify Thomistic philosophy. Thomism doesn't have a philosophy of the "aesthetic,' a notion wholly alien to the medieval mind. So Eco has to kind of create such a notion from a plethora of Thomas' writings. Fortunately, Eco does stay on track, even if he creates and follows tangents widely, by staying focused on the contribution ART (vis-a-vis "aesthetics") offers to modern sensibility.

Frankly, if one wants a better understanding of Medieval attitudes toward art, Emile Male's "Gothic" is incomparable. Male's work is a tour d'force and a "must" for anyone seriously interested in medieval art.

Even Jacques Maritain's "Art and Scholasticism" does a better job of presenting Thomistic views on art and beauty. The same can be said of Josef Pieper, who has written many books on art and the scholastic mind.

Eco, who made a name for inviting deconstruction into the Italian worldview, is better skilled at directing his attentions to that field than the medieval notions, concepts, and theories of art and beauty. If one wants a more concolidated assessment of the "philosophical" underpinnings of scholasticism's attitude toward art, simply read Aristotle. The scholastic view isn't much different, except that it is differently deployed in a manner consistent with Male's "Gothic."

Book Description

Superb royalty-free plates from rare original edition of famed sourcebook depicts suits of armor from the Middle Ages, floor-length capes and striped tights of the Renaissance, the high-waisted Empire look of the Napoleonic era and much more. Includes military, civil, and religious garb from France, Spain, Italy, Holland, Germany, Scotland, Russia, and Poland.

Customer Reviews:

A rich visual history.......2002-10-24

"Racinet's Full-Color Pictorial History of Western Costume," by Auguste Racinet, is a marvelous collection of illustrations that record trends in European clothing. The cover and title page boast that the book contains 92 plates showing over 950 costumes from the Middle Ages to 1800. The copyright page notes that this book is a selection of plates from the 6-colume "Le Costume Historique" published in 1888.

Depicted are costumes from France, Spain, Italy, Russia, and other nations. Many different types of people are depicted: soldiers, clergymen, nuns, noblewomen, peasants, etc. The plates of military dress are particularly interesting; in addition to showing knights' armor and other clothing, the illustrations also show many different weapons. Horses in regalia are shown in addition to human figures. Also depicted are musical instruments.

The pictures include both individual figures and scenes depicting costumed figures in social interaction. Some famous people, like Elizabeth I of England, are depicted. There are some really colorful and ornate items, like elaborate ladies' headdresses. I really liked the illustrations of kilted Scotsmen. Along the way are some curious sights, such as a bizarrely dressed and masked Venetian penitent. Overall, this book is a marvelous and educational visual feast.

Average customer rating:
English Costume of the Later Middle Ages: Fourteenth-Fifteenth Century : Spiral
Iris Brooke , and William-Alan Landes
Manufacturer: Players Press
ProductGroup: Book
Binding: Paperback

Textile & Costume | Design & Decorative Arts | Arts & Photography | Subjects | Books
Stagecraft | Theater | Performing Arts | Arts & Photography | Subjects | Books
General | Performing Arts | Arts & Photography | Subjects | Books
General | Fashion | Arts & Photography | Subjects | Books
General | Arts & Photography | Subjects | Books
General | Beauty & Fashion | Health, Mind & Body | Subjects | Books
General | England | Europe | History | Subjects | Books
Medieval | England | Europe | History | Subjects | Books
Accessories:

philosophy hope in a jar daily moisturizer

ASIN: 0887349463

Average customer rating:
Art and Beauty in the Middle Ages
Umberto Eco
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Paperback

Italian | World Literature | Literature & Fiction | Subjects | Books
ASIN: B000ORTSNE

Average customer rating:
Art and Beauty in the Middle Ages
Umberto Eco
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Paperback

Italian | World Literature | Literature & Fiction | Subjects | Books
ASIN: B000ORWW1E

Average customer rating:
Art and Beauty in the Middle Ages
Eco Umberto
Manufacturer: Yale University
ProductGroup: Book
Binding: Hardcover
ASIN: B000UCUR1K

Average customer rating:
Art and Beauty in the Middle Ages
Umberto Eco
Manufacturer: Yale University Press
ProductGroup: Book
Binding: Paperback

Italian | World Literature | Literature & Fiction | Subjects | Books
ASIN: B000OS8L7M

Books:

Books Index

Books Home

Recommended Books