Books about Attribution from Amazon.com

An Italian village on a hilltop near the Adriatic coast, a decaying palazzo facing the sea, and in the basement, cobwebbed and dusty, lit by a single bulb, an archive unknown to scholars. Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.

The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.

Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others–no one knows the precise number–have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.

Prizewinning author Jonathan Harr embarks on an spellbinding journey to discover the long-lost painting known as The Taking of Christ–its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.

Told with consummate skill by the writer of the bestselling, award-winning A Civil Action, The Lost Painting is a remarkable synthesis of history and detective story. The fascinating details of Caravaggio’s strange, turbulent career and the astonishing beauty of his work come to life in these pages. Harr’s account is not unlike a Caravaggio painting: vivid, deftly wrought, and enthralling.
". . . Jonathan Harr has gone to the trouble of writing what will probably be a bestseller . . . rich and wonderful. . .in truth, the book reads better than a thriller because, unlike a lot of best-selling nonfiction authors who write in a more or less novelistic vein (Harr's previous book, A Civil Action, was made into a John Travolta movie), Harr doesn't plump up hi tale. He almost never foreshadows, doesn't implausibly reconstruct entire conversations and rarely throws in litanies of clearly conjectured or imagined details just for color's sake. . .if you're a sucker for Rome, and for dusk. . .[you'll] enjoy Harr's more clearly reported details about life in the city, as when--one of my favorite moments in the whole book--Francesca and another young colleague try to calm their nerves before a crucial meeting with a forbidding professor by eating gelato. And who wouldn't in Italy? The pleasures of travelogue here are incidental but not inconsiderable." --The New York Times Book Review


"Jonathan Harr has taken the story of the lost painting, and woven from it a deeply moving narrative about history, art and taste--and about the greed, envy, covetousness and professional jealousy of people who fall prey to obsession. It is as perfect a work of narrative nonfiction as you could ever hope to read." --The Economist


From the Hardcover edition..
Price: $2.95 [Notify me when price goes down.]

In his eye-opening book Why?, world-renowned social scientist Charles Tilly exposed some startling truths about the excuses people make and the reasons they give. Now he's back with further explorations into the complexities of human relationships, this time examining what's really going on when we assign credit or cast blame.

Everybody does it, but few understand the hidden motivations behind it. With his customary wit and dazzling insight, Tilly takes a lively and thought-provoking look at the ways people fault and applaud each other and themselves. The stories he gathers in Credit and Blame range from the everyday to the altogether unexpected, from the revealingly personal to the insightfully humorous--whether it's the gushing acceptance speech of an Academy Award winner or testimony before a congressional panel, accusations hurled in a lover's quarrel or those traded by nations in a post-9/11 crisis, or a job promotion or the Nobel Prize. Drawing examples from literature, history, pop culture, and much more, Tilly argues that people seek not only understanding through credit and blame, but also justice. The punishment must fit the crime, accomplishments should be rewarded, and the guilty parties must always get their just deserts.

Brilliantly conceived and masterfully written, Credit and Blame is a book that revolutionizes our understanding of the compliments we pay and the accusations we make.

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Price: $11.97 [Notify me when price goes down.]

An Italian village on a hilltop near the Adriatic coast, a decaying palazzo facing the sea, and in the basement, cobwebbed and dusty, lit by a single bulb, an archive unknown to scholars. Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.

The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.

Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others–no one knows the precise number–have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.

Prizewinning author Jonathan Harr embarks on an spellbinding journey to discover the long-lost painting known as The Taking of Christ–its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.

Told with consummate skill by the writer of the bestselling, award-winning A Civil Action, The Lost Painting is a remarkable synthesis of history and detective story. The fascinating details of Caravaggio’s strange, turbulent career and the astonishing beauty of his work come to life in these pages. Harr’s account is not unlike a Caravaggio painting: vivid, deftly wrought, and enthralling.
". . . Jonathan Harr has gone to the trouble of writing what will probably be a bestseller . . . rich and wonderful. . .in truth, the book reads better than a thriller because, unlike a lot of best-selling nonfiction authors who write in a more or less novelistic vein (Harr's previous book, A Civil Action, was made into a John Travolta movie), Harr doesn't plump up hi tale. He almost never foreshadows, doesn't implausibly reconstruct entire conversations and rarely throws in litanies of clearly conjectured or imagined details just for color's sake. . .if you're a sucker for Rome, and for dusk. . .[you'll] enjoy Harr's more clearly reported details about life in the city, as when--one of my favorite moments in the whole book--Francesca and another young colleague try to calm their nerves before a crucial meeting with a forbidding professor by eating gelato. And who wouldn't in Italy? The pleasures of travelogue here are incidental but not inconsiderable." --The New York Times Book Review


"Jonathan Harr has taken the story of the lost painting, and woven from it a deeply moving narrative about history, art and taste--and about the greed, envy, covetousness and professional jealousy of people who fall prey to obsession. It is as perfect a work of narrative nonfiction as you could ever hope to read." --The Economist.
Price: $0.62 [Notify me when price goes down.]

Performance measurement and attribution are key tools in informing investment decisions and strategies Performance measurement is the quality control of the investment decision process, enabling money managers to calculate return, understand the behaviour of a portfolio of assets, communicate with clients and determine how performance can be improved.


Focusing on the practical use and calculation of performance returns rather than the academic background, Practical Portfolio Performance Measurement and Attribution provides a clear guide to the role and implications of these methods in today's financial environment, enabling readers to apply their knowledge with immediate effect.


Fully updated from the first edition, this book covers key new developments such as fixed income attribution, attribution of derivative instruments and alternative investment strategies, leverage and short positions, risk-adjusted performance measures for hedge funds plus updates on presentation standards. Complete with a CD containing worked examples for the majority of exhibits, the book covers the mathematical aspects of the topic in an accessible and practical way, making this book an essential reference for anyone involved in asset management..
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Established wisdom in cognitive science holds that the everyday folk psychological abilities of humans—our capacity to understand intentional actions performed for reasons—are inherited from our evolutionary forebears. In Folk Psychological Narratives, Daniel Hutto challenges this view (held in somewhat different forms by the two dominant approaches, "theory theory" and simulation theory) and argues for the sociocultural basis of this familiar ability. He makes a detailed case for the idea that the way we make sense of intentional actions essentially involves the construction of narratives about particular persons. Moreover he argues that children acquire this practical skill only by being exposed to and engaging in a distinctive kind of narrative practice.

Hutto calls this developmental proposal the narrative practice hypothesis (NPH). Its core claim is that direct encounters with stories about persons who act for reasons (that is, folk psychological narratives) supply children with both the basic structure of folk psychology and the norm-governed possibilities for wielding it in practice. In making a strong case for the as yet underexamined idea that our understanding of reasons may be socioculturally grounded, Hutto not only advances and explicates the claims of the NPH, but he also challenges certain widely held assumptions. For example, he targets the idea that the primary function of folk psychology is to enable us to predict the behaviors of others. In this way, Folk Psychological Narratives both clears conceptual space around the dominant approaches for an alternative and offers a groundbreaking proposal..
Price: $23.45 [Notify me when price goes down.]

The authenticity of visual art has always commanded the attention of experts, dealers, collectors, and the art-minded public. Is it "real" or "original" is a way of asking what am I buying? What do I own? What am I looking at? And today more sophisticated questions are being asked: How is authenticity determined and what weight does this determination have in court? This book of essays proposes to answer those questions.
Three lines of inquiry are basic to determining authenticity: a connoisseur's evaluation, historical documentation or provenance, and scientific testing. A connoisseur is an expert who evaluates the "rightness" of a work based on much careful scrutiny of many works by an artist and familiarity with that artist's usual manner of working with materials. In determining provenance, a researcher traces the physical object from the artist through a chain of ownership to the present owner--simple enough in concept, though it assumes that the documentation is not faked or inaccurate. The goal is to ensure that the object is the same one that left the artist's hand. Scientific testing, although sometimes useful, is often longer on promise than result. Dating paint or wood samples, for instance, can show that a painting was made in Rembrandt's lifetime, but it cannot prove that it is by Rembrandt's hand. If expert opinion is divided, and large sums of money are involved, a dispute over authenticity may end up in a court of law, where evaluation of expert opinion evidence can be problematic.
The essays in this book clarify the nature of the methods outlined above and explain, based on case law, the present status of authentication issues in court. Contributors include experts from Christie's, London; Sotheby's, New York; and the former director of the Frick Collection; as well as leading art historians and art dealers; an art conservator; a forensic graphologist; a philanthropist and collector; and a specialist in French art law. Their collective knowledge on issues of authenticity will be invaluable for anyone interested in the world of visual art..
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Abraham Lincoln never said, "You cannot fool all the people all the time." Thomas Jefferson never said, "That government is best which governs least." And Horace Greeley never said, "Go west, young man." In They Never Said It, Paul F. Boller, Jr. and John George examine hundreds of misquotations, incorrect attributions, and blatant fabrications, outlining the origins of the quotes and revealing why we should consign them to the historical trashcan.
Many of the misquotes are quite harmless. Some are inadvertent misquotes that have become popular (Shakespeare actually said, "The best part of valor is discretion"), others, the inventions of reporters embellishing a story (Franklin Roosevelt never opened a speech to a DAR group with the salutation, "My fellow immigrants"). But some of the quotes, such as Charles Darwin's supposed deathbed recantation of evolution, falsify the historical record with their blatant dishonesty. And other chillingly vicious ones, filled with virulent racial and religious prejudices, completely distort the views of the person supposedly quoted and spread distrust and hatred among the gullible. These include the forged remarks attributed to Benjamin Franklin that Jews should be excluded from America and the fabricated condemnation of Catholics attributed to Lincoln.
An entertaining and thought-provoking book, They Never Said It covers a great deal of history and sets it right. Going beyond a mere catalog of popular misconceptions, Boller and George reveal how rightists and leftists, and atheists and evangelists all have at times twisted and even invented the words of eminent figures to promote their own ends. The ultimate debunking reference, it perfectly complements handbooks of quotations..
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This text, part of the McGraw-Hill Series in Social Psychology, is for the student with no prior background in social psychology. Written by Philip Zimbardo and Michael Leippe, outstanding researchers in the field, the text covers the relationships existing between social influence, attitude change and human behavior. Through the use of current, real-life situations, the authors illustrate the principles of behavior and attitude change at the same time that they foster critical thinking skills on the part of the reader..
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