Works
- Journal of World History (editor)
- Humanists and Holy Writ: New Testament Scholarship in the Renaissance (Princeton: Princeton University Press, 1983)
- Politics and Culture in Renaissance Naples (Princeton: Princeton University Press, 1987)
- Old World Encounters: Cross-Cultural Contacts and Exchanges in Pre-Modern Times (New York: Oxford University Press, 1993)
- (with Herbert F. Ziegler) Traditions and Encounters: A Global Perspective on the Past (Boston: McGraw-Hill, 2000); second edition (Boston: McGraw-Hill, 2003)
- "Cross-Cultural Interaction and Periodization in World History," American Historical Review 101 (1996): 749-70
- "Hemispheric Integration, 500-1500 C.E.," Journal of World History 9 (1998): 237-54
- "World History," in D.R. Woolf, ed., Making History: A Global Encyclopedia of Historical Writing (New York: Garland, 1998), pp. 968–70
- "Sea and Ocean Basins as Frameworks of Historical Analysis," The Geographical Review 89 (1999): 215-24
- "Shapes of World History in Twentieth-Century Scholarship," in Michael P. Adas, ed., Agricultural and Pastoral Societies in Ancient and Classical History (Philadelphia: Temple University Press, 2001), pp. 3–35
- "The New World History," in Lloyd Kramer and Sarah Maza, eds., A Companion to Western Historical Thought (Oxford: Blackwell, 2002), pp. 393–416
- "World History and Grand Narrative," in Benedikt Stuchtey, ed., Writing World History, 1800-2000 (Oxford: Oxford University Press, 2003), pp. xx-xx
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Famous quotes containing the word works:
“In the works of man, everything is as poor as its author; vision is confined, means are limited, scope is restricted, movements are labored, and results are humdrum.”
—Joseph De Maistre (17531821)
“Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, are effectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.”
—Raymond Williams (19211988)
“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
—Freya Stark (b. 18931993)