Presented as an anthropoligist's view of Jewish culture and history, antisemitism is noted in terms of Christianity and contempt for Jews in terms of Islam (chs. 7 and 6, respectively). The Holocaust (including religious responses and literature) is the topic of ch. 13, "Smoke: How the Germans Gave the Jews Graves in the Air, " and reistance that of ch. 14, "Fire: How the Jews Fought Back."

Hitler's Professors is a book written by Max Weinreich that explores the role of scholarship and academia in the atrocities committed against the Jewish people during the Nazi regime in Germany. The book examines the complicity of German professors and intellectuals in the promotion and justification of Nazi ideology and the persecution of Jews, as well as the impact of their teachings on the broader society. Weinreich explores the ways in which these academics used their positions of power to legitimize anti-Semitic beliefs, and how their work contributed to the dehumanization and ultimate genocide of millions of innocent people. The book provides a detailed analysis of the historical and cultural context in which these events took place, drawing on primary sources and interviews with survivors and witnesses. It is a powerful and sobering account of the role that scholarship can play in perpetuating injustice and oppression, and a reminder of the importance of critical thinking and ethical responsibility in the pursuit of knowledge.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Architect Massimiliano Fuksas embodies a barometric presence on the international architectural scene, integrating contemporary formal strategies with an "inclusionist" sensibility that absorbs aspects of painting sculpture, literature, and politics. This monograph offers an intriguing view of this dynamic architectural figure through insightful essays and a look at his most recent work.

A respected scholar of military history and an expert on strategy, Martin van Creveld argues in "The Culture of War" that there is much more to war than just soldiers killing one another. War has always been a deeply fascinating subject. Fighting itself can be a source of great, perhaps even the greatest, joy - and out of this joy and fascination an entire culture has grown - from the war paint of tribal warriors to today's 'tiger suits', from Julius Caesar's red cloak to Douglas McArthur's pipe, from the decorative shields of ancient Greece to aircraft nose art, and from the invention of chess around AD 600 to cyber era combat simulators. The culture of war has had its own traditions, laws, rituals, music, art, literature, and monuments since the beginning of civilisation. Through the ages, the culture of war has usually been highly esteemed. Not so in many countries today, which tend either to mock it ('military intelligence is to intelligence what military music is to music') or to denounce it as 'militaristic'. This provocative book sets out to show how wrongheaded, and even dangerous, such attitudes are. "The Culture of War" argues that men and women today, contrary to the hopes of some, are just as fascinated by war as they have been in the past. A military that has lost touch with the culture of war is doomed not merely to defeat but to disintegration. Innovative, authoritative, and riveting, "The Culture of War" is a major work done by one of the world's greatest and most insightful military historians.

The University of Toronto is Canada's leading university and one of Canada's most important cultural and scientific institutions. In this history of the University from its origin as King's College in 1827 to the present, Martin Friedland brings personalities, events, and changing visions and ideas into a remarkable synthesis. His scholarly yet highly readable account presents colourful presidents, professors, and students, notable intellectual figures from Daniel Wilson to Northrop Frye and Marshall McLuhan, and dramatic turning points such as the admission of women in the 1880s, the University College fire of 1890, the discovery of insulin, involvement in the two world wars, the student protests of the 1960s, and the successful renewal of the 1980s and 1990s. Friedland draws on archival records, private diaries, oral interviews, and a vast body of secondary literature. He draws also on his own experience of the University as a student in the 1950s and, later, as a faculty member and dean of law who played a part in some of the critical developments he unfolds. The history of the University of Toronto as recounted by Friedland is intimately connected with events outside the University. The transition in Canadian society, for example, from early dependence on Great Britain and fear of the United States to the present dominance of American culture and ideas is mirrored in the University. There too can be seen the effects of the two world wars, the cold war, and the Vietnam war. As Canadian society and culture have developed and changed, so too has the University. The history of the University in a sense is the history of Canada.

Marjorie Agosín writes of a beloved childhood nanny: "Since I was Jewish she baptized me with holy water brought forth from the fonts of nearby churches. She told me to stay very still so I wouldn't sprout horns. . . . I was somewhere between taciturn and happy gazing into the mirror as if approaching the edge of a cliff . . . and I watched myself in the deep, transparent veil of this night of all nights." Many of the themes expressed in this vignette--cultural dissonance, family, and community--are poetically intertwined throughout The Alphabet in My Hands . Agosín takes us on a personal journey of discovery that is as much internal reflection as it is an exodus across continents and decades. Agosín's childhood and early adolescence were spent with her Jewish family in Chile. While her family raised her to regard her Jewish heritage with loving awareness, they also participated in the dominant Catholic culture--an aunt organized Easter egg hunts and her mother admired the beauty of Chile's Catholic churches. The young Agosín became keenly aware of her dual identity in her country, both as a participant and an outsider. The second half of The Alphabet in My Hands recounts the events that forced her family to emigrate to America: the overthrow of Salvador Allende by General Augusto Pinochet. Agosín writes of her new life in Athens, Georgia, of the sudden loss of all that was familiar. Ostracized as an emigrant--a "non-white" with a strange foreign accent--her high school years were made even more painful by the news from Chile: prisoners taken and classmates disappearing or shot. Years later, Agosín goes back to Chile and she travels there with her own children. As she stares down at her old homeland from the plane, she writes: "Why do I love this place that forced us into exile, that punished my father for being a Jew?" And in the final chapter of The Alphabet in My Hands , this award-winning poet addresses two important topics: her current residence in New England and the central role of writing and literature in her life.

"One of the main theses of the Marienthal study was that prolonged unemployment leads to a state of apathy in which the victims do not utilize any longer even the few opportunities left to them. The vicious cycle between reduced opportunities and reduced level of aspiration has remained the focus of all subsequent discussions." So begin the opening remarks to the English-language edition of what has become a major classic in the literature of social stratification.

"A few years ago," Stewart O'Nan, editor of The Vietnam Reader, writes in his introduction, "when I began teaching the American literature of the Vietnam War, I tried to find an anthology my students could use.... But as I searched through libraries and catalogues, new- and used-book shops, I discovered there wasn't one." So O'Nan set out to create one himself. What began as course material has grown into a remarkable collection of writing that will appeal to a broad audience of readers interested in the Vietnam experience. O'Nan includes a little bit of everything--fiction and nonfiction from acclaimed writers such as Tim O'Brien, Louise Erdrich, Michael Herr, and David Halberstam; poetry and drama by Michael Casey and David Rabe; even songs such as Barry Sadler's "The Ballad of the Green Berets" and Credence Clearwater Revival's "Fortunate Son." There are also essays on the major Vietnam films, from The Deer Hunter to Full Metal Jacket, and a smattering of famous photographs from the war. What makes this collection extraordinary is not just the quality of the writing it contains but also the breadth of attitudes O'Nan represents. For instance, he juxtaposes an excerpt from Ron Kovic's antiwar memoir, Born of the Fourth of July with James Webb's gung-ho paean to fighting the good fight in Fields of Fire. Chapters of Tim O'Brien's hallucinatory fiction Going After Cacciato resonate with excerpts from his earlier memoir If I D ie in a Combat Zone as well the journalism of Michael Herr (Dispatches) and Philip Caputo (A Rumor of War). Creating sections such as "Early Work," "The Oral History Boom," "Memoirs," "Homecoming," and more, O'Nan seeks to convey as much of the war experience from as many different perspectives as possible. Anyone interested in history and in fine writing will find The Vietnam Reader worthy reading. --Alix Wilber

Marcel Schwob (18671905) was one of the key symbolist writers, standing in French literature alongside such names as Stphane Mallarm, Octave Mirbeau, Andr Gide, Lon Bloy, Jules Renard, Rmy de Gourmont, and Alfred Jarry. His best-known works are Double Heart (1891), The King In The Gold Mask (1892), and Imaginary Lives (1896). Imaginary Lives contains twenty-two mythopoeic literary portraits of figures from ancient history, art history, and the history of crime and punishment. From demi-gods, sorcerers, incendiaries, wantons and philosophers of the ancient world, to the "poet of hate" Cecco Angiolieri and the painter Paolo Uccello, through to the pirates William Kidd and Major Stede-Bonnet, and finally Burke and Hare, the serial killers; Schwob presents a vivid array of characters who display all that is macabre, deviant and magnificently terrifying in human beings and in life. In Imaginary Lives, Schwob has created a "secret" masterpiece that joins other biographical glossaries such as Jorge Luis Borges' A Universal History Of Infamy and Alfonso Reyes' Real And Imagined Portraits in the pantheon of classic speculative fiction, of which Schwob's book is the dark progenitor. Livid with decadent imagery, Imaginary Lives resonates loudly today with its themes of temporality, myth, violence and sexuality, and stands as a major work of the fin-de-si]cle. Solar Nocturnal presents classic literature and art by key forerunners of modernism.

This anthology is a thorough introduction to classic literature for those who have not yet experienced these literary masterworks. For those who have known and loved these works in the past, this is an invitation to reunite with old friends in a fresh new format. From Shakespeare's finesse to Oscar Wilde's wit, this unique collection brings together works as diverse and influential as The Pilgrim's Progress and Othello. As an anthology that invites readers to immerse themselves in the masterpieces of the literary giants, it is must-have addition to any library.

Marc Chagall (1887-1985) traversed a long route from a boy in the Jewish Pale of Settlement, to a commissar of art in revolutionary Russia, to the position of a world-famous French artist. This book presents for the first time a comprehensive collection of Chagall's public statements on art and culture. The documents and interviews shed light on his rich, versatile, and enigmatic art from within his own mental world. The book raises the problems of a multi-cultural artist with several intersecting identities and the tensions between modernist form and cultural representation in twentieth-century art. It reveals the travails and achievements of his life as a Jew in the twentieth century and his perennial concerns with Jewish identity and destiny, Yiddish literature, and the state of Israel. This collection includes annotations and introductions of the Chagall texts by the renowned scholar Benjamin Harshav that elucidate the texts and convey the changing cultural contexts of Chagall's life. Also featured is the translation by Benjamin and Barbara Harshav of the first book about Chagall's work, the 1918 Russian The Art of Marc Chagall .

"Cochinchine" is a vivid and penetrating account of the author's travels through French Indochina in the early 20th century. Written by the acclaimed journalist and critic Léon Werth, this work stands as a landmark of anti-colonial literature, offering a stark contrast to the romanticized depictions of the East common during the era. Werth's observations are both sharp and empathetic, providing a detailed look at the social, political, and economic realities of Southern Vietnam under colonial rule. The narrative delves into the complexities of the relationship between the French administration and the local population, highlighting the tensions and inequalities inherent in the colonial system. Through a series of sketches and reflections, Werth captures the essence of the landscape, the bustle of the cities, and the quiet dignity of the people he encounters. "Cochinchine" is not merely a travelogue but a profound social commentary that questions the ethics of imperialism and the impact of cultural displacement. This book remains a vital resource for readers interested in the history of Southeast Asia, French colonial studies, and the development of political consciousness in modern literature. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Is heterosexual sex inherently damaging to women? Is it possible for women to enjoy sensuality and pleasure with men that does not increase male power? Lynne Segal's unflinching examination of feminist thinking on sexuality over the past twenty-five years tackles these questions head on. Straightforward and challenging, she invites an exploration of sex in our culture--an exploration that could reverse the traditional male gaze and phallic construction of the heterosexual woman.Only two decades ago, politically aware women often declared themselves both sexual liberationists and feminists--their right to sexual fulfillment symbolized their right to selfhood. However, the most positive women's writing on female sexuality in recent years has come primarily from the lesbian community. Segal addresses the silence of heterosexual feminists on questions of sex and love and notes the shift toward sexual conservatism. She looks at the trends that followed Sixties sex as a subversive activity, the "liberated orgasm," sex advice literature, gender uncertainties, Queer politics, antipornography campaigns, the rise of the moral right.The hidden anxieties of male sexuality are also discussed. For both men and women, says Segal, our wildest dreams and worst fears are often projected onto sex. She urges an understanding of how our personal pleasures and pains remain public issues, and how a rethinking of sexual liberation could inspire a truly progressive politics for our time."It is always another whom we try to reach when we experience desire, it is their physical contact we want--sometimes, any sort of contact will suffice . . . and by whom we yearn to feel ourselves desired. It is the very greatest of joys, as I experience it . . . simply to know that we are able to desire, maybe even able to love, some other human adult." --from the book

A great critic’s quarrels with himself and others, as revealed in his correspondence In the mid-twentieth century, Lionel Trilling was America’s most respected literary critic. His powerful and subtle essays inspired readers to think about how literature shapes our politics, our culture, and our selves. His 1950 collection, The Liberal Imagination , sold more than 100,000 copies, epitomizing a time that has been called the age of criticism. To his New York intellectual peers, Trilling could seem reserved and circumspect. But in his selected letters, Trilling is revealed in all his variousness and complexity. We witness his ardent courtship of Diana Trilling, who would become an eminent intellectual in her own right; his alternately affectionate and contentious rapport with former students such as Allen Ginsberg and Norman Podhoretz; the complicated politics of Partisan Review and other fabled magazines of the period; and Trilling’s relationships with other leading writers of the period, including Saul Bellow, Edmund Wilson, and Norman Mailer. In Life in Culture , edited by Adam Kirsch, Trilling’s letters add up to an intimate portrait of a great critic, and of America’s intellectual journey from the political passions of the 1930s to the cultural conflicts of the 1960s and beyond.

"In our critical vocabulary of literary forms, kinds and stylistic features, there are some terms for which compact definitions are bound to be inadequate. The purpose of this series of introductory studies is to accustom the student to these terms by means of a straightforward discussion with illustrative quotation and where appropriate, references to the literature of more than one language. In each case the author has compiled a short, annotated guide to further reading."-Publisher

The "relational turn" has transformed the field of psychoanalysis, with an impact that cuts across different schools of thought and clinical modalities. In the six years following publication of Volume 1, Relational Psychoanalysis: The Emergence of a Tradition, relational theorizing has continued to develop, expand, and challenge the parameters of clinical discourse. It has been a period of loss, with the passing of Stephen A. Mitchell and Emmanuel Ghent, but also a period of great promise, marked by the burgeoning publication of relational books and journals and the launching of relational training institutes and professional associations. Volume 2, Relational Psychoanalysis: Innovation and Expansion, brings together key papers of the recent past that exemplify the continuing growth and refinement of the relational sensibility. In selecting these papers, Editors Lewis Aron and Adrienne Harris have stressed the shared relational dimension of different psychoanalytic traditions, and they have used such commonalities to structure the best recent contributions to the literature. The topics covered in Volume 2 reflect both the evolution of psychoanalysis and the unique pathways that leading relational writers have been pursuing and in some cases establishing.

Lev Shestov's By Faith Alone confronts Eastern and Western European conceptions of faith through Russian literature, ancient and medieval philosophy, and Christian theology. Written from 1910-1914, this first English-language translation brings together important early writings on the medieval church and Martin Luther. Shestov reconciles the Greek notion of rational truth with Biblical revelation by drawing on a wide range of ancient, medieval, philosophical and theological sources from Plato to Hegel, Tertullian to Saint Augustine , and Saint Bernard of Clairvaux to William of Ockam. He argues that rational truth has skewed Christian belief by determining knowledge and truth in ways that prize the mind over the world. This approach marks a turning point in the evolution of Shestov's existential thought. It establishes a basic division that became central to Shestov's later work, between Athens as reason and Jerusalem as faith. By Faith Alone provides a crucial piece of the puzzle in the genesis of Shestov's later and better-known writings on medieval philosophy.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

To abuse or neglect a child, to deprive the child of his or her own identity and ability to experience joy in life, is to commit soul murder. Soul murder is the perpetration of brutal or subtle acts against children that result in their emotional bondage to the abuser and, finally, in their psychic and spiritual annihilation. In this compelling, disturbing, and superbly readable book, Dr. Leonard Shengold, clinical professor of psychiatry at the New York University School of Medicine, explores the devastating psychological effects of this trauma inflicted on a shocking number of children. Drawing on a lifetime of clinical experience and wide-ranging reading in world literature, Dr. Shengold examines the ravages of soul murder in the adult lives of his patients as well as in the lives and works of such seminal writers as George Orwell, Dickens, Chekhov, and Kipling. One hopeful note in this saga of pain is that a terrible childhood can, if survived, be a source of strength, as Dr. Shengold finds in the cases of Dickens and Orwell. Provocatively original in its approach to literature and psychology, unsettling in its vivid portrayal of the darker side of human nature, far-reaching in its conclusions, Soul Murder will stand alongside such works as Alice Miller's The Drama of the Gifted Child as one of the most important studies of the psyche to appear in decades.

"To all those who have for several years sought to discredit the new American literature, Lawrence Ferlinghetti has just dealt a most powerful blow," wrote French critic Pierre Lepape in 1961 when Her was published in France as La Quatrième Personne du Singulier. Calling it "a masterpiece of the young American novel," Lepape declared it was "the confirmation of a great American writer who, in the hall of American literary glories, takes the place left vacant by the death of Hemingway." Lepape went on to speak of the "incredible verbal virtuosity" by which the reader is led through this "laby-rêve," and it is this image of the "labyrinth-dream" which relates Her to the anti-novels of the young French school of Robbe-Grillet and Butor. Being thus very far from the kind of novels produced by Ferlinghetti's immediate contemporaries (whether Beat or academic) this book has met with little but bafflement among American critics. With well over 50,000 now in print Her nevertheless continues to make its own way.