The Nazis developed a social system unprecedented in history. It wasrigidly hierarchical, with the seemingly beneficent and ascetic figure ofHitler at the top - focus for the homage and aspirations of every man,woman and child. How did the 'ordinary citizen' live under such asystem? The author discusses such subjects as beauty in the Third Reich (no cosmetics, no slimming) as well as charting how you progressed to the elite Nazi cadres - administrators, propagandists or coercers. It shows childhood with the Hitler Youth and describes the intense medieval ritual injected into every phase of life from school and university to farm labour. It shows life in the office, in industry, in the professions - doctors, lawyers, artists - and in the Nazi Party itself. Finally, it documents what happened at the two extremes of German society - to the aristocrats and to the Jews.

Excerpt from The Jewish Encyclopedia, Vol. 4: A Descriptive Record of the History, Religion, Literature, and Customs of the Jewish People From the Earliest Times; Chazars-Dreyfus Case Cyrus adler, Pan. (departments of post-biblical Antiquities; the Jews of America.) President of the American Jewish Historical Society Librarian, Smithsonian Institution, Washington, D. C. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In this outstanding collection of essays, Isaiah Berlin, one of the great thinkers of the twentieth century, discusses the importance in the history of thought of dissenters whose ideas still challenge conventional wisdom--among them Machiavelli, Vico, Montesquieu, Herzen, and Sorel. With his unusual powers of imaginative re-creation, Berlin brings to life original minds that swam against the current of their times.

"China and Japan have cultural and political connections that stretch back fifteen hundred years, but today their relationship is strained. China's military buildup deeply worries Japan, while Japan's brutal occupation of China in World War II remains an open wound. In recent years both countries have insisted that the other side must openly address the flashpoints of the past before relations can improve. Boldly tackling the most contentious chapters in this long and tangled relationship, Ezra Vogel uses the tools of a master historian to examine key turning points in Sino-Japanese history. Gracefully pivoting from past to present, he argues that for the sake of a stable world order, these two Asian giants must reset their relationship."--Cover

A journalist's account of the London trial of David Irving vs. Penguin Books and Deborah Lipstadt, held in January-April 2000, interspersed with reflections on Holocaust memory and denial. The case became a Holocaust trial, albeit without perpetrators and victims. It did not generate a new narrative of the Holocaust, a revisionist one, as Irving had hoped. Without endorsing Irving's views, defends his right to historical dissent and regrets that his reputation as an outstanding historian was undermined. Contends that the critics of Irving's views, including Lipstadt, misinterpreted his writing as an outgrowth of postmodern deconstruction; what Irving assaulted was not rationalism and history as a science, but the Jews. His main motive was antisemitism. Contends that the depoliticized myth of the "Nazi war against the Jews", characteristic of some historiographic works, made the deniers' task easier. Believes that the Jews are not immune to critical analysis of their history; however, Irving crossed the divide between legitimate criticism and prejudiced vilification of the Jews as a people.

An internationally renowned pianist presents a delightful "piano's-eye view" of Western European and American social history from the 16th through 20th centuries. With wit and erudition, Loesser traces the history of the instrument's design and manufacture and its music, from the clavichord and harpsichord to the modern spinet and concert grand.

"A collection of 20-25 essays from prominent voices that brings forward creative, bold opinions that will examine the current state and impact of technology on our society and will highlight solutions for constructive change. Sample topics may include: 1 the impact of technology on elections and global democratic institutions; 2 the evisceration of longstanding privacy norms and standards; 3 the impact of technology on kids and teenagers; 4 the rise of cyberbullying and hate speech and how to address these challenges; and, 5 the libertarian ethos that often prizes a "move fast and break things" mentality and its relationship to the Silicon Valley culture bubble"--

An evaluation of psychiatric thought and practice from prehistoric times to the present.

From Anglo-Saxon times to the present, the poetry, prose, and dramatic achievements of each period in English literature.

"The definitive history of the Carter Administration from the man who participated in its surprising number of accomplishments--drawing on his extensive and never-before-seen notes. Stuart Eizenstat was at Jimmy Carter's side from his political rise in Georgia through four years in the White House, where he served as Chief Domestic Policy Adviser. He was directly involved in all domestic and economic decisions as well as in many foreign policy ones. Famous for the legal pads he took to every meeting, he draws on more than 5000 pages of contemporaneous notes as well as declassified documents and more than 350 interviews of all the major figures of the time, to write this comprehensive history of an underappreciated president--and to give an intimate view on how the presidency works. Eizenstat reveals the grueling negotiations behind Carter's peace between Israel and Egypt, what led to the return of the Panama Canal, and how Carter made human rights a presidential imperative. He follows Carter's passing of America's first comprehensive energy policy, and his deregulation of the oil, gas, transportation, and communications industries. And he details the creation of the modern vice-presidency. Eizenstat also details Carter's many missteps, including the Iranian Hostage Crisis, because Carter's desire to do the right thing, not the political thing, often hurt him and alienated Congress. His willingness to tackle intractable problems, however, led to major, long-lasting accomplishments. This major work of history shows first-hand where Carter succeeded, where he failed, and how he set up many successes of later presidents"--

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-Francois Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions. Rosalind Krauss is Professor of Art History at Columbia University and an editor of the journal October.

Even in the flattest landscape there are passes where the road first climbs to a peak and then descends into a new valley. Most of these passes are simply topography with little or no difference in climate, language, or culture between the valleys on either side. But some passes are different: they are true divides. History too knows such divides. Once these divides have been crossed, the social and political landscape changes; the social and political climate is different, and so is the social and political language. Some time between 1965 and 1973 we passed over such a divide and entered "the next century." Challenging, insightful, and provocative, Peter Drucker's "The New Realities" anticipates the central issues of a rapidly changing world. When it was initially published, in 1989, some reviewers mistakenly thought "The New Realities" was a book about the future, or in other words, a series of predictions. But, as indicated in the title, the book discusses "realities." Drucker argues that events of the next thirty to forty years, or even further on, had already largely been defined by events of the previous half-century. Thus, Drucker discusses episodes in world history that had not yet happened at the time of the book's initial publication, such as: the archaism of the hope for "salvation by society" in "The End of FDR's America"; the democratization of the Soviet Union in "When the Russian Empire is Gone"; the technology boom of the 1990s in "The Information-Based Organization"; and the evolution of management in "Management as Social Function and Liberal Art." Graced with a new preface by the author that discusses both reactions to the original publication of the book and how important it is for decision-makers to consider the past and present when planning for the future, "The New Realities" is mandatory reading for understanding politics, government, the economy, information technology, and business in an ever-changing world.

The twenty-five years after the Second World War were a lively and fertile period for the American novel and an era of momentous transformation in American society. Taking his title from the Kafka parable about the leopards who kept racing into the courtyard of the temple, disrupting the sacrifice, until they were made part of the ritual, Morris Dickstein shows how a daring band of outsiders reshaped the American novel and went on to dominate American fiction for the rest of the century. In fluid prose, offering a social as well as a literary history, Dickstein provides a wide-ranging and frank reassessment of more than twenty key figures-including Jewish writers like Norman Mailer, Saul Bellow, and Philip Roth; African-Americans such as Ralph Ellison and James Baldwin; colorful emigrés like Vladimir Nabokov; and avatars of a new youth culture, including J. D. Salinger and Jack Kerouac. Disputing the received wisdom about the culture of the Cold War, Dickstein shows why artists turned inward after the war and demonstrates how the writing of the 1960s emerged from the cultural ferment of the preceding decades, including road novels, avant-garde painting, bebop, film, psychoanalysis, and social changes that continue to affect us today.

“One of the cleverest, most accessibly in-depth film books released this year . . . a smart-ass novelist exploring a cheesy-cheeky ‘80s sci-fi flick.”— Hartford Advocate Deep Focus is a series of film books with a fresh approach. Take the smartest, liveliest writers in contemporary letters and let them loose on the most vital and popular corners of cinema history: midnight movies, the New Hollywood of the sixties and seventies, film noir, screwball comedies, international cult classics, and more . . . Kicking off the series is Jonathan Lethem’s take on They Live , John Carpenter’s 1988 classic amalgam of deliberate B-movie, sci-fi, horror, anti-Yuppie agitprop. Lethem exfoliates Carpenter’s paranoid satire in a series of penetrating, free-associational forays into the context of a story that peels the human masks off the ghoulish overlords of capitalism. Taking into consideration classic Hollywood cinema and science fiction—as well as popular music and contemporary art and theory— They Live provides a wholly original perspective on Carpenter’s subversive classic.

A celebration of the relationships that bring us strength, purpose, and joy Ties That Bind honors the people who nourish and strengthen us. StoryCorps founder Dave Isay draws from ten years of the revolutionary oral history project’s rich archives, collecting conversations that celebrate the power of the human bond and capture the moment at which individuals become family. Between blood relations, friends, coworkers, and neighbors, in the most trying circumstances and in the unlikeliest of places, enduring connections are formed and lives are forever changed. The stories shared in Ties That Bind reveal our need to reach out, to support, and to share life’s burdens and joys. We meet two brothers, separately cast out by their parents, who reconnect and rebuild a new family around each other. We encounter unexpected joy: A gay woman reveals to her beloved granddaughter that she grew up believing that family was a happiness she would never be able to experience. We witness lifechanging friendship: An Iraq war veteran recalls his wartime bond with two local children and how his relationship with his wife helped him overcome the trauma of losing them. Against unspeakable odds, at their most desperate moments, the individuals we meet in Ties That Bind find their way to one another, discovering hope and healing. Commemorating ten years of StoryCorps, the conversations collected in Ties That Bind are testament to the transformational power of listening.

"Is there a moment in history when a work receives its ideal interpretation? Or is negotiation always required to preserve the past and accommodate the present? The freedom of interpretation, Charles Rosen suggests in these sparkling explorations of music and literature, exists in a delicate balance with fidelity to the identity of the original work. Rosen cautions us to avoid doctrinaire extremes when approaching art of the past. To understand Shakespeare only as an Elizabethan or Jacobean theatergoer would understand him, or to modernize his plays with no sense of what they bring from his age, deforms the work, making it less ambiguous and inherently less interesting. For a work to remain alive, it must change character over time while preserving a valid witness to its earliest state.

"An essential exploration of a rich literary tradition from the Bible to modern times, by a "rare literary authority" (New York Times Book Review). Jews have long embraced their identity as "the people of the book." But outside of the Bible, much of the Jewish literary tradition remains little known. The People and the Books shows how central questions and themes of our history and culture are reflected in the Jewish literary canon: the nature of God, the right way to understand the Bible, the relationship of the Jews to their Promised Land, and the challenges of living as a minority in Diaspora. Adam Kirsch explores eighteen classic texts including the biblical books of Deuteronomy and Esther, the philosophy of Maimonides, the autobiography of the medieval businesswoman Gluckel of Hameln, and the Zionist manifestos of Theodor Herzl. From the Jews of ancient Rome to the mystical devotees of Hasidism in Eastern Europe, The People and the Books brings the treasures of Jewish literature to life and offers new ways to think about their enduring power and influence"--

"This liquid modern world of ours, like all liquids, cannot stand still and keep its shape for long. Everything keeps changing - the fashions we follow, the events that intermittently catch our attention, the things we dream of and things we fear. And we, the inhabitants of this world in flux, feel the need to adjust to its tempo by being 'flexible' and constantly ready to change. We want to know what is going on and what is likely to happen, but what we get is an avalanche of information that threatens to overwhelm us. How are we to sift the information that really matters from the heaps of useless and irrelevant rubbish? How are we to derive meaningful messages from senseless noise? We face the daunting task of trying to distinguish the important from the insubstantial, distil the things that matter from false alarms and flashes in the pan. Nothing escapes scrutiny so stubbornly as the ordinary things of everyday life, hiding in the light of deceptive and misleading familiarity. To turn them into objects of attention and scrutiny, they must first be torn out from that daily routine: the apparently familiar must be made strange. This is precisely what Zygmunt Bauman seeks to do in these 44 letters: each tells a story drawn from ordinary lives, but tells it in order to reveal an extraordinariness that we might otherwise overlook."--Pub. website.

The legendary correspondence between the critic Walter Benjamin and the historian Gershom Scholem bears indispensable witness to the inner lives of two remarkable and enigmatic personalities. Benjamin, acknowledged today as on of the leading literary and social critics of his day, was known during his lifetime by only a small circle of friends and intellectual confreres. Scholem recognized the genius of his friend and mentor during their student days in Berlin, and the two began to correspond after Scholem’s emigration to Palestine. Their impassioned exchange draws the reader into the very heart of their complex relationship during the anguished years from 1932 until Benjamin’s death in 1940.