A historical novel involving Antoinette, Louis XVI, Voltaire, and the Archduke Joseph of Austria.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... (6) Columns for Discount on Purchases and Discount on Notes on the same side of the Cash Book; (c) Columns for Discount on Sales and Cash Sales on the debit side of the Cash Book; (d) Departmental columns in the Sales Book and in the Purchase Book. Controlling Accounts.--The addition of special columns in books of original entry makes possible the keeping of Controlling Accounts. The most common examples of such accounts are Accounts Receivable account and Accounts Payable account. These summary accounts, respectively, displace individual customers' and creditors' accounts in the Ledger. The customers' accounts are then segregated in another book called the Sales Ledger or Customers' Ledger, while the creditors' accounts are kept in the Purchase or Creditors' Ledger. The original Ledger, now much reduced in size, is called the General Ledger. The Trial Balance now refers to the accounts in the General Ledger. It is evident that the task of taking a Trial Balance is greatly simplified because so many fewer accounts are involved. A Schedule of Accounts Receivable is then prepared, consisting of the balances found in the Sales Ledger, and its total must agree with the balance of the Accounts Receivable account shown in the Trial Balance. A similar Schedule of Accounts Payable, made up of all the balances in the Purchase Ledger, is prepared, and it must agree with the balance of the Accounts Payable account of the General Ledger." The Balance Sheet.--In the more elementary part of the text, the student learned how to prepare a Statement of Assets and Liabilities for the purpose of disclosing the net capital of an enterprise. In the present chapter he was shown how to prepare a similar statement, the Balance Sheet. For all practical...

The fascinating story of Margaret, Countess of Tyrol who was married to two husbands and who had to give up Tyrol to the Habsburg after a lifelong struggle to preserve her inheritance during the 14th century is turned by Feuchtwanger into a masked portrait of another uncertain age, the interwar 20th century. He contrasts the historically false image of the "ugly duchess" with the power to rule and a beautiful but vain lady with the power to charm powerful men.

Wieder Gut Machung-making good again-reparations. In London, James Raison, a lawyer, was preparing to take a quick trip to Munich in the interest of his client, Mrs. Wolff, and the estate of her late father, Helmut Bamberger. Bamberger had been a very wealthy and very complex man who had, apparently, died in a Nazi concentration camp. In Tel Aviv, Dr. Grunwald, an elderly lawyer who had been crippled by the Nazis, was planning to go to Munich, too, as the representative of a Jewish organization intensely interested in the fate of Bamberger's fortune. In pre-holocaust Germany, Grunwald had represented Bamberger and had helped him get the bulk of his money safely into a Swiss bank. In Munich, the German lawyer in charge of the Bamberger case, Heinz Haffner (who took pride in not actually having been a Nazi, though his sister still was one), was preparing to meet with his colleagues to discuss some puzzling new elements in the case. Haffner had problems of his own. So did the English and the Israeli lawyers. And even when one means to concentrate on the business at hand, one's mind sometimes strays. Even with three good lawyers at work, the Bamberger question became frustrating, mystifying, and, at last, explosive --

Historical account of the Russian revolutionary social movement for social change, covering the period from the late 1880's until the spring of 1918 - includes a bibliography pp. 315 to 326, maps and references.

No detailed description available for "A Rhetoric of Silence and Other Selected Writings".

Overview: The name Erasmus of Rotterdam conjures up a golden age of scholarly integrity and the disinterested pursuit of knowledge, when learning could command public admiration without the need for authorial self-promotion. Lisa Jardine, however, shows that Erasmus self-consciously created his own reputation as the central figure of the European intellectual world. Erasmus himself--the historical as opposed to the figural individual--was a brilliant, maverick innovator, who achieved little formal academic recognition in his own lifetime. What Jardine offers here is not only a fascinating study of Erasmus but also a bold account of a key moment in Western history, a time when it first became possible to believe in the existence of something that could be designated "European thought."--

Lisa Richter's Closer to Where We Began is a diverse collection of poetry that follows the speaker on a path of self-discovery. The collection navigates the tension between memory and imagination, between the personal and the political, and the primacy of sensual, sensory, lived experience. These dream-like poems not only concern themselves with the speaker, but with urban and natural environments, friends, family, and lovers, past and present. The poet explores overlapping/intersecting identities that shape and inform us, celebrating the importance of telling our stories as a means of bringing us closer to our authentic selves.

A volume of poetry by Lois Roisman that records her dialogue with the tales of the Hasidim. Using them as windows, Roisman searches for the women of the shtetl, her hidden ancestors, and when the women were not to be found, she employs leaps of poetic imagination to find and penetrate their lives.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library T089995 The libretto only, which also appeared as 'Gli sposi in contrasto' and 'La capricciosa corretta'. Parallel Italian text and English prose translation. The English translation on the lower part of p.88 is numbered 89. London : printed by E. Jackson, [1798]. 88p. ; 8°

Shaping Losses explores how traumatic loss affects identity and how those who are shaped by loss give shape, in turn, to the empty place where something--relationships, family, culture--was and is no longer. Taking the example of the decimation of European Jewry during the Nazi era, Shaping Losses confronts the problem of transforming trauma into cultural memory. This eloquent volume examines how memoirs, films, photographs, art, and literature, as well as family conversations and personal remembrances, embody the impulse to preserve what is destroyed. The contributors -- all distinguished women scholars, most of them survivors or daughters of survivors--examine classic memorializations such as Claude Lanzmann's film Shoah and Roman Vishniac's photographs of prewar Jews as well as several less-well-known works. They also address ways in which children of survivors of the Holocaust--and of other catastrophic traumas--struggle with inherited or vicarious memory, striving to come to terms with losses that centrally define them although they experience them only indirectly. Shaping Losses considers the limitations of Holocaust representations and testimonies that capture shards of the experience but are necessarily selective and reductive. Contributors discuss artistic efforts to "preserve the rawness" of memory, to resist redemptive closure in Holocaust narratives and public memorials, and to prevent the Holocaust from being sealed in "the cold storage of history." The authors probe the nature of memory and of trauma, studying the use of language within and outside a traumatic context such as Auschwitz and pinpointing the qualities that make traumatic memory ineffable, untransmittable, and perhaps unreliable. Within the "haunted terrain of traumatized memory" that all Holocaust testimonies inhabit, the impulse to give form to emptiness--to shape loss--emerges as a necessary betrayal, a vital effort to bridge the gap between history and memory.

Text: English, French (translation)

This book reintroduces the work of German-Swedish painter Lotte Laserstein, who was known for her groundbreaking portraiture in the 1920s and 1930s. After being one of the first women to graduate from Berlin Art Academy in 1927, Laserstein began making a name for herself in Weimar era Berlin's thriving art scene. She was a remarkable portraitist, capturing everyday citizens of Berlin, from motorcyclists to girls playing tennis, to women applying makeup. The volume features fifty works by Laserstein that show her artistic development during the 1920s and 1930s. She was known for spurning the usual depiction of women and instead portrayed the 'New Woman' who embraced fashion and personal freedom. Unfortunately, her career came to an abrupt halt in 1937 when she was forced to flee Nazi Germany for Sweden. She continued to paint in exile, but her work never regained the same intensity or sensitivity as her Berlin portraits and she fell out of the public eye. Laserstein's works from this key period in her career have recently been rediscovered and this volume aims to bring them back into the spotlight.00Exhibition: Städel Museum, Frankfurt (19.9.2018 - 17.3.2019) / Berlinische Galerie, Museum für Moderne Kunst, Berlin, Germany (5.4. - 12.8.2019).