Beginning with an extermination of the legal aspects of war in antiquity--the rules of warfare, rights of conquest, and peace treaties--Professor Yvon Garlan goes on to consider military manpower, dealing with such topics as military aristocracies, the soldier-citizen, mercenaries, slaves and barbarians in the army and the navy. A third section describes military organization, including pay, methods of recruitment and training, the quartermaster system, and military command. In the final section, Professor Garlan discusses war and politics.Although the book is concerned with both the Greeks and the Romans over a vast period of time, from Homeric society to the later Roman Empire, it is neither strictly chronological no purely abstract. The author has selected key points for detailed study that, with the aid of contemporary accounts, illuminate the subject as a whole.This book will be of interest not only to classicists and historians, but also to all those interested in the part played by war in the evolution of society.
Sterling Hayden was at the peak of his earning power as a star when he suddenly quit. He walked out on Hollywood, walked out of a shattered marriage, defied the courts, and, broke and an outlaw, set sail with his four children in the schooner Wanderer--bound for the South Seas.Long before he was an actor, Hayden was a seaman. He had sailed before the mast and as mate and captain in sailing ships. He had been a Grand Banks fisherman. Then Hollywood offered him a screen test. Pushed to stardom, he became the leading man to one of the screen's most beautiful women, and the money began to flow. With money and fame, however, came a gnawing dissatisfaction with his life.His attempt to escape launches this autobiography. It is the candid, sometimes painfully revealing confession of a man who scrutinizes his every self-defeat and self-betrayal in the unblinking light of conscience. It is also the triumph of a complex and contradictory man, still a rebel and a seeker, undefeated by his failure to find himself in love, adventure, drink, or escape to the South Seas.It is, as Eugene Burdick said of it, "utterly fascinating, written by a man who has been able to achieve an honesty about himself which is almost unique."
The book spans three centuries-opening with Angelus Silesius, Klopstock, Claudius, Goethe, and Schiller, and ending with Brecht and Böll-but it has considerable continuity. The prefaces for each of the twenty-five poets integrate the selections into a story, and often poems by different writers invite comparison. For example, almost all of the poets express an attitude toward death. Not only would many discussions of death be better if the authors had some inkling of the great variety of attitudes illustrated here, but one can also gain a better understanding of a poet's experience of life by comparing his attitude toward death with that of some other poets. The book should contribute to a better understanding of some of these twenty-five poets, of German literature, of intellectual history, and of some of the themes with which these poets deal.The sequence of the poets, and the poems of each poet, is roughly chronological. Walter Kaufmann has made all the translations and have endeavored to capture the distinctive tone of each of the poets. The original German texts are printed on facing pages.
The climax of the first act of this extraordinary play provides the sort of thrill that comes no oftener than once in a theatrical season. A strange company of ship-mates, mystified by a vaguely oppressive feeling of unreality and uncertainty, suddenly discovers that every last one of them is dead. Their ship, unmanned and without lights, is gliding noiselessly across the River Styx, and when one of the characters in terror asks the sole attendant whether they are bound for Heaven or Hell, the answer is "Both!...It's the same place, you see!"
Millions of adult Americans will fondly remember such entertaining movies as Carousel, The Jackpot, and There's No Business Like Show Business. Phoebe and Henry Ephron, who wrote the screenplays for these and other films, were a unique team in that they used their special talents, working with dozens of great names of screen and stage, to create everything from the comic to the somber under circumstances both humorous and quite the opposite.Whether they were working on a Carousel, starring Shirley Jones and Gordon MacRae or a new What Price Glory, or Fred Astaire's Daddy Long Legs, the Ephrons were always learning something new and exciting about a magical assortment of people (Henry remembers the famous director John Ford the day he was faulted by his producer for being two days behind in shooting a film. He tore up six pages and said: "Tell the SOB I'm six days ahead!")This is also a story of the thirty-seven-year marriage of two people who started out with very little, realized their dreams of having a play produced on Broadway, and then went to Hollywood, where they wrote major scripts for some of the biggest stars. Woven throughout the story is the family element of raising four daughters in the make-believe atmosphere of Southern California.As the two Ephrons worried about the work they'd done on one major script, the make-believe turning into a glorious reprieve when it was reported to them that Darryl Zanuck had just told a friend, "I'll never know how the Ephrons took that old chestnut and turned it into this great screenplay."Here, a professional storyteller is at his best in a personal narrative which also brings onstage a fascinating supporting cast.
Behind the commune movement today lies an impulse for a simpler, less harried existence that has its roots deep in American history. During the last hundred years, California has contributed to the Utopian heritage more colonies than any other American state. From varied backgrounds-religious, secular, co-operative, socialistic, Theosophical, Marxian-each new society experimented with marriage, the raising of children, education, work, religion, or government.
Diane Wood Middlebrook draws on her experience as both teacher and poet to show us how to read even difficult modern poems with pleasure. She analyzes the work of a number of poets and also discusses some of her own poems, showing how the creative process unfolds.
This edition of his works, with Introduction, Notes, Comments, and Bibliography, includes all Browne's major pieces and selections from his minor papers and letters. The Notes are designed to help the student understand Browne's references, and the Introduction provides an account of his life and an analysis of his baroque style against the background of seventeenth-century literature.
Government regulation of the railroads is probably the most important example of federal intervention in the economy from the Civil War to World War I. It is also a key to an assessment of the impulses and motives behind Progressivism. In Railroads and Regulation, Gabriel Kolko presents a case study of the relationship of the economy to the political process in the United States during the years from 1877 to 1916.The author discusses the extent to which the railroad industry encouraged and relied on national political solutions--such as the creation of the first significant federal regulatory agency, the Interstate Commerce Commission, in 1887--to its economic problems. He shows how this reliance created a pattern of interdependence between economic and political power that set a precedent for government regulation of the economy in the twentieth century. Drawing on new material and manuscript sources, Dr. Kolko describes the roles of the railroad men in the movement for federal regulation. The attitudes of the railroads toward regulation are placed in the broader context of the determination of governmental economic policies--policies frequently formulated in response to railroad pressure.Dr. Kolko traces the continuity in governmental regulation between 1877 and 1900 and during the administration of Roosevelt, Taft, and Wilson, with fresh material of Progressive leaders in the period from 1910 to 1916. He analyzes the origin of each major federal railroad act and the contending forces trying to shape the legislation, and gives an illuminating discussion of the relationship of the state and federal regulation.Railroads and Regulation, 1877-1916 was awarded the Transportation History Prize of the Organization of American Historians.
Some of the criticism was bitter and some ridiculous (one critic wrote, "Manet, who ought not to have forgotten the panic caused by his black cat in Olympia, has borrowed a parrot from his friend Courbet and placed it on a perch beside a young lady in a pink dressing gown. These realists are capable of anything!"), some knowledgeable and some not. Mr. Hamilton's book assesses the range of these reactions, and the result is an illuminating study of the relation of Manet's painting and its principles to the contemporary practices of 19th-century French art.
The Free Corps Movement had its origins in the pre-war youth movement and on the battlefields of the war. The returning soldiers, embittered by defeat, believing themselves betrayed by a cowardly government, and psychologically incapable of demobilizing, formed into volunteer bands throughout Germany. These groups, immensely powerful by 1919, were hired by the newly established Weimar Republic to fight against the Communists. They fought for the Republic (which they despised) from Munich to Berlin, from Düsseldorf to the Baltic. When the Republic tried to disband them, they went underground until they emerged in Hitler's Germany.The savage actions and warped ideology of the men whom Hermann Goering called "the first soldiers of the Third Reich" are revealed in this book by contemporary newspaper accounts, government documents, and previously untranslated memoirs of the Free Corp fighters themselves. With this material, Mr. Waite substantiates the thesis that National Socialism began in the months and years immediately following World War I, and that the history of the Free Corps Movement--its ideas, attitudes, and organization--is an indispensable part of Germany's history in the inter-war period and the Second World War.
Discusses the symbols, values, and beliefs that influence individual roles and relationships and relates them to conscious and unconscious experiences.
With more than 600 illustrations, this book interprets vernacular architecture as it emerged with the industrialization of building materials. It provides an overview of building and plan types for houses, commercial buildings, and churches, explaining the development of key design elements and how they have been incorporated into American architecture.
From outdoor sculpture in public plazas and landscapes to murals and works of art in lobbies accessible to the public, this book focuses on how exemplary works of public art enrich urban public space. Sponsored by the Municipal Art Society, Public Art New York is organized by neighborhood, with maps suitable for walking tours.
In Walk Together, Talk Together, Katharine Kinkead has written an informative and moving book about the AFS exchange program and its diversified operations.
"This is an insightful, tenderly written autobiography by one of the early mothers of Psychoanalysis. Born in Poland in 1884, Deutsch was a close student of Sigmund Freud: ironically she has been considered 'more Freudian than Freud.'"--
Penelope becomes the victim of a cruel hoax. Ferneydale, now a rich novelist, once proposed to her, but she turned him down. He married Sophie, although he had a string of mistresses and young boys. Penelope married Caspar, but he is withdrawn, scholarly, boring, and unsuccessful. There are many twists to this tale, not least the final surprise.
Agha Shahid Ali died in 2001, mourned by myriad lovers of poetry and devoted students. This volume, his shining legacy, moves from playful early poems to themes of mourning and loss, culminating in the ghazals of Call Me Ishmael Tonight. The title poem appears in print for the first time.from "The Veiled Suite"I wait for him to look straight into my eyesThis is our only chance for magnificence.If he, carefully, upon this hour of ice,will let us almost completely crystallize,tell me, who but I could chill his dreaming night.Where he turns, what will not appear but my eyes?Wherever he looks, the sky is only eyes.Whatever news he has, it is of the sea.
António Lobo Antunes's sole ambition from the age of seven was to be a writer. Here, in The Fat Man and Infinity, "the heir to Conrad and Faulkner" (George Steiner) reflects on the fractured paradise of his childhood-the world of prim, hypocritical, class-riven Lisbon in midcentury. His Proust-like memoirs, written over thirty years in chronicle form, pass through the filter of an adult who has known war and pain, and bear witness to the people whom he loved and who have gone into the dark. Stunningly translated by Margaret Jull Costa, in prose that glides like poetry, this is a modern-day chronicle of Portugal's imperfect past and arresting present, seen through the eyes of a master fiction writer, one on a short list to win a Nobel Prize. Readers particularly touched by Frank McCourt's Angela's Ashes will be drawn to this journey into the heart of one of our greatest living writers.
Prenumerera på vårt nyhetsbrev för att få fantastiska erbjudanden och inspiration för din nästa läsning.
Genom att registrera dig accepterar du vår personuppgiftspolicy.
