Now living in New York City among old friends, far from Europe's chilling atrocities, Ross soon meets Natasha, a beautiful model and fellow migre, a warm heart to help him forget his cold memories.Yet even as the war draws to its violent close, Ross cannot find peace. Demons still pursue him. Whether they are ghosts from the past or the guilt of surviving, he does not know. For he is only beginning to understand that freedom is far from easy--and that paradise, however perfect, has a price. . . .

    Plunging toward its riveting finale, Malina brutally lays bare the struggle for love and the limits of discourse between women and men.

    Instead of getting bogged down in idealized rules,Professor Durrell focuses on how Germans really speak. Included are clear and concise explanations, many examples from everyday life, and comprehensive cross-referencing and indexing.

    A state which contributed so much to European civilization, Prussia only existed as an independent power for 170 years. Haffner, a Prussian by birth, reassesses the legend and tells the short but dramatic history of this unique state. He casts fresh light on its foundation, its struggle to become a great power in the eighteenth century, its important role as one of the Three Black Eagles with Austria and Russia, and its eventual disappearance from the map of Europe after the establishment of the German Empire.

     Theo Aronson's The Kaisers is the story of six people whose bitter differences were a microcosm of, and greatly influenced, a national conflict which echoed all round the world. Kaiser Wilhelm I, born 1797, King of Prussia 1861, proclaimed Emperor of all Germany 1871, died only in 1888 an autocratic, militaristic man of the eighteenth century completely opposed to the liberalizing ideas which swept Europe in his lifetime. In contrast his Empress, Augusta, was progressive in thought, open-minded in outlook, yet with all had a taste for the theatrical and pageantry of her royal status. The best of her was seen in their son, Kaiser Frederick III, who was Crown Prince for all but the last few cancer-torn weeks of his life. He personified the best of European liberalism of the nineteenth century. In this he was supported—many said unduly influenced by his energetic and vivacious English wife Victoria, Queen Victoria's eldest and 'Dearest Child', who brought to the marriage the enlightened ideals and hopes of her shrewd, practical mother and her far-seeing father, the Prince Consort. The tragedy, the tempting speculation of Germany's history, is that this couple reigned for only three months before Frederick III's death brought their son to the throne. Kaiser Wilhelm II, 'Kaiser Bill' of the first World War, was again the antithesis of everything his parents stood for. Queen Victoria's hopes that her grandson might be 'wise, sensible, courageous — liberal-minded — good and pure', could hardly have been more misplaced. The sixth, the dominating figure in the Hohenzollern story, is Prince Otto von Bismarck, the ruthless 'Iron Chancellor', virtual dictator of Germany for nearly thirty years. He served all three Kaisers, claiming with justification that on his shoulders he had carried the first to the Imperial throne—where he manipulated him to his will despite the hatred and manoeuvrings of the Empress Augusta. He feared the reign of the short-lived second Kaiser and feared more perhaps (and never missed an opportunity to disparage) the Empress Victoria and the constant, commonsense influence from England of her mother. (`That', he said ruefully after their one meeting, 'was a woman ! One could do business with her ! ') Their son he flattered, siding with him against his parents, and in so doing brought about his own downfall, when the vainglorious young man he had schooled as Crown Prince came as Kaiser to believe that he could do without his mentor. But for Europe it was too late, and the policies of one and the vanities of the other were already leading Europe helter-skelter into the holocaust of 'the Kaiser's War'. Theo Aronson's gifts as a writer have deservedly brought him high regard as a chronicler of the complex histories of Europe's great ruling Houses. Rarely have his talents been better employed than in this study of the comet-like rise and fall of the House of Hohenzollern, the House of the Kaisers of Germany. It is a story of bitter, almost continual conflict, yet even in what can now be seen as a path to inevitable destruction Mr. Aronson finds passages of light and shade that show the Hohenzollerns not simply as Wagnerian puppets posturing on a vast European stage, but people deserving of our understanding and compassion.

    At the time of the Thirty Years War, Albrecht von Wallenstein became the supreme commander of the armies of the Habsburg Monarchy and became one of Europe's most powerful princes and one of the most important figures to emerge from the turmoil of the Thirty Years War.

    Library of Congress catalog card number 79-169172

    

    That policy, as determined by Adolf Hitler, is analyzed on the basis of comprehensive research in German, British and American archives.

    Nearly 250 of the most important ones appear here, modeled by their most typical wearers. The paintings -- based on contemporary photographs for accuracy-depict all the primary styles ptive sections explain each uniform's place in the hierarchy, the battle roles of the wearer, and a fascinating range of detail.

    Many of its most important ideas are revealed in Bauhaus writings about theatrical performance and performance spaces. Originally published in Germany in 1925--at the height of the Bauhaus movement's influence--The Theater of the Bauhaus collects writings from some of the movement's most important figures and describes a theater stripped of history, moralism, scenery, and, for that matter, narrative itself. The Bauhaus group believed traditional theater to be little more than a vehicle for propaganda, with its "peep show stage" separating spectators from performers. They rejected as well the theater of ridicule and satire practiced by the Dadaists and Expressionists.In place of both traditional drama and the avant-garde that lampooned it, Oskar Schlemmer and his Bauhaus associates created an abstract theater of movement, color, light, form, and soundlanguage would be added later, once the stage had been purged of its "literary encumbrance." They believed that humanity's essential nature--freed from history, tradition, class, and nationality--would find expression in theatrical works that incorporated pantomime, masks, dance, and acrobatics.

    Reissued in uniform series design, the reissues will enable libraries, scholars, and students to gain fresh access to some of the finest scholarship of the last century.