In his introductory essay, John Cooper explains the presentation of these works, discusses questions concerning the chronology of their composition, comments on the dialogue form in which Plato wrote, and offers guidance on approaching the reading and study of Plato's works.Also included are concise introductions by Cooper and Hutchinson to each translation, meticulous annotation designed to serve both scholar and general reader, and a comprehensive index. This handsome volume offers fine paper and a high-quality Smyth-sewn cloth binding in a sturdy, elegant edition.

    In the middle of building an atomic bomb, the leaders of the Manhattan Project were alarmed to learn that Nazi Germany was far outpacing the Allies in nuclear weapons research. Hitler, with just a few pounds of uranium, would have the capability to reverse the entire D-Day operation and conquer Europe. So they assembled a rough and motley crew of geniuses - dubbed the Alsos Mission - and sent them careening into Axis territory to spy on, sabotage, and even assassinate members of Nazi Germany's feared Uranium Club.

    In it, Thoreau argues that individuals should not permit governments to overrule or atrophy their consciences, and that they have a duty to avoid allowing such acquiescence to enable the government to make them the agents of injustice. Thoreau was motivated in part by his disgust with slavery and the Mexican–American War (1846–1848).

    A starling reassessment of Hitler's aims and motivations, Frederic Spotts' Hitler and the Power of Aesthetics is an adroitly argued and highly original work that provides a key to fuller understanding of the Third Reich. Spotts convincingly demonstrates that contrary to the traditional view that Hitler had no life outside of politics, Hitler's interest in the arts was as intense as his racism-and that he used the arts to disguise the heinous crimes that were the means to fulfilling his ends. Hitler's vision of the Aryan superstate was to be expressed as much in art as in politics: culture was not only the end to which power should aspire, but the means of achieving it. Filled with evocative photographs and reproductions from Hitler's 1925 sketchbook, "Spotts's study of the Fuhrer's fascination with architecture, painting, sculpture, and music is ...elegantly composed and richly documented" (The New Yorker).

    It aims to recapture the concerns, anxieties and prejudices of the statesmen of the 30s and the people they led.

    Many women in German high society were fascinated by Adolf Hitler and helped him to achieve political power, while women like filmmaker Leni Riefenstahl were fueling Hitler's propaganda machine. The private lives of Hitler's assistants' wives are also explored-revealing Magda Goebbels's complicity in the murder of her six children in 1945, Carin and Emmy Gring's relations with their morphine-addicted husbands, and the knowledge that Margaret Himmler had of her husband's actions as leader of the SS.

    It is an unforgettable story of survival and a disarming look at the legacy of trauma.

    It can offer examples to inform our decisions and guesses about the consequences of our actions. But we should be wary of looking to history for dogmatic lessons.We should distrust those who abuse history when they call on it to justify unreasonable claims to land, for example, or restitution. MacMillan illustrates how dangerous history can be in the hands of nationalistic or religious or ethnic leaders who use it to foster a sense of grievance and a desire for revenge.

    "Keegan is at once the most readable and the most original of living military historians . . . A History of Warfare is perhaps the most remarkable study of warfare that has yet been written."--The New York Times Book Review.

    NBC News calls it, "A historical document of major significance." The focus is on Sir William Stephenson, Britain's urbane spy chief who inspired James Bond.

    An extraordinary series of events, fastidiously researched here, saved the city from what Hitler wanted to leave to the Allies "nothing but a field of ruins."

    

    By the end of the war, all but a few hundred of them had died in bombing raids or, more commonly, in death camps. This is the real-life story of some of the few of them - a young mother, a scholar and his countess lover, a black-market jeweler, a fashion designer, a Zionist, an opera-loving merchant, a teen-age orphan - who resourcefully, boldly, defiantly, luckily survived. In hiding or in masquerade, by their wits and sometimes with the aid of conscience-stricken German gentiles, they survived. They survived the constant threat of discovery by the Nazi authorities or by the sinister handful of turncoat Jewish "catchers" who would send them to the gas chambers. They survived to tell this tale, which reads like a thriller and triumphs like a miracle.

    Postwar is the first modern history that covers all of Europe, both east and west, drawing on research in six languages to sweep readers through thirty-four nations and sixty years of political and cultural change-all in one integrated, enthralling narrative. Both intellectually ambitious and compelling to read, thrilling in its scope and delightful in its small details, Postwar is a rare joy.Finalist for the Pulitzer PrizeWinner of the Council on Foreign Relations Arthur Ross Book AwardOne of the New York Times' Ten Best Books of the Year.Table of contentsAbout the authorCopyright pageDedicationPreface & acknowledgementIntroductionPART ONE - Post-War: 1945-19531. The legacy of war2. Retribution3. The rehabilitation of Europe4. The impossible settlement5. The coming of the Cold War6. Into the whirlwind7. Culture warsCODA The end of old EuropePART TWO - Prosperity and its discontents: 1953-19718. The politics of stability9. Lost illusions10. The age of affluencePOSTSCRIPT: A Tale of two economies11. The Social Democrat moment12. The spectre of revolution13. The end of the affairPART THREE - Recessional: 1971-198914. Diminished expectations15. Politics in a new key16. A time of transition17. The new realism18. The power of the powerless19. The end of the old orderPART FOUR - After the Fall: 1989-200520. A fissile continent21. The reckoning22. The old Europe -and the new23. The varieties of Europe24. Europe as a way of lifePhoto crditsSuggestions for further readings

    The Great War is raging through Europe, and in the ancient, mountainous lands southwest of the Caspian Sea the Turks have begun systematically to exterminate their Christian subjects. Unable to deny his birthright or his people, one man, Gabriel Bagradian—born an Armenian, educated in Paris, married to a Frenchwoman, and an officer doing his duty as a Turkish subject in the Ottoman army—will strive to resist death at the hands of his blood enemy by leading 5,000 Armenian villagers to the top of Musa Dagh, "the mountain of Moses." There, for forty days, in the face of almost certain death, they will suffer the siege of a Turkish army hell-bent on genocide. A passionate warning against the dangers of racism and scapegoating, and prefiguring the ethnic horrors of World War II, this important novel from the early 1930s remains the only significant treatment, in fiction or nonfiction, of the first genocide in the twentieth century's long series of inhumanities. It also continues to be today what the New York Times deemed it in 1933—"a true and thrilling novel ... a story which must rouse the emotions of all human beings." "Musa Dagh gives us a lasting sense of participation in a stirring episode of history.... Magnificent."—The New York Times Book Review "A novel full of the breath, the flesh and blood and bone and spirit of life."—Saturday Review