Bernhard Schlink explores the phenomenon of guilt and how it attaches to a whole society, not just to individual perpetrators. He considers how to use the lesson of history to motivate individual moral behavior, how to reconcile a guilt-laden past, how the role of law functions in this process, and how the theme of guilt influences his own fiction. Based on the Weidenfeld Lectures he delivered at Oxford University, Guilt About the Past is essential reading for anyone wanting to understand how events of the past can affect a nation's future. Written in Bernhard Schlink's eloquent but accessible style, it taps in to worldwide interest in the aftermath of war and how to forgive and reconcile the various legacies of the past.

    It’s the story of a newly undivided Berlin when protest and punk rock, bohemia and direct democracy, techno and free theater were the order of the day.In a story stocked with fascinating characters from Berlin’s highly politicized undergrounds—including playwright Heiner Müller, cult figure Blixa Bargeld of the industrial band Einstürzende Neubauten, the internationally known French Wall artist Thierry Noir, the American multimedia artist Danielle de Picciotto (founder of Love Parade), and David Bowie during his Ziggy Stardust incarnation—Hockenos argues that the DIY energy and raw urban vibe of the early 1990s shaped the new Berlin and still pulses through the city today.Just as Mike Davis captured Los Angeles in his City of Quartz, Berlin Calling is a unique account of how Berlin became hip, and of why it continues to attract creative types from the world over.

    Ricoeur first takes a phenomenological approach to memory and mnemonical devices. The underlying question here is how a memory of present can be of something absent, the past. The second section addresses recent work by historians by reopening the question of the nature and truth of historical knowledge. Ricoeur explores whether historians, who can write a history of memory, can truly break with all dependence on memory, including memories that resist representation. The third and final section is a profound meditation on the necessity of forgetting as a condition for the possibility of remembering, and whether there can be something like happy forgetting in parallel to happy memory. Throughout the book there are careful and close readings of the texts of Aristotle and Plato, of Descartes and Kant, and of Halbwachs and Pierre Nora.A momentous achievement in the career of one of the most significant philosophers of our age, Memory, History, Forgetting provides the crucial link between Ricoeur's Time and Narrative and Oneself as Another and his recent reflections on ethics and the problems of responsibility and representation.“His success in revealing the internal relations between recalling and forgetting, and how this dynamic becomes problematic in light of events once present but now past, will inspire academic dialogue and response but also holds great appeal to educated general readers in search of both method for and insight from considering the ethical ramifications of modern events. . . . It is indeed a master work, not only in Ricoeur’s own vita but also in contemporary European philosophy.”—Library Journal “Ricoeur writes the best kind of philosophy—critical, economical, and clear.”— New York Times Book Review

    Here, she approaches a similar theme in Eastern Europe after the fall of Communism, telling a series of riveting human stories to illuminate the paradox that rabid anti-Communism at times resembles Communism. In the Czech Republic, Slovakia, Poland and the former East Germany, she talks to erstwhile dissidents now victimized because they are named in old police registers; to low-level agents accused of crimes that were not crimes when committed; and to high officials who now run things just like before. She convincingly suggests that the best antidote to Communism may be, not revenge, but "tolerance and the rule of law."

    Gropius traces the rise of the New Architecture and the work of the now famous Bauhaus and, with splendid clarity, calls for a new artist and architect educated to new materials and techniques and directly confronting the requirements of the age.

    At the centre of the dramatic events stands the majestic figure of the Emperor Franz Josef, facing the tragedies of his disastrous marriage and the suicide of his only son, and doggedly resisting the ruin of his inheritance. In a sweeping panorama of Vienna, Imperial Russia, Napolean's France, Bismark's Prussia and Cavour's Italy, Crankshaw portrays the political and military intricacies, the statesman, soldiers and common people, and examines the ambitions and disillusionment that broke the Empire and forged the destiny of the twentieth century.

    Erikson brings his insights on human development and the identity crisis to bear on the prominent figure of the Protestant Reformation, Martin Luther.

    In this magisterial book, Hans Belting traces the longhistory of the sacral image and its changing role in European culture.Likeness and Presence looks at the beliefs, superstitions, hopes,and fears that come into play as people handle and respond to sacredimages, and presents a compelling interpretation of the place of theimage in Western history."A rarity within its genre—an art-historical analysis of iconographywhich is itself iconoclastic. . . . One of the most intellectuallyexciting and historically grounded interpretations of Christianiconography." —Graham Howes, Times Literary Supplement"Likeness and Presence offers the best source to survey the facts ofwhat European Christians put in their churches. . . . An impressivelydetailed contextual analysis of medieval objects." —Robin Cormack,New York Times Book Review"I cannot begin to describe the richness or the imaginative grandeur ofHans Belting's book. . . . It is a work that anyone interested in art,or in the history of thought about art, should regard as urgent reading.It is a tremendous achievement."—Arthur C. Danto, New Republic

     For more Information please visit: http://1888novel.blogspot.co.uk/PLEASE NOTE: As of January 2nd, 2013, this book has been comprehensively edited and proofread to address some of the concerns that have been raised in the reviews below.

    He ruled the German kingdom of Bavaria for twenty-two years, inspiring his people by his support for the arts. And yet, "Mad King Ludwig" rarely appeared in the capital or attended any government functions. He slept most of the day and stayed awake all night. He dined with his horse and waved pistols at servants. He created a fantasy world inside his castles, complete with caves and trap-door tables. To this day, no one is sure exactly what caused his untimely death in a lake. Who was this man: fairy tale king? Insane eccentric? Mad King Ludwig's life followed many twists and turns on its way to Not So Happily Ever After. The book's intended audience is young adults, but it is perfect for adults wanting to learn more about Ludwig also.

    In this volume his finest writings on modern society make their long-awaited appearance in English.This book is a celebration of the masses--their tastes, amusements, and everyday lives. Taking up themes of modernity, such as isolation and alienation, urban culture, and the relation between the group and the individual, Kracauer explores a kaleidoscope of topics: shopping arcades, the cinema, bestsellers and their readers, photography, dance, hotel lobbies, Kafka, the Bible, and boredom. For Kracauer, the most revelatory facets of modern life in the West lie on the surface, in the ephemeral and the marginal. Of special fascination to him is the United States, where he eventually settled after fleeing Germany and whose culture he sees as defined almost exclusively by "the ostentatious display of surface."With these essays, written in the 1920s and early 1930s and edited by the author in 1963, Kracauer was the first to demonstrate that studying the everyday world of the masses can bring great rewards. The Mass Ornament today remains a refreshing tribute to popular culture, and its impressively interdisciplinary essays continue to shed light not only on Kracauer's later work but also on the ideas of the Frankfurt School, the genealogy of film theory and cultural studies, Weimar cultural politics, and, not least, the exigencies of intellectual exile.In his introduction, Thomas Levin situates Kracauer in a turbulent age, illuminates the forces that influenced him--including his friendships with Walter Benjamin, Theodor Adorno, and other Weimar intellectuals--and provides the context necessary for understanding his ideas. Until now, Kracauer has been known primarily for his writings on the cinema. This volume brings us the full scope of his gifts as one of the most wide-ranging and penetrating interpreters of modern life.

    Aries traces the evolution of the concept of childhood from the end of the Middle Ages, when the child was regarded as a small adult, to the present child-centered society, by means of diaries, paintings, games, and school curricula.Ironically, he finds that individualism, far from triumphing in our time, has been held in check by the family, and that the increasing power of the tightly-knit family circle has flourished at the expense of the rich-textured communal society of earlier times. Translated from the French by Robert Baldick.

    In a series of nuanced mediations on the nature of colonial documents from the nineteenth-century Netherlands Indies, Ann Laura Stoler identifies the social epistemologies that guided perception and practice, revealing the problematic racial ontologies of that confused epistemic space.Navigating familiar and extraordinary paths through the lettered lives of those who ruled, she seizes on moments when common sense failed and prevailing categories no longer seemed to work. She asks not what colonial agents knew, but what happened when what they thought they knew they found they did not. Rejecting the notion that archival labor be approached as an extractive enterprise, Stoler sets her sights on archival production as a consequential act of governance, as a field of force with violent effect, and not least as a vivid space to do ethnography.

    Describes events following Napoleon's return from Elba leading up to the Battle of Waterloo, and provides a detailed chronicle of the Waterloo campaign, with maps providing a visual presentation of troop movements.

    He was the chief architect of the Third Reich and Adolf Hitler's confidant. Speer built the "Reichskanzlei" (official offices), discovered the "Lightdome" and was finally, in 1942, named as the minister for arms. But he characterised himself as apolitical, called Hitler's hatred of Jews an anomaly, and the conspirators of the 20th July placed Speer's name on their cabinet list. Here at last are the memoirs of the mysterious Albert Speer, the "good Nazi" Joachim Fest's records of conversations with Speer provide a fascinating insight into the psyche of Hitler's architect This book is a vital contribution towards the understanding of the psychology of the national socialist leadership Fest has created a volume that provides a unique portrait of a member of the Nazi party until now clouded in mystery