It is true that they pillaged, looted, and enslaved. But they also settled peacefully and traveled far from their homelands in swift and sturdy ships to explore. The Age of the Vikings tells the full story of this exciting period in history. Drawing on a wealth of written, visual, and archaeological evidence, Anders Winroth captures the innovation and pure daring of the Vikings without glossing over their destructive heritage. He not only explains the Viking attacks, but also looks at Viking endeavors in commerce, politics, discovery, and colonization, and reveals how Viking arts, literature, and religious thought evolved in ways unequaled in the rest of Europe. The Age of the Vikings sheds new light on the complex society, culture, and legacy of these legendary seafarers.

    Written for a generation presented with challenges of terrible proportions--the Industrial, American, and French Revolutions, to name the most obvious--Burke's Reflections of the Revolution in France displays an acute awareness of how high political stakes can be, as well as a keen ability to set contemporary problems within a wider context of political theory.

    He saw that Mediterranean history, under Rome's influence, was becoming an organic whole, so he starts his work in 264 B.C. with the beginning of Rome's clash with African Carthage, the rival imperialist power, andends with the final destruction of Carthage in 146 B.C.

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    A landmark book from one of the original scholars of our time: a magnificent revelation of turn-of-the-century Vienna where out of a crisis of political & social disintegration so much of modern art & thought was born.This edition contains:IllustrationsAcknowledgmentsIntroductionPolitics & the psyche: Schnitzler & HoffmannsthalThe Ringstrasse, its critics & the birth of urban modernismPolitics in a new key: an Austrian trioPolitics & patricide in Freud's Interpretation of dreamsGustav Klimt: painting & the crisis of the liberal egoThe transformation of the garden Explosion in the garden: Kokoschka & SchoenbergIndex

    We see the relentless propaganda, the cut-throat politics, the brutality and repression that lay behind the appearance of unchanging monarchy.

    In Writing History, Writing Trauma, Dominick LaCapra provides a broad-ranging, critical inquiry into the problem of trauma, notably with respect to major historical events. In a series of interlocking essays, he explores theoretical and literary-critical attempts to come to terms with trauma as well as the crucial role post-traumatic testimonies—particularly Holocaust testimonies—have assumed in recent thought and writing. In doing so, he adapts psychoanalytic concepts to historical analysis and employs sociocultural and political critique to elucidate trauma and its after effects in culture and in people.In the first chapter LaCapra addresses trauma from the perspective of history as a discipline. He then lays a theoretical groundwork for the book as a whole, exploring the concept of historical specificity and insisting on the difference between transhistorical and historical trauma. Subsequent chapters consider how Holocaust testimonies raise the problem of the role of affect and empathy in historical understanding, and respond to the debates surrounding Daniel Jonah Goldhagen's book Hitler's Willing Executioners: Ordinary Germans and the Holocaust. The book's concluding essay, "Writing (About) Trauma," examines the various ways that the voice of trauma emerges in written and oral accounts of historical events. Theoretically ambitious and historically informed, Writing History, Writing Trauma is an important contribution from one of today's foremost experts on trauma.

    Xenophon continues the account to 362 B.C. These years saw Athens humbled by Sparta; Sparta humbled by Athens and her former ally, Thebes; Athens ground down again by the military genius of the Theban Epaminondas, taking on both Athens and Sparta; and behind the scenes the might of Persia, intervening now on one side, now on another.Xenophon himself knew many of the protagonists and his writing is personal history as well as a chronicle of events; he vividly portrays individuals, heroic and treacherous, influencing politics and battles and leading Greece inevitably towards impotence.

    Yet ideas of what it is, and what it isn't, have a long and contested history, from its fraught origins in republican Rome to debates in early modern Europe to our present day. Defining the term is acutely political, for ideas about what makes a war "civil" often depend on whether one is a ruler or a rebel, victor or vanquished, sufferer or outsider. Calling a conflict a civil war can shape its outcome by determining whether outside powers choose to get involved or stand aside: from the American Revolution to the war in Iraq, pivotal decisions have depended on such shifts of perspective.The age of civil war in the West may be over, but elsewhere in the last two decades it has exploded--from the Balkans to Rwanda, Burundi, Somalia, and Sri Lanka, and most recently Syria. And the language of civil war has burgeoned as democratic politics has become more violently fought. This book's unique perspective on the roots and dynamics of civil war, and on its shaping force in our conflict-ridden world, will be essential to the ongoing effort to grapple with this seemingly interminable problem.

    In 73 B.C., in the heart of Rome’s Mediterranean empire, a slave named Spartacus ignited one of the most violent episodes of slave resistance in the history of the Roman Empire — indeed in the world annals of slavery. Organizing 80 original Greek and Latin source translations into topical chapters on the daily life of slaves trained as gladiators and those who labored on farms in Italy and Sicily, Shaw includes accounts of revolts that preceded and anticipated that of Spartacus. In a carefully crafted introductory essay, Shaw places Spartacus in the broader context of first and second century B.C. Roman Italy and Sicily and explains why his story continues to be a popular symbol of rebellion today. The volume also includes a glossary, chronology, selected bibliography, 3 maps, an annotated list of ancient writers, and questions for consideration.

    In it, we follow them from sixth-century Alexandria to ninth-century Baghdad, from Muslim Cordoba to Catholic Toledo, from Salerno’s medieval medical school to Palermo, capital of Sicily’s vibrant mix of cultures and – finally – to Venice, where that great merchant city’s printing presses would enable Euclid’s geometry, Ptolemy’s system of the stars and Galen’s vast body of writings on medicine to spread even more widely. In tracing these fragile strands of knowledge from century to century, from east to west and north to south, Moller also reveals the web of connections between the Islamic world and Christendom, connections that would both preserve and transform astronomy, mathematics and medicine from the early Middle Ages to the Renaissance. Vividly told and with a dazzling cast of characters, The Map of Knowledge is an evocative, nuanced and vibrant account of our common intellectual heritage.

    Unforgettable stories from the England of Chaucer, Shakespeare, and beyond-the rich second volume of great tales by a master of British popular history.

     Burke begins by providing a discussion of the 'classic' phase of cultural history, associated with Jacob Burckhardt and Johan Huizinga, and of the Marxist reaction, from Frederick Antal to Edward Thompson. He then charts the rise of cultural history in more recent times, concentrating on the work of the last generation, often described as the 'New Cultural History'. He places cultural history in its own cultural context, noting links between new approaches to historical thought and writing and the rise of feminism, postcolonial studies and an everyday discourse in which the idea of culture plays an increasingly important part. What is Cultural History? will be an essential textbook for all students of history as well as those taking courses in cultural, anthropological and literary studies.

    Beginning his epic study with Baudelaire, whose lurid poetry scandalized French stalwarts, Gay traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York. A work unique in its breadth and brilliance, Modernism presents a thrilling pageant of heretics that includes (among others) Oscar Wilde, Pablo Picasso, and D. W. Griffiths; James Joyce, Virginia Woolf, and T. S. Eliot; Walter Gropius, Arnold Schoenberg, and (of course!) Andy Warhol. Finally, Gay examines the hostility of totalitarian regimes to modernist freedom and the role of Pop Art in sounding the death knell of a movement that dominated Western culture for 120 years. Lavishly illustrated, Modernism is a superlative achievement by one of our greatest historians.

    and A.D. 800, from the rise of Mycenaean civilization to the fall of Ravenna and the collapse of the Western Roman Empire. John Warry tells of an age of great military commanders such as Alexander the Great, Hannibal, and Julius Caesar - men whose feats of generalship still provide material for discussion and admiration in the military academies of the world.The text is complemented by a running chronology, 16 maps, 50 newly researched battle plans and tactical diagrams, and 125 photographs, 65 of them in color.