His account, in which he shows how Germans set out to "conquer" that most fundamental natural element, water, brings together politics, culture, economics, and ecology in a daring work of total history.

    With its earliest invention, the mirror allowed us to gaze upon ourselves, bestowing a power both fascinating and terrifying.

    Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.

    They "fell into the habit of taking long strolls through the city, strolls on which Kafka seems to have said many amazing, incisive, literary, and personal things to...the teenage Boswell of Prague." For instance: "Life is infinitely great and profound as the immensity of the stars above us. One can only look at it through the narrow keyhole of one's personal experience. But through it one perceives more than one can see. So above all one must keep the keyhole clean."They discuss writing, of course Kafka's own works, but also his favorite writers, such as Edgar Allan Poe and Arthur Rimbaud, who "transforms vowels into colors." Other topics, as summarized by Prose, include "technology, film, photography, crime, money, Darwinism, Chinese philosophy, street fights, insomnia, Hindu scripture, suicide, art and prayer."

    Visitors came to see not only a magnificent sporting event, but also a showcase for the rebuilt Germany. No effort was spared to present the 3rd Reich as the world's newest power. Swastikas fluttered next to Olympic rings from freshly painted buildings. Butter was hoarded weeks in advance to conceal shortages. There was a pause in the implementation of anti-Semitic measures. But beneath the surface, the 11th Olympiad came to act as a crucible for the political forces that were gathering to threaten the world. The '36 Olympics were the most political sporting event of the last century. Far from being a mere meeting of sportspersons, it was a clash between barbarism & civilization. Berlin Games is the history of those two August weeks foreshadowing the coming conflict. It's the story of athletes. It's also a tale of the Nazi machine that attempted to use the Games as a model of Aryan superiority & fascist efficiency. Furthermore, it's an indictment of the manipulative figures—politicians, diplomats & Olympic officials—who vied for power & glory in different sorts of games whose results would have profound consequences for the world. Drawing on original research & interviews with surviving participants, Walters has produced a history filled with intrigue, sport, sex & infamy--a record of a time that haunts us to this day.IllustrationsPrefaceAuthor's NoteSporting Spirit'A party in such a house may not be a pleasant experience'A Winter Warm-up On Their Marks Getting Set Iberian InterludeGoing There The Opening The First Week In the Sight of the Heathen The Second Week The LegacyPostscriptAcknowledgmentsNotesBibliographyIndex

    "Are the German people guilty?" These lectures by Karl Jaspers, an outstanding European philosopher, attracted wide attention among German intellectuals and students; they seemed to offer a path to sanity and morality in a disordered world.Jaspers, a life-long liberal, attempted in this book to discuss rationally a problem that had thus far evoked only heat and fury. Neither an evasive apology nor a wholesome condemnation, his book distinguished between types of guilt and degrees of responsibility. He listed four categories of guilt: criminal guilt (the commitment of overt acts), political guilt (the degree of political acquiescence in the Nazi regime), moral guilt (a matter of private judgment among one's friends), and metaphysical guilt (a universally shared responsibility of those who chose to remain alive rather than die in protest against Nazi atrocities). Karl Jaspers (1883-1969) took his degree in medicine but soon became interested in psychiatry. He is the author of a standard work of psychopathology, as well as special studies on Strindberg, Van Gogh and Nietsche. After World War I he became Professor of Philosophy at Heidelberg, where he achieved fame as a brilliant teacher and an early exponent of existentialism. He was among the first to acquaint German readers with the works of Kierkegaard.Jaspers had to resign from his post in 1935. From the total isolation into which the Hitler regime forced him, Jaspers returned in 1945 to a position of central intellectual leadership of the younger liberal elements of Germany. In his first lecture in 1945, he forcefully reminded his audience of the fate of the German Jews. Jaspers's unblemished record as an anti-Nazi, as well as his sentient mind, have made him a rallying point center for those of his compatriots who wish to reconstruct a free and democratic Germany.

    Answering the charge that Jews should have left earlier, Kaplan shows that far from seeming inevitable, the Holocaust was impossible to foresee precisely because Nazi repression occurred in irregular and unpredictable steps until the massive violence of Novemer 1938. Then the flow of emigration turned into a torrent, only to be stopped by the war. By that time Jews had been evicted from their homes, robbed of their possessions and their livelihoods, shunned by their former friends, persecuted by their neighbors, and driven into forced labor. For those trapped in Germany, mere survival became a nightmare of increasingly desperate options. Many took their own lives to retain at least some dignity in death; others went underground and endured the fears of nightly bombings and the even greater terror of being discovered by the Nazis. Most were murdered. All were pressed to the limit of human endurance and human loneliness.Focusing on the fate of families and particularly women's experience, Between Dignity and Despair takes us into the neighborhoods, into the kitchens, shops, and schools, to give us the shape and texture, the very feel of what it was like to be a Jew in Nazi Germany.

    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).

    Drawing on research he and other historians have done in recent years, he offers fresh opinions on such basic issues as how to define and explain the Holocaust; whether it can be compared with other genocides; how Jews reacted to the murder campaign against them; and what the relationship is between the Holocaust and the establishment of Israel.The Holocaust says something terribly important about humanity, says Bauer. He analyzes explanations of the Holocaust by Zygmunt Bauman, Jeffrey Herf, Goetz Aly, Daniel Goldhagen, John Weiss, and Saul Friedländer and then offers his own interpretation of how the Holocaust could occur. Providing fascinating narratives as examples, he deals with reactions of Jewish men and women during the Holocaust and tells of several attempts at rescue operations. He also explores Jewish theology of the Holocaust, arguing that our view of the Holocaust should not be clouded by mysticism: it was an action by humans against other humans and is therefore an explicable event that we can prevent from recurring.

    In these writings he investigates human progress, civilization, morality and why, to be truly enlightened, we must all have the freedom and courage to use our own intellect. Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.

    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.

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    After the unification of Germany in 1990 many East Germans remembered their lives as interesting, varied, and full of educational, career, and leisure opportunities: in many ways “perfectly ordinary lives.”Using the rich resources of the newly-opened GDR archives, Mary Fulbrook investigates these conflicting narratives. She explores the transformation of East German society from the ruins of Hitler’s Third Reich to a modernizing industrial state. She examines changing conceptions of normality within an authoritarian political system, and provides extraordinary insights into the ways in which individuals perceived their rights and actively sought to shape their own lives.Replacing the simplistic black-and-white concept of “totalitarianism” by the notion of a “participatory dictatorship,” this book seeks to reinstate the East German people as actors in their own history.

    Punk rock was a life-changing discovery. The buzz-saw guitars, the messed-up clothing and hair, the rejection of society and the DIY approach to building a new one: in their gray surroundings, where everyone’s future was preordained by some communist apparatchik, punk represented a revolutionary philosophy—quite literally, as it turned out. But as these young kids tried to form bands and became more visible, security forces—including the dreaded secret police, the Stasi—targeted them. They were spied on by friends and even members of their own families; they were expelled from schools and fired from jobs; they were beaten by police and imprisoned. Instead of conforming, the punks fought back, playing an indispensable role in the underground movements that helped bring down the Berlin Wall. This secret history of East German punk rock is not just about the music; it is a story of extraordinary bravery in the face of one of the most oppressive regimes in history. Rollicking, cinematic, deeply researched, highly readable, and thrillingly topical, BurningDown the Haus brings to life the young men and women who successfully fought authoritarianism three chords at a time—and is a fiery testament to the irrepressible spirit of revolution.

    Anne-Marie O'Connor, writer for the Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron. The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered "degenerate” in a society that believed women being out in the world went against their feminine "nature"). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her-simple pencil drawings on thin manila paper. And O'Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours. She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers' grand palais; of the Austrian government putting the painting on display, stripping Adele's Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, "The Lady in Gold" and proudly exhibited it in Vienna's Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution. The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine. We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court's decision had profound ramifications in the art world. In this book listeners will find riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, The Lady in Gold-the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.