She loves Henri of Guise, but is married off to Henry of Navarre, which – her mother hopes – will bring peace to the realm. But, within days, the streets of Paris are awash with blood, and Marguerite and her new husband are held hostage by her own family. Can they ever hope to escape alive? In a court rife with murder, jealousy and the hunger for power, it will not be an easy task.

    For novelist and critic Gabriel Josipovici, the contemporary novel in English is profoundly disappointing—a poor relation of its groundbreaking Modernist forebears. This agile and passionate book asks why.Modernism, Josipovici suggests, is only superficially a reaction to industrialization or a revolution in diction and form; essentially, it is art coming to consciousness of its own limits and responsibilities. And its origins are to be sought not in 1850 or 1800, but in the early 1500s, with the crisis of society and perception that also led to the rise of Protestantism. With sophistication and persuasiveness, Josipovici charts some of Modernism’s key stages, from Dürer, Rabelais, and Cervantes to the present, bringing together a rich array of artists, musicians, and writers both familiar and unexpected—including Beckett, Borges, Friedrich, Cézanne, Stevens, Robbe-Grillet, Beethoven, and Wordsworth. He concludes with a stinging attack on the current literary scene in Britain and America, which raises questions about not only national taste, but contemporary culture itself.Gabriel Josipovici has spent a lifetime writing, and writing about other writers. What Ever Happened to Modernism? is a strident call to arms, and a tour de force of literary, artistic, and philosophical explication that will stimulate anyone interested in art in the twentieth century and today.

    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.

    Barnes' inimitable talent, in this deft and zestful re-creaton of England and the Middle East in the time of the Crusades. This is the story of the flamboyant Richard Coeur de Lion, and of the fortunes of the people caught up in his campaigns of love and war.

    Arendt also reexamines the relationship between war, politics, violence, and power. “Incisive, deeply probing, written with clarity and grace, it provides an ideal framework for understanding the turbulence of our times.”The Nation

    His essays consider Van Gogh, Cezanne, Rembrandt, Cranach, Watteau, Fragonard, Brueghel and his own brother Karl and also discuss general topics such as the character of the artist and of the dilettante as well as the differences between painters and poets. Every piece is marked by Walser’s unique eye, his delicate sensitivity, and his very particular sensibilities—and all are touched by his magic screwball wit.

    Viking raids reached from Norway to North Africa, they established the dukedom of Normandy, provided the Byzantine Emperor's bodyguard and landed on the shores of America 500 years before Columbus. In The Vikings the authors provide a detailed examination of the Viking Hersir, the raiding warrior of the Viking world, and thefamed Viking longship that transported the Vikings through treacherous waters to their bloody raids. This beautifully illustrated book also includes a fascinating insight into the Vikings in North America and the lives the Viking led at home.

    In completing a standard employment questionnaire, narrator Jan Kepka manages to write a beautifully impressionistic history of his life, his family, and his hometown as he obeys - with mock solemnity - the handwritten command on top of the form: "DO NOT CROSS OUT."

    He dreamed of the Viking ideal, sailing to distant shores and battling honorable foes. Laden with gold, he would return home in glory. The same life of adventure that his grandfather, Ulfrik Ormsson, experienced awaited him. It proved a false dream. Along with his cousin and best friend, Yngvar discovers a world unlike the sagas of the great heroes. He encounters murder and treachery. Raiding is nothing more than merciless theft. True riches remain elusive and sea kings dominate the waves. Yngvar trusts to his honor and courage to carry him. Yet powerful enemies swarm all around him. Fate guides him into the teeth of a clash between two of history's mightiest jarls. He will require all his cunning and daring to survive. So begins a new saga of Viking adventure and war. Join the shield wall once more and witness the fierce history of the Norsemen.

    Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism."Yet the work goes far beyond a mere critique of contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present. The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization.Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book.This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory.

    Variant dialectic forms are given, together with variant forms found in the same dialect. Purely poetic words and words not common in prose are indicated, and references are given to the passages in which they occur. First published in 1894, this is a reprint of the fourth edition (Cambridge University Press, 1960).

    His own libretto to the operas, translated by Andrew Porter, is an intricate system of metric patterns, imaginative metaphors and alliteration,combining to produce the music in text.'Andrew Porter's utterly natural, often poetic, faithfully rendered English text should be a revelation...The immediacy of instant comprehension gives the entire drama an added dimension.'--The New York Times

    Verging from tragic to comic, the overriding theme of the poetry is love, in its many guises. Chaucer tells of his passion for reading, which allows him to eavesdrop on a "parliament of birds" on St Valentine’s Day; he tells how he, as an inveterate reader, forsakes his books on the first of May to wander into the fields; he complains of being short of money; and he complains to his scribe for copying his verses badly. All in all, in the course of the poetry he reveals a lot about himself, and does so throughout in an engaging and civilized manner.

    G. Sebald died in a car accident at the age of fifty-seven, the literary world mourned the loss of a writer whose oeuvre it was just beginning to appreciate. Through published interviews with and essays on Sebald, award-winning translator and author Lynne Sharon Schwartz offers a profound portrait of the writer, who has been praised posthumously for his unflinching explorations of historical cruelty, memory, and dislocation. With contributions from poet, essayist, and translator Charles Simic, New Republic editor Ruth Franklin, Bookworm radio host Michael Silverblatt, and more, The Emergence of Memory offers Sebald’s own voice in interviews between 1997 up to a month before his death in 2001. Also included are cogent accounts of almost all of Sebald’s books, thematically linked to events in the contributors’ own lives.Contributors include Carole Angier, Joseph Cuomo, Ruth Franklin, Michael Hofmann, Arthur Lubow, Tim Parks, Michael Silverblatt, Charles Simic, and Eleanor Wachtel.

    The story of how this group of warriors, driven byfaith, greed, and wanderlust, created new Christian-ruled states in parts of the Middle East is one of the best-known in history. Yet it is offers not even half of the story, for it is based almost exclusively on Western sources and overlooks entirely the perspective of the crusaded. How didmedieval Muslims perceive what happened?In The Race for Paradise, Paul M. Cobb offers a new history of the confrontations between Muslims and Franks we now call the Crusades, one that emphasizes the diversity of Muslim experiences of the European holy war. There is more to the story than Jerusalem, the Templars, Saladin, and theAssassins. Cobb considers the Arab perspective on all shores of the Muslim Mediterranean, from Spain to Syria. In the process, he shows that this is not a straightforward story of warriors and kings clashing in the Holy Land, but a more complicated tale of border-crossers and turncoats; ofembassies and merchants; of scholars and spies, all of them seeking to manage a new threat from the barbarian fringes of their ordered world. When seen from the perspective of medieval Muslims, the Crusades emerge as something altogether different from the high-flying rhetoric of the Europeanchronicles: as a cultural encounter to ponder, a diplomatic chess-game to be mastered, a commercial opportunity to be seized, and as so often happened, a political challenge to be exploited by ambitious rulers making canny use of the language of jihad.An engrossing synthesis of history and scholarship, The Race for Paradise fills a significant historical gap, considering in a new light the events that distinctively shaped Muslim experiences of Europeans until the close of the Middle Ages.