This drama began on the eve of World War II with three men named Adolf. The fate of Adolf Hitler, the dictator of the evil Third Reich, we know, but Tezuka's series continued after the war, following the other two Adolfs -- one the son of a baker, a German Jew; the other the son of a gentile German diplomat.
In this vividly written and amply illustrated book, Gay L. Gullickson analyzes the representations of women who were part of the insurrection known as the Paris Commune. The uprising and its bloody suppression by the French army is still one of the most hotly debated episodes in modern history. Especially controversial was the role played by women, whose prominent place among the Communards shocked many commentators and spawned the legend of the petroleuses, women who were accused of burning the city during the battle that ended the Commune. In the midst of the turmoil that shook Paris, the media distinguished women for their cruelty and rage. The Paris-Journal, for example, raved: "Madness seems to possess them; one sees them, their hair down like furies, throwing boiling oil, furniture, paving stones, on the soldiers." Gullickson explores the significance of the images created by journalists, memoirists, and political commentators, and elaborated by latter-day historians and political thinkers. The petroleuse is the most notorious figure to emerge from the Commune, but the literature depicts the Communardes in other guises, too: the innocent victim, the scandalous orator, the amazon warrior, and the ministering angel among others. Gullickson argues that these caricatures played an important role in conveying and evoking moral condemnation of the Commune. More important, they reveal the gender conceptualizations that structured, limited, and assigned meaning to women as political actors for the balance of the nineteenth and well into the twentieth century.
This edition of The Yellow Wallpaper includes a generous selection of cultural and historical documents that illuminate how Gilman's classic feminist tale can be read as a springboard for her subsequent career as a cultural critic. The documents accompanying this edition have been selected to help readers situate The Yellow Wallpaper in relation to Gilman's time period and wide range of interests. Included are excerpts from nineteenth-century advice manuals for young women and mothers; medical texts discussing the nature of women's sexuality; social reform literature concerning women's rights, the working classes, and immigration; and excerpts from periodicals, diaries, and writers' notebooks that give readers a sense of the changing literary scene that Gilman entered. Both Gilman's story and her subsequent career as a social critic are illuminated when readers see her as a writer about and a citizen of her time.
His review has got to be ‘in’ by mid-day tomorrow ... at about 9 pm his mind will grow relatively clear, and until the small hours he will sit ... skipping expertly through one book after another and laying each one down with the comment, ‘God, what tripe!’ ... Then suddenly he will snap into it. All the stale old phrases—‘a book that no one should miss’, ‘something memorable on every page’—jump into their places like iron filings obeying the magnet.
Thus did George Orwell, writing forty years ago in Confessions of a Book Reviewer, describe the labours of a typical literary hack. Precious little has changed over the intervening decades; the servility of the satirical magazine Private Eye. Lord Gnome’s Literary Companion assembles, in thematic order, the best of these columns to present an astringent, rude and funny survey of publishers and the published.
Robert, married to the shrewish Deborah, reminisces over a youth spent imitating the hero of Sartre's Nausea and he remembers with longing his first love, Eva. But when he catches his wife in flagrante with his erstwhile friend, he considers accepting Eva's invitation to join her in India.
As Christiansen illustrates with marvelous immediacy, the carnival facade of the Second Empire, presided over by the aging libertine Louis Napoleon and his unpopular fashion plate of a wife, the Empress Eugenie, masked an empty soul. The Empire may have been destined to collapse under the weight of its own corruption, but in the meantime there was fun to be had and money to be made. A genius of self-promotion, Louis Napoleon managed to sustain his reign of "quiet tyranny" more by propaganda than by active repression. Christiansen begins his account of the tottering Empire with a wonderfully gossipy description of Louis Napoleon's massive (and hugely boring) hunting parties at Compiegne. From there he moves on to Paris, chronicling everything from its fervor for shopping, its gourmandise, and its anxieties about sex to its legendary artists, who included Baudelaire, Monet, Degas, Offenbach, and Zola. But this dazzling city, rebuilt by the brilliant and ruthless social engineer Baron Haussmann to showcase the splendors of the Second Empire - its grands magasins, grands boulevards, and grandes horizontales (as the famous courtesans of the day were called) - was soon to be wracked by the Franco-Prussian War, the five-month Siege of Paris and the bloody civil war that followed it, and the subsequent emergence of the Commune.
Herbert Marcuse, Erich Fromm, Max Horkheimer, Franz Neumann, Theodor Adorno, Leo Lowenthal—the impact of the Frankfurt School on the sociological, political, and cultural thought of the twentieth century has been profound. The Dialectical Imagination is a major history of this monumental cultural and intellectual enterprise during its early years in Germany and in the United States. Martin Jay has provided a substantial new preface for this edition, in which he reflects on the continuing relevance of the work of the Frankfurt School.
