Lopez of Newport: Colonial American Merchant Prince

Chyet, Stanley F.

Biographies & Memoirs

Wayne State Univ Press

Russian Journalism and Politics: The Career of Aleksei S. Suvorin, 1861–1881

[Suvorin, Aleksei Sergeevich] Ambler, Effie

Published for the Jewish Museum of New York, this illustrated catalog of the Danzig collection accompanied the opening of a major exhibition held in 1980. Published for the Jewish Museum of New York, this illustrated catalog of the Danzig collection accompanied the opening of a major exhibition held in 1980. The book represents decades of research on the ceremonial art and history of the Danzig Jewish community, which, in a unique action in the early spring of 1939, voted to dissolve itself and emigrate rather than submit to the Nazis. The community sent its most precious communal property to New York packed in ten large crates weighing more than two tons. Included are the collection of the museum of the Great Synagogue of Danzig, objects from the Jewish cemetery, and all of the ceremonial objects from Danzig's synagogues and private owners. The proceeds from the sale of these treasures were put into a special bank account to finance the emigration of members of the Danzig Jewish community who were still permitted to leave. This self-liquidation of a community was unprecedented and in effect made Danzig a "city without Jews."The community sent its most precious communal property to New York packed in ten large crates weighing more than two tons. Included are the collection of the museum of the Great Synagogue of Danzig, objects from the Jewish cemetery, and all of the ceremonial objects from Danzig's synagogues and private owners. The proceeds from the sale of these treasures were put into a special bank account to finance the emigration of members of the Danzig Jewish community who were still permitted to leave. This self-liquidation of a community was unprecedented and in effect made Danzig a "city without Jews."

Danzig 1939: Treasures of a Destroyed Community

History

Gutmann, Joseph

GRASS,GÜNTER

Mann, Vivian B.

World

The Austrian painter Oskar Kokoschka (1886-1980) is primarily known as an exponent of Expressionism in the visual arts, through his paintings and through his graphics. His role in the history of modern German drama has rarely been acknowledged, although he was the author of five plays, written over a period of fifty years. Murderer Hope of Women, The Burning Bush, Job, Orpheus and Eurydice, and Comenius are dramatic visual spectacles on themes recurrent in Kokoschka's paintings and graphic work. Oskar Kokoschka: The Painter as Playwright focuses on the visual elements of the stage works, specifically on the use of color, light, and scenic imagery in their dramatic as well as their symbolic function. It pays close attention to the stylistically and thematically related pictorial works and takes account of Kokoschka's illustrations for each of his plays. This is the first complete critical discussion of Kokoschka's dramas to appear in any language; it is also the first consideration of Kokoschka's work from an interdisciplinary perspective. Included are over fifty photographs, many of them in color. The text is based on much previously unpublished information, the result of the author's many hours of recorded interviews with Kokoschka and his extensive correspondence with Kokoschka's wife, Olda. This study eloquently shows the paintings, graphics, and dramas of Oskar Kokoschka to be one "language of images" and identifies him as one of the foremost innovators of twentieth-century theater, the first German Expressionist dramatist.

Oskar Kokoschka: The Painter As a Playwright

Literature & Fiction

Schvey, Henry I.

Dramas & Plays

Clara Asscher- Pinkhof had a dream in 1943: "Star Children. The children with the Jewish star. They went past me, the star children that I had known and knew in the critical times in the city and in the theater which was their prison. The dead children and the living. I knew at that moment that I had to be their voice-that I had to speak out and say what they had felt and suffered!' In these sixty-eight short stories, she is indeed their voice.
In Amsterdam, Star City, there is Star House, the detention center in which the children and their elders are herded. Westerbork, the transit camp to which they are shipped, becomes Star Desert and, at the end of the railway line, Star Hell-Bergen- Belsen. It is in this world of death and despair that the star children make their way. At the end, there are only a handful left to tear off their stars, from among "crowds of star children who did not live long and happily, whose stars were torn off by God himself and placed among the other stars in the heavens, as eternal evidence!'
Though the stories and their narrator are the author's creation, the book explores a new kind of realism in Holocaust literature.

Star Children (English and Dutch Edition)

Asscher-Pinkof, Clara

A Shtetl and Other Yiddish Novellas

A Shtetl and Other Yiddish Novellas (English and Yiddish Edition)

Wisse, Ruth R.

The Mocking of the President: A History of Campaign Humor from Ike to Ronnie (Humor in Life and Letters)

GARDNER, GERALD

Children's Books

Before the sixteenth century, no one had seen the Greek statue, the Laocoon, since antiquity, but popular aesthetic judgment insisted that it was an ideal work of art, the unapproachable model for imitation and aspiration. When in 1506 a vintner found the statue just outside Rome, the contradiction between the ideal and the reality was readily apparent; the statue depicted not a vision of beauty, but the representation of a body in pain. 
Since the eighteenth century, the Laocoon has been at the crux of German aesthetics. Laocoon's Body and the Aesthetics of Pain examines the writings of Winckelmann, Lessing, Herder, Moritz, and Goethe, and seeks to discover what drew these theorists of classical beauty to the statue's representation of pain. The book examines the contradictions in and between their respective understandings of the Laocoon. Taking his cue from the original texts, Richter sets the primary aesthetic discourse against the foil of the unexpected discourse networks. His reading of Winckelmann unfolds against the eighteenth-century culture of castrati. He shows Herder and Goethe winning important insights from the physiological experiments of Albrecht von Haller. In every case, the fundamental dichotomy of pain and beauty is shown to lie at the heart of both the statue and the discourse that concerns it. 
Richter argues that the relation of pain and beauty is crucial to the various versions of classical aesthetics that were developed in the last half of the eighteenth century. According to the author, there is no question that the Laocoon statue represents a body in pain. Nor is there any reason to decide if the Laocoon is a beautiful work of art. The single important fact is that eighteenth-century Germans since Winckelmann theorized the statue as beautiful and, in the course of their thinking, were obliged to deal with the question of pain in one way or another, even if by some strategy of avoidance. Richter's thesis is that the classical aesthetics of beauty is at the same time, and even more, an aesthetics of pain. 
Simon Richter is an assistant professor of German at the University of Maryland at College Park. A Ph.D. from the John Hopkins University, his articles, reviews and translations have appeared in such journals as The Lessing Yearbook, South Atlantic Review, Germanic Review, and SubStance.

Laocoon's Body and the Aesthetics of Pain: Winckelmann, Lessing, Herder, Moritz, Goethe (Kritik (Detroit, Mich.).)

Richter, Simon

The Sixties is a powerful literary anthology written by individuals who witnessed and participated in that revolutionary decade. Their stories, recollected in relative tranquility, illuminate this remarkable time, lifting the curtain of amnesia and media distortion that has been triggered by the decade's inadmissible truths.
The essays, fiction, and poetry in The Sixties recapture the complexity of events, providing personal, reflective, and diverse testimony on a decade driven by an obsessive will to change. John Lewis's experiences with SNCC or Rosellen Brown's at Tougaloo College are moral light years removed from P.J. O'Rourke's hilarious encounter with the Balto Cong in Baltimore. Maxine Hong Kingston's depiction of head-adventurers in the Bay Area forms an unlikely parallel with Tom Hayden's experiences in the streets of Chicago in 1968.
The Sixties explodes any simplification about the decade and rekindles in us a sense of wonder about our recent past.

The Sixties

Stine, Peter, Editor

United States

The Cinema of Wim Wenders, the first anthology of scholarly work on Wenders, is a unique anthropology of source materials and selected critical essays on the films of Wim Wenders, a major filmmaker in the so-called New German Cinema movement. His work, probably more than that of any other European director, reflects the tension between the European auteur tradition and the increasing dominance of the American media industry. In both his filmmaking and his critical writing, he explores how the relationship between image and narrative manifests the basic opposition between these two film traditions. This book serves as an introduction to the central concerns of his cinema while situation his work within German film history and the contemporary debates about postmodern film and media theory.

The Cinema of Wim Wenders: Image, Narrative, and the Postmodern Condition (Contemporary Film and Television Series)

Humor & Entertainment

Cook, Roger F. (editor)

Movies

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