Julia Gelardi's Born to Rule is an historical tour de force that weaves together the powerful and moving stories of the five royal granddaughters of Queen Victoria. These five women were all married to reigning European monarchs during the early part of the 20th century, and it was their reaction to the First World War that shaped the fate of a continent and the future of the modern world. Here are the stories of Alexandra, whose enduring love story, controversial faith in Rasputin, and tragic end have become the stuff of legend; Marie, the flamboyant and eccentric queen who battled her way through a life of intrigues and was also the mother of two Balkan queens and of the scandalous Carol II of Romania; Victoria Eugenie, Spain's very English queen who, like Alexandra, introduced hemophilia into her husband's family-with devastating consequences for her marriage; Maud, King Edward VII's daughter, who was independent Norway's reluctant queen; and Sophie, Kaiser Wilhelm II's much maligned sister, daughter of an Emperor and herself the mother of no less than three kings and a queen, who ended her days in bitter exile. Born to Rule evokes a world of luxury, wealth, and power in a bygone era, while also recounting the ordeals suffered by a unique group of royal women who at times faced poverty, exile, and death. Praised in their lifetimes for their legendary beauty, many of these women were also lauded-and reviled-for their political influence. Using never before published letters, memoirs, diplomatic documents, secondary sources, and interviews with descendents of the subjects, Julia Gelardi's Born to Rule is an astonishing and memorable work of popular history.
The international phenomenon and winner of the German Book Prize. “A devastating novel about war, love, and the art of survival” (Marie Claire). Julia Franck’s unforgettable English-language debut, The Blindness of the Heart is a dark marvel of a novel by one of Europe’s freshest young voices—a family story spanning two world wars and several generations in a German family. In the devastating opening scene, a woman named Helene stands with her seven-year-old son in a provincial German railway station in 1945 amid the chaos of civilians fleeing west. Having survived with him through the horror and deprivation of the war years, she abandons him on the station platform and never returns. The story quickly circles back to Helene’s childhood with her sister Martha in rural Germany, which came to an abrupt end with the outbreak of the First World War. Their father is sent to the eastern front, and their Jewish mother withdraws from the hostility of her surroundings into a state of mental confusion. As we follow Helene into adulthood, we watch riveted as the costs of survival and ill-fated love turn her into a woman capable of the unforgiveable. “Enthralling, richly imagined and remorseless.” —The New York Times Book Review “Spellbinding . . . The young woman at the center of Julia Franck’s acclaimed novel The Blindness of the Heart ranks among the most haunting characters to be found in European fiction about twentieth-century horrors . . . At times, the novel feels more like an eyewitness account than historical fiction.” —Vogue “Disturbing, original, and brilliant.” —Guardian (Best Books of 2009)
Seminar paper from the year 2013 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,0, The University of Arizona, language: English, abstract: Given the popularity of Grimms’ fairy tales and the status of English as a lingua franca, it is only logical that there are a number of translations and adaptations from German into English. This will be the focus of my paper, in which I am dealing with the cultural frameworks that underlie a translator’s decision to translate a well-known story in a certain way over another. In other words, why is it that Rumpelstiltskin does not burst in two halves in most English versions of the fairy tale? Why did Disney see the need to let a fairy godmother help Cinderella and not some kind-hearted doves? And why is it ‘true love’s kiss’ that awakens Snow White instead of the servants’ clumsiness while carrying the coffin? "Something gets lost in translation, and in translating and editing these “rediscovered” tales I have endeavored to recast them as closely as I could to the originals. At the same time I felled compelled to provide transitions and slight changes to make them comprehensible for an English-speaking audience. Now, though in a foreign tongue, they speak for themselves – to provoke and to entertain." This is how Jack Zipes introduces his translation of Grimms’ Kinder- und Hausmärchen, a collection of fairy tales compiled and edited by the German brothers Jacob and Wilhelm Grimm between 1812 and 1857. His take on the translation of Grimms’ fairy tales, easily the most famous collections of fairy and folk tales in the Western world, is one of the topics that I will be concerned with in the following paper. It is only “one” of the topics because every translator’s approach is different from all others, and while there are those like Zipes who want to stay as close to the original as possible and provide a ‘literal’ translation of a work, there are others who not only ‘translate’ the language of a story, but also its content, in order to fit more easily with the cultural background of the intended readership.
Seminar paper from the year 2016 in the subject American Studies - Literature, grade: 1,0, University of Kassel (Anglistik/Amerikanistik Literaturwissenschaft), course: Visions of India, language: English, abstract: The guiding question of this paper is how Balram justifies his criminal acts and on which moral concept he bases his decisions. In the course of this paper, I will attempt to show that the protagonist is a gritty anti-hero who does not act in accordance to dharma and reinvents his own concept of morality. The first chapter will give a brief explanation of dharma, one of the four purushartas, a significant concept in Indian philosophy, especially in Hinduism when talking about morality. “Dharma is inextricably linked with the ethos of India and the entire personal, social, ecological, and spiritual life is guided by it for ultimate liberation” (Mathew, 2015:131). In the following chapter, the criminal acts committed by the protagonist and the circumstances and reasons leading to it will be analyzed in terms of morality, taking the concept of dharma into consideration. This chapter underlies the difficulty of how to cope with the paradox issue of the protagonist being a murderer and a victim at the same time. Subsequently, the strategies employed by the protagonist to justify his immoral acts will be discussed in detail, attempting to find out how Balram distinguishes between right and wrong. Firstly, the depiction of other humans in the novel will be examined since the narrator strategically portrays them as being immoral and corrupt in order to comparatively put himself on a higher level. Secondly, his heroic self-image will be analyzed, considering his name 'the white tiger'. The third subchapter will focus on how the protagonist employs the metaphor of the rooster coop as a justification for the murder, taking the consequences of the murder into account and discussing Balram's ultimate aims.
Written in the 1840s and published here for the first time, Julia Ward Howe's novel about a hermaphrodite is unlike anything of its time--or, in truth, of our own. Narrated by Laurence, who is raised and lives as a man, is loved by men and women alike, and can respond to neither, this unconventional story explores the understanding "that fervent hearts must borrow the disguise of art, if they would win the right to express, in any outward form, the internal fire that consumes them." Laurence describes his repudiation by his family, his involvement with an attractive widow, his subsequent wanderings and eventual attachment to a sixteen-year-old boy, his own tutelage by a Roman nobleman and his sisters, and his ultimate reunion with his early love. His is a story unique in nineteenth-century American letters, at once a remarkable reflection of a largely hidden inner life and a richly imagined tale of coming of age at odds with one's culture. Howe wrote "The Hermaphrodite" when her own marriage was challenged by her husband's affection for another man--and when prevailing notions regarding a woman's appropriate role in patriarchal structures threatened Howe's intellectual and emotional survival. The novel allowed Howe, and will now allow her readers, to occupy a speculative realm otherwise inaccessible in her historical moment.
The powerful and moving story of three royal mothers whose quest for power led to the downfall of their daughters. Queen Isabella of Castile, Empress Maria Theresa of Austria, and Queen Victoria of England were respected and admired rulers whose legacies continue to be felt today. Their daughters—Catherine of Aragon, Queen of England; Queen Marie Antoinette of France; and Vicky, the Empress Frederick of Germany—are equally legendary for the tragedies that befell them, their roles in history surpassed by their triumphant mothers. In Triumph's Wake is the first book to bring together the poignant stories of these mothers and daughters in a single narrative. Isabella of Castile forged a united Spain and presided over the discovery of the New World, Maria Theresa defeated her male rivals to claim the Imperial Crown, and Victoria presided over the British Empire. But, because of their ambition and political machinations, each mother pushed her daughter toward a marital alliance that resulted in disaster. Catherine of Aragon was cruelly abandoned by Henry VIII who cast her aside in search of a male heir and tore England away from the Pope. Marie Antoinette lost her head on the guillotine when France exploded into Revolution and the Reign of Terror. Vicky died grief-stricken, horrified at her inability to prevent her son, Kaiser Wilhelm, from setting Germany on a belligerent trajectory that eventually led to war. Exhaustively researched and utterly compelling, In Triumph's Wake is the story of three unusually strong women and the devastating consequences their decisions had on the lives of their equally extraordinary daughters.
An intimate portrait of German life during World War II, shining a light on ordinary people living in a picturesque Bavarian village under Nazi rule, from a past winner of the Los Angeles Times Book Prize for History. Hidden deep in the Bavarian mountains lies the picturesque village of Oberstdorf—a place where for hundreds of years people lived simple lives while history was made elsewhere. Yet even this remote idyll could not escape the brutal iron grip of the Nazi regime. From the author of the international bestseller Travelers in the Third Reich comes A Village in the Third Reich, shining a light on the lives of ordinary people. Drawing on personal archives, letters, interviews and memoirs, it lays bare their brutality and love; courage and weakness; action, apathy and grief; hope, pain, joy, and despair. Within its pages we encounter people from all walks of life – foresters, priests, farmers and nuns; innkeepers, Nazi officials, veterans and party members; village councillors, mountaineers, socialists, slave labourers, schoolchildren, tourists and aristocrats. We meet the Jews who survived – and those who didn’t; the Nazi mayor who tried to shield those persecuted by the regime; and a blind boy whose life was judged "not worth living." This is a tale of conflicting loyalties and desires, of shattered dreams—but one in which, ultimately, human resilience triumphs. These are the stories of ordinary lives at the crossroads of history.
While the current philosophical debate surrounding Hegel’s aesthetics focuses heavily on the philosopher’s controversial ‘end of art’ thesis, its participants rarely give attention to Hegel’s ideas on the nature of beauty and its relation to art. This study seeks to remedy this oversight by placing Hegel’s views on beauty front and center. Peters asks us to rethink the common assumption that Hegelian beauty is exclusive to art and argues that for Hegel beauty, like art, is subject to historical development. Her careful analysis of Hegel’s notion of beauty not only has crucial implications for our understanding of the ‘end of art’ and Hegel’s aesthetics in general, but also sheds light on other fields of Hegel’s philosophy, in particular his anthropology and aspects of his ethical thought.
Step-by-step instructions for every predictive technique, including I Ching, astrology, palmistry, graphology, crystals, tarot cards, tea leaves, runes, biorhythms, dreams, and more. (Divination)
Slavery and Race: Philosophical Debates in the Sixteenth and Seventeenth Centuries explores philosophical ideas, theories, and arguments that are central to early modern discussions of slavery. Jorati explores a topic that is widely neglected by historians of philosophy: debates about the morality of slavery in sixteenth- and seventeenth-century America and Europe. Slavery and Race: Philosophical Debates in the Sixteenth and Seventeenth Centuries explores philosophical ideas, theories, and arguments that are central to early modern discussions of slavery. It is a companion volume to Jorati's Slavery and Race: Philosophy Debates in the Eighteenth Century (OUP 2023).
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.