Édith Thomas (1909–1970), a remarkable French woman of letters, was deeply involved in the traumatic upheavals of her time: most crucially the resistance to Nazi occupation and the collaborationist Vichy regime, but also the Spanish Civil War and the Algerian War. During the occupation, she played an essential role in the struggle to counteract Nazi and Pétainist propaganda. She was the only woman in the Paris network of Resistance writers; they held their clandestine meetings in her left-bank apartment.Dorothy Kaufmann's powerful and moving book is based in large part on previously unavailable material that Édith Thomas, a historian, novelist, and journalist, chose not to publish during her lifetime. A particularly fascinating chapter in Thomas's life was her intimate relationship with Dominique Aury, who wrote Story of O as "Pauline Réage." The astonishing documents made available to Kaufmann by Aury include Thomas's eight notebooks of diaries, which she kept from 1931 to 1963; her fictional diary of a collaborator, written during the first year of the occupation; and her political memoir, to which she gave the disturbing title Le Témoin compromis (The Compromised Witness).Édith Thomas: A Passion for Resistance sheds light on the historical dimensions of Thomas's life and work and on the autobiographical complexity of her writing, which everywhere illustrates her personal courage. Kaufmann follows Édith Thomas's itinerary as it intersects with that of well-known contemporaries—in particular Simone de Beauvoir, Jean-Paul Sartre, Albert Camus, Louis Aragon, Jean Paulhan, and, of course, Dominique Aury.
Thomas Kaufmann, the leading European scholar of the Reformation, argues that the main motivations behind the Reformation rest in religion itself. The Reformation began far from Europe's traditional political, economic, and cultural power centres, and yet it threw the whole continent into turmoil. There has been intense speculation over the last century focusing on the political and social causes that lay at the root of this revolution. Thomas Kaufmann, one of the world's leading experts on the Reformation, sees the most important drivers for what happened in religion itself. The reformers were principally concerned with the question of salvation. It could all have ended with the pope's condemnation of Luther and his teaching. But Luther believed the pope was condemned to eternal damnation, and this was the root cause of the great split to come. Hatred of the damned drove people to take up arms, while countless numbers left their homes far behind and carried the Reformation message to the furthest corners of the earth in the hope of salvation. In The Saved and the Damned, Thomas Kaufmann presents a dramatic overview of how Europe was transformed by the seismic shock of the Reformation—and of how its aftershocks reverberate right down to the present day.
The bells rung all day, and almost all night..." John Adams wrote this timeless observation when the Declaration of Independence was signed and publicly proclaimed in early July of 1776 to a jubilant crowd in Philadelphia. This is the story of those bells - a search to discover which bells did indeed ring, or are believed to have rung, when America was born. It is the story of the most famous bell in the world, the Liberty Bell, and the other historic bells of Philadelphia, during the era of the American Revolution. Author Thomas Kaufmann traces the joyous history of sound and instrument as the nation is forged among uplifting tolls of Philadelphia's historic independence bells.
If there was one person who could be said to light the touch-paper for the epochal transformation of European religion and culture that we now call the Reformation, it was Martin Luther. And Luther and his followers were to play a central role in the Protestant world that was to emerge from the Reformation process, both in Germany and the wider world. In all senses of the term, this religious pioneer was a huge figure in European history. Yet there is also the very uncomfortable but at the same time undeniable fact that he was an anti-semite. Written by one of the world's leading authorities on the Reformation, this is the vexed and sometimes shocking story of Martin Luther's increasingly vitriolic attitude towards the Jews over the course of his lifetime, set against the backdrop of a world in religious turmoil. A final chapter then reflects on the extent to which the legacy of Luther's anti-semitism was to taint the Lutheran church over the following centuries. Scheduled for publication on the five hundredth anniversary of the Reformation's birth, in light of the subsequent course of German history it is a tale both sobering and ominous in equal measure.
In this book, Thomas DaCosta Kaufmann chronicles more than three hundred years of painting, sculpture, and architecture in Germany, Poland, the Czech Republic, Slovakia, Hungary, Austria, Ukraine, Lithuania and western parts of the Russian Federation. Massive in scale, the book is highly accessible and lavishly illustrated. The readability of the text and the entirely new insights it provides into three hundred years of Central European history make this a vital introduction to one of the least understood periods in the history of art.
After seven years of climbing into attics, domes, towers and steeples, Thomas Kaufmann emerges with a story of Alabama bells. This story encapsulates the history of the state itself. These bells - some dormant, others pealing still - were forged by the Reveres in Boston. They called Alabamians to worship, celebrated weddings and tolled at funerals. They sounded the death knell for countless parishioners during the havoc of the Civil War, watched over the Freedom Riders and shook from the blast of the Sixteenth Street Baptist Church bombing. And while their clear tones have rung out in remembrance of so many of the state's solemn and sacred moments, many of these bells have fallen into neglect, their silence serving as its own reminder of the urgent need for preservation.
Art history traditionally classifies works of art by country as well as period, but often political borders and cultural boundaries are highly complex and fluid. Questions of identity, policy, and exchange make it difficult to determine the "place" of art, and often the art itself results from these conflicts of geography and culture. Addressing an important approach to art history, Thomas DaCosta Kaufmann's book offers essays that focus on the intricacies of accounting for the geographical dimension of art history during the early modern period in Europe, Latin America, and Asia. Toward a Geography of Art presents a historical overview of these complexities, debates contemporary concerns, and completes its exploration with a diverse collection of case studies. Employing the author's expertise in a variety of fields, the book delves into critical issues such as transculturation of indigenous traditions, mestizaje, the artistic metropolis, artistic diffusion, transfer, circulation, subversion, and center and periphery. What results is a foundational study that establishes the geography of art as a subject and forces us to reconsider assumptions about the place of art that underlie the longstanding narratives of art history.
In Giuseppe Arcimboldo’s most famous paintings, grapes, fish, and even the beaks of birds form human hair. A pear stands in for a man’s chin. Citrus fruits sprout from a tree trunk that doubles as a neck. All sorts of natural phenomena come together on canvas and panel to assemble the strange heads and faces that constitute one of Renaissance art’s most striking oeuvres. The first major study in a generation of the artist behind these remarkable paintings, Arcimboldo tells the singular story of their creation. Drawing on his thirty-five-year engagement with the artist, Thomas DaCosta Kaufmann begins with an overview of Arcimboldo’s life and work, exploring the artist’s early years in sixteenth-century Lombardy, his grounding in Leonardesque traditions, and his tenure as a Habsburg court portraitist in Vienna and Prague. Arcimboldo then trains its focus on the celebrated composite heads, approaching them as visual jokes with serious underpinnings—images that poetically display pictorial wit while conveying an allegorical message. In addition to probing the humanistic, literary, and philosophical dimensions of these pieces, Kaufmann explains that they embody their creator’s continuous engagement with nature painting and natural history. He reveals, in fact, that Arcimboldo painted many more nature studies than scholars have realized—a finding that significantly deepens current interpretations of the composite heads. Demonstrating the previously overlooked importance of these works to natural history and still-life painting, Arcimboldo finally restores the artist’s fantastic visual jokes to their rightful place in the history of both science and art.
Accessible yet authoritative biography of the colorful character who instigated the Protestant Reformation Martin Luther, the Augustinian friar who set the Protestant Reformation in motion with his famous Ninety-Five Theses, was a man of extremes on many fronts. He was both hated and honored, both reviled as a heretic and lauded as a kind of second Christ. He was both a quiet, solitary reader and interpreter of the Bible and the first media-star of history, using the printing press to reach many of his contemporaries and become the most-read theologian of the sixteenth century. Thomas Kaufmann’s concise biography highlights the two conflicting “natures” of Martin Luther, depicting Luther’s earthiness as well as his soaring theological contributions, his flaws as well as his greatness. Exploring the close correlation between Luther’s Reformation theology and his historical context, A Short Life of Martin Luther serves as an ideal introduction to the life and thought of the most important figure in the Protestant Reformation.
Essay aus dem Jahr 2015 im Fachbereich Didaktik für das Fach Englisch - Literatur, Werke, Note: 1,3, Johann Wolfgang Goethe-Universität Frankfurt am Main (Institut für Englisch- und Amerikastudien), Veranstaltung: Hauptseminar, Sprache: Deutsch, Abstract: Henry James’s short stories “The Figure in the Carpet“ (1896) and “The Beast in the Jungle“ (1903) are both narratives of his later years. Whereas “The Figure in the Carpet“ tells the story of a literary critic who fails to understand the work of a fictitious author named Hugh Vereker, “The Beast in the Jungle“ is about the protagonist John Marcher who is waiting for an unknown event in his life. Both stories deal with the subject of a hidden secret that remains unknown to the protagonists of James’s stories. Due to the fact that these secrets remain unsolved throughout the narratives, this essay focuses on the design and effects of the leading metaphors. It compares these metaphors with each other and tries to outline their differences and similarities. Starting with the definition of the term “metaphor“ and illustrating it’s importance for Henry James’s stories, it proceeds with a short overview of the stories’s issues. After illustrating the importance of literary meaning from the perspective of philosophers and literary scholars, this essay proceeds with the relevance of literary meaning for James’s stories. The essay’s last paragraph analyzes the leading metaphors of both narratives by comparing their design and effects for the stories’s meanings. Finally, this work concludes by saying that the metaphors are linked relating to their issues and contribute to the stories’ messages.
The School of Prague provides both a much-needed catalogue raisonné of painting in Rudolfine Prague and a significant reassessment of Renaissance art theory and practice. Thomas DaCosta Kaufmann masterfully reconstructs the Prague court, discussing the "mannerist" art it patronized and the artists who were active in it.
Kaufmann situates Maulbertsch as a fresco painter at a time of transition to easel painting, a colorist at a time when color was not fully appreciated by contemporary observers, and an interpreter of religious themes at a time when secular subjects were becoming more popular. Although he has been dismissed as an eccentric by previous scholars, Kaufmann's analysis shows Maulbertsch involved in the intellectual and aesthetic issues of his day."--BOOK JACKET.
This book chronicles the experience of the World War II paratroopers from their earliest days in training to final days of the war spent at Berchtesgaden. Relying heavily on memoirs, letters, and personal interviews with soldiers, this work highlights the rigors of training, the spectacle of combat, and the relief of survival and victory. From D-Day to Bastogne, Kaufmann follows the American advance across France, shedding light on the emotional strain and shock of combat that was, until recently, often overlooked by generations of Americans, but freely admitted to by the Vets themselves. Along the way, the book details the struggle faced by American G.I.s as they made their way through France. Indeed, it becomes clear the Nazis were not the only obstacle to Mutt and Joe during the campaign. The common problems of supply and relief often exacerbated difficult conditions in the field, while incompetent line officers often raised doubt and suspicion among men in the ranks. Ultimately, this is a very personal story about struggle and triumph, told by those who endured the hardship of combat.
This book argues that there are recurrent spatiotemporal patterns and structures in six Jane Austen novels which constitute a source of enduring, if unconscious, pleasure. More precisely, the book contends that there are overlapping natural and cultural cycles which co-exist in a constantly transmuting space-time and which are counterpointed with the linearity of pivotal events that drive the plot forwards. This work examines the psychological relations to these space-time patterns of the characters, principally the heroines, focusing on the transformations of their emotional states which prompt linear leaps.
US Nobel Prize winner Paul Krugman described Thomas Piketty's Capital in the Twenty-First Century as "perhaps the most important book of the last decade". It has sparked major international debates, dominated bestseller lists and generated a level of enthusiasm-as well as intense criticism-in a way no other recent economic or sociological work has. Piketty has been described as a new Karl Marx and placed in the same league as the economist John Maynard Keynes. The 'rock star economist's' (Financial Times) underlying thesis: inequality under capitalism has reached dramatic proportions in the last few decades and continues to grow-and not by coincidence. Thus, a small elite becomes simultaneously richer and richer and more and more powerful. Given the sensational reception of the not-so-easily digested 800-page study that spans back to the eighteenth century, the question as to where the hype around Piketty's book comes from deserves to be asked. What is correct in it? What are the criticisms of it? And what should we make of it-both of the book itself and of the criticism it has received? This book lays out the argument of Piketty's monumental work in a compact and understandable format, while also investigating the controversies that this book has caused. In addition, the two authors demonstrate the limits, contradictions and errors of the so-called 'Piketty revolution'.
While social welfare programs, often inspired by international organizations, are spreading throughout the world, the more far-reaching notion of governmental responsibility for the basic well-being of all members of a political society is not, although it remains a feature of Europe and the former British Commonwealth. The welfare state in the European sense is not simply an administrative arrangement of various measures of social protection but a political project embedded in distinct cultural traditions. Offering the first accessible account in English of the historical development of the European idea of the welfare state, this book reviews the intellectual foundations which underpinned the road towards the European welfare state, formulates some basic concepts for its understanding, and highlights the differences in the underlying structural and philosophical conditions between continental Europe and the English-speaking world.
If one takes into account the media presence, then forensic medical science is a beacon in the canon of medical disciplines. On the other hand, taking into account the number of experts (there are only about 350 specialists in Germany), this subject is the smallest specialist discipline. In Mainz, forensic medicine at the Johannes Gutenberg University, has since the founding of the institute in 1946 always played a prominent role. There are a number of good reasons why: Excellent personalities have been active here in the institute’s leadership (Wagner, Leithoff, Rittner, Urban, Germerott). This is true from a professional point of view, but also with regard to their importance for the further development of the medical faculty at the level of the dean’s office and the board of directors. Prof. Dr. Klaus Püschel
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