In the Spring of 1917, America went to war with an innocent determination to re-make the world. When the smoke lifted in November 1918, the nation emerged with its sense of purpose shattered, its certainties shaken, and with a new and unwelcome self-knowledge. Seventy-five thousand American soldiers were dead, and back home a Pandora's box of suspicions and surveillance had been opened. The Last Days of Innocence reveals how the fight to preserve freedom abroad led to the erosion of freedom at home. Drawing on American, British, and French archival material, the authors reveal unplanned and uncoordinated field efforts, as well as the unsavory activities of anti-dissent groups, from the Committee for Public Information to the Anti-Yellow Dog League, including a posse of children organized to listen for antiwar talk among families and friends. Here is the story of the fifty-billion-dollar war that gave birth to the Selective Service Act, threatened labor rights, stoked the fires of racial and religious intolerance, and concentrated the nation's wealth into fewer hands than ever before. The Last Days of Innocence tells the untold story of the war that rudely thrust Americans into an uncertain future--a war whose effects remain with us today. "Well-crafted in every way...a vivid and authoritative history."--Cleveland Plain Dealer "A neatly plaited narrative...rich in detail. A splendid history."--Washington Times
Born Nikolai Pewsner into a Russian-Jewish family in Leipzig in 1902, Nikolaus Pevsner was a dedicated scholar who pursued a promising career as an academic in Dresden and Göttingen. When, in 1933 Jews were no longer permitted to teach in German universities, he lost his job and looked for employment in England. Here, over a long and amazingly industrious career, he made himself an authority on the exploration and enjoyment of English art and architecture, so much so that his magisterial county-by-county series of 46 books on The Buildings of England (first published 1951 - 74) is usually referred to simply as 'Pevsner'. As a critic, academic and champion of Modernism, Pevsner became a central figure in the architectural consensus that accompanied post-war reconstruction; as a 'general practitioner' of architectural history, he covered an astonishing range, from Gothic cathedrals and Georgian coffee houses to the Festival of Britain and Brutalist tower blocks. Susie Harries explores the truth about Nikolaus Pevsner's reported sympathies with elements of Nazi ideology, his internment in England as an enemy alien and his sometimes painful assimilation into his country of exile. His Heftchen - secret diaries he kept from the age of 14 for another sixty years - reveal hidden aspirations and anxieties, as do his numerous letters (he wrote to his wife, Lola, every day that they were apart).Harries is the first biographer to have read Pevsner's private papers and, through them, to have seen into the workings of his mind.Her definitive biography is not only rich in context and far-ranging, but is also brought to life by quotations from Pevsner himself. He was born a Jew but converted to Lutheranism; trained in the rigour of German scholarship, he became an Everyman in his copious commissions, publications, broadcasts and lectures on art, architecture, design, education, town planning, social housing, conservation, Mannerism, the Bauhaus, the Victorians, Zeitgeist, Englishness and how a nation's character may, or must, be reflected in its art. His life - as an outsider yet an insider at the heart of English art history - illuminates both the predicament and the prowess of the continental émigrés who did so much to shape British culture after 1945.
Soldiers of the Sun traces the origins of the Imperial Japanese Army back to its samurai roots in the nineteenth century to tell the story of the rise and fall of this extraordinary military force. Meirion and Susie Harries have written the first full Western account of the Imperial Japanese Army. Drawing on Japanese, English, French, and American sources, the authors penetrate the lingering wartime enmity and propaganda to lay bare the true character of the Imperial Army.
Born Nikolai Pewsner into a Russian-Jewish family in Leipzig in 1902, Nikolaus Pevsner was a dedicated scholar who pursued a promising career as an academic in Dresden and Göttingen. When, in 1933 Jews were no longer permitted to teach in German universities, he lost his job and looked for employment in England. Here, over a long and amazingly industrious career, he made himself an authority on the exploration and enjoyment of English art and architecture, so much so that his magisterial county-by-county series of 46 books on The Buildings of England (first published 1951 - 74) is usually referred to simply as 'Pevsner'. As a critic, academic and champion of Modernism, Pevsner became a central figure in the architectural consensus that accompanied post-war reconstruction; as a 'general practitioner' of architectural history, he covered an astonishing range, from Gothic cathedrals and Georgian coffee houses to the Festival of Britain and Brutalist tower blocks. Susie Harries explores the truth about Nikolaus Pevsner's reported sympathies with elements of Nazi ideology, his internment in England as an enemy alien and his sometimes painful assimilation into his country of exile. His Heftchen - secret diaries he kept from the age of 14 for another sixty years - reveal hidden aspirations and anxieties, as do his numerous letters (he wrote to his wife, Lola, every day that they were apart).Harries is the first biographer to have read Pevsner's private papers and, through them, to have seen into the workings of his mind.Her definitive biography is not only rich in context and far-ranging, but is also brought to life by quotations from Pevsner himself. He was born a Jew but converted to Lutheranism; trained in the rigour of German scholarship, he became an Everyman in his copious commissions, publications, broadcasts and lectures on art, architecture, design, education, town planning, social housing, conservation, Mannerism, the Bauhaus, the Victorians, Zeitgeist, Englishness and how a nation's character may, or must, be reflected in its art. His life - as an outsider yet an insider at the heart of English art history - illuminates both the predicament and the prowess of the continental émigrés who did so much to shape British culture after 1945.
In the Spring of 1917, America went to war with an innocent determination to re-make the world. When the smoke lifted in November 1918, the nation emerged with its sense of purpose shattered, its certainties shaken, and with a new and unwelcome self-knowledge. Seventy-five thousand American soldiers were dead, and back home a Pandora's box of suspicions and surveillance had been opened. The Last Days of Innocence reveals how the fight to preserve freedom abroad led to the erosion of freedom at home. Drawing on American, British, and French archival material, the authors reveal unplanned and uncoordinated field efforts, as well as the unsavory activities of anti-dissent groups, from the Committee for Public Information to the Anti-Yellow Dog League, including a posse of children organized to listen for antiwar talk among families and friends. Here is the story of the fifty-billion-dollar war that gave birth to the Selective Service Act, threatened labor rights, stoked the fires of racial and religious intolerance, and concentrated the nation's wealth into fewer hands than ever before. The Last Days of Innocence tells the untold story of the war that rudely thrust Americans into an uncertain future--a war whose effects remain with us today. "Well-crafted in every way...a vivid and authoritative history."--Cleveland Plain Dealer "A neatly plaited narrative...rich in detail. A splendid history."--Washington Times
Susie Gilbert traces the development of ENO from its earliest origins in the darkest Victorian slums of the Cut, where it was conceived as a vehicle of social reform, through two world wars, and via Sadler's Wells to its great glory days at the Coliseum and beyond. Setting the company's artistic achievements within the wider context of social and political attitudes to the arts and the ever-changing theatrical style, Gilbert provides a vivid cultural history of this unique institution's 150 years. Inspired by the idealism of Lilian Baylis, the company has been based on the belief that opera in the vernacular can not only reach out to even the least privileged members of society but also create a potent and immediate communication with its audience. With full access to ENO's archive, Gilbert has unearthed a rich range of material and held numerous interviews with a fascinating array of personalities, to weave an absorbing tale of life both in front and behind the scenes of ENO as it developed over the years.
Theological discourse in the West has consistently valued the word over the image. Aesthetics, which discerns the criteria and value of the beautiful and what "pleases the senses," is the discipline that prioritizes sensual intelligence over the rational; this book advocates a reconsideration of the doctrine of the incarnation through an aesthetics of vulnerability, in which the ethical optics of attention to the vulnerable other becomes the standpoint in which to ponder the significance of "God became human." Relying on such diverse thinkers as Emmanuel Levinas, Maurice Blanchot, Karl Rahner, and Masao Abe, Susie Paulik Babka explores visual art, images, and poetry as theological sources, designating what Blanchot called "a region where impossibility is no longer deprivation, but affirmation.
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