The Enlightened Soldier Scharnhorst And The Milit Rische Gesellschaft In Berlin 1801 1805 Mit Portr 1 Publ New York Usw Praeger 1989 Xv 244 S 8

This volume explores the essence of German military professionalism as exemplified by the nineteenth century Prussian German Staff. The study focuses on the most important Prussian military reformer--Gerhard Johann David von Scharnhorst, who in 1801 founded the Militarische Gesellschaft (Military Society) in Berlin. The Gesellschaft became the focal point for the transformation of the Prussian army from a robotic war machine into a modern fighting force that was instrumental in defeating Napolean in 1813 and in 1815. The author examines the following elements of this military society: its membership; the specifics of its agenda; the intellect, imagination, and habits of thought, reflection, and objective analysis of its members; Scharnhorst's particular contributions.

In Benjamin’s Library, Jane O. Newman offers, for the first time in any language, a reading of Walter Benjamin’s notoriously opaque work, Origin of the German Tragic Drama that systematically attends to its place in discussions of the Baroque in Benjamin’s day. Taking into account the literary and cultural contexts of Benjamin’s work, Newman recovers Benjamin’s relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years. To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. Armed with extraordinary historical, bibliographical, philological, and orthographic research, Newman shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, she challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies. The result is a deeply learned book that will infuse much-needed life into the study of one of the most influential thinkers of the twentieth century.

Enloe outlines the dilemmas feminists around the globe face in trying to craft theories and strategies that support militerized women, locally and internationally, without unwittingly being militerized themselves.

To uphold family honor and tradition, Sheetal Prasad is forced to forsake the man she loves and marry playboy millionaire Rakesh Dhanraj while the citizens of Raigun, India, watch in envy. On her wedding night, however, Sheetal quickly learns that the stranger she married is as cold as the marble floors of the Dhanraj mansion. Forced to smile at family members and cameras and pretend there's nothing wrong with her marriage, Sheetal begins to discover that the family she married into harbors secrets, lies and deceptions powerful enough to tear apart her world. With no one to rely on and no escape, Sheetal must ally with her husband in an attempt to protect her infant son from the tyranny of his family.sion.

“There is no world of thought that is not a world of language,” Walter Benjamin remarked, “and one only sees in the world what is preconditioned by language.” In this book, Samuel Weber, a leading theorist on literature and media, reveals a new and productive aspect of Benjamin’s thought by focusing on a little-discussed stylistic trait in his formulation of concepts. Weber’s focus is the critical suffix “-ability” that Benjamin so tellingly deploys in his work. The “-ability” (-barkeit, in German) of concepts and literary forms traverses the whole of Benjamin’s oeuvre, from “impartibility” and “criticizability” through the well-known formulations of “citability,” “translatability,” and, most famously, the “reproducibility” of “The Work of Art in the Age of Its Technological Reproducibility.” Nouns formed with this suffix, Weber points out, refer to a possibility or potentiality, to a capacity rather than an existing reality. This insight allows for a consistent and enlightening reading of Benjamin’s writings. Weber first situates Benjamin’s engagement with the “-ability” of various concepts in the context of his entire corpus and in relation to the philosophical tradition, from Kant to Derrida. Subsequent chapters deepen the implications of the use of this suffix in a wide variety of contexts, including Benjamin’s Trauerspiel book, his relation to Carl Schmitt, and a reading of Wagner’s Ring. The result is an illuminating perspective on Benjamin’s thought by way of his language—and one of the most penetrating and comprehensive accounts of Benjamin’s work ever written.

Were those who worked in the theatres of the Third Reich willing participants in the Nazi propaganda machine or artists independent of official ideology? To what extent did composers such as Richard Strauss and Carl Orff follow Nazi dogma? How did famous directors such as Gustaf Grüdgens and Jürgen Fehling react to the new regime? Why were Shakespeare and George Bernard Shaw among the most performed dramatists of the time? And why did the Nazis sanction Jewish theatre? This is the first book in English about theater in the entire Nazi period. The book is based on contemporary press reports, research in German archives, and interviews with surviving playwrights, actors, and musicians.