Originally published in French in 2000 (1), this English translation of A History of Pakistan and its Origins was prepared for the English reader and released following the events of September 11. 2001.
Götz Aly’s and Susanne Heim’s Architects of Annihilation is a translation of the authors’ Vordenker der Vernichtung. Auschwitz und die deutschen Pläne für eine neue europäische Ordnung (Hamburg: Hoffmann und Campe), first published in 1991. The alteration to the title may be designed to emphasise the authors’ argument that there was a rational purpose behind the Holocaust.
Although the Electorate of Saxony was one of the most influential Protestant territories in the Holy Roman Empire, it has received little attention from English scholars.
Britain in Revolution is a huge book in every sense, the distillation of a lifetime’s-worth of teaching, researching and writing, resulting in a large, sweeping narrative account of a very high standard.
The present slim volume arose from seminars held at Oxford, where visiting German academics presented the original papers. The aim of the series in which Eduard Mühle’s book appears is to present the results of recent research by German historians, on the assumption that otherwise they would be inaccessible to many English readers.
Reflecting the place of the Bible as the bedrock of medieval culture, biblical imagery was ubiquitous in medieval England, yet it has not hitherto been the subject of a comprehensive modern monograph. Such precedents as there were – notably M. R. James’s The Apocalypse in Art (London: British Academy, 1931) and F. Wormald’s ‘Bible Illustration in Medieval Manuscripts’, in G. W. H.
Nearly a century after G.M.
In his foreword Tony Blair suggests that this book 'offers an overview of the important themes in the WEA's history and relates the past to the present and future of the association.' This is indeed true. The book acknowledges the association's successes, but is critical of its failures; its tone is at times joyful and at others poignant.
The period between 1760 and 1820 was the golden age of British pictorial satire. But only in the last 20 years have the artists and their work attracted serious study in their own right.
For a long time the historical study of early modern women seemed destined to be confined to the domestic sphere. Almost axiomatically, 'women' have been treated as a subset of household, family, or marriage.