Search results for ""PRIMO""

The recording, explanation and the inescapable task of judging great wrongs in the past presents historians with their most difficult assignment. For those who have either lived through such injustice or have been in some way responsible for it the impositions of memory are both painful and unavoidable. Memory shapes the future, and the recollections of past suffering haunt and may overwhelm generations long after. In 1938 the National Socialist Party in Germany began the final preparations for the systematic genocide of the Jews throughout Europe. For the Jews, whose national loyalties had long exceeded any ties of ethnicity, the programme of extermination was an act not merely of monstrous cruelty but of humiliation and treachery. In Holocaust Remembrance scholars, artists and writers consider the ways in which the events of 1938-1945 have been, might be, and will be remembered. The records of the Holocaust are vast and various, ranging from the museum at Auschwitz to the cartoons of Art Spiegelman, from the dark paintings of R. B. Kitaj to the elegaic stories of Primo Levi, from the filmed testimonies of the death camp survivors to revisionist historians who usurp the name of scholar in the pursuit of denial and evasion. The perspectives brought to bear here are rich and various - impassioned, objective, personal, poetical, historical and philosophical. They are united by an awareness of the dangers both of respectful silence and overwhelming information, and that only in remembering can an understanding of the past be sought and human kind redeemed from the forces of humiliation and guilt.

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In the 1920s and 30s, anti-Semitism was rife in the United States and Europe. Jews needed symbols of strength and demonstrations of courage against their enemies, and they found both in two champions of boxing: Max Baer and Barney Ross. Baer was the only Jewish heavyweight champion in the twentieth century, while Ross was considered one of the greatest welterweight and lightweight champions of the era. Although their careers never crossed paths, their boxing triumphs played a common role in lifting the spirits of persecuted Jews. In Max Baer and Barney Ross: Jewish Heroes of Boxing, Jeffrey Sussman chronicles the lives of two men whose successful bouts inside the ring served as inspiration for Jewish fans across the country and around the world. Though they came from very different backgrounds—Baer grew up on his family’s ranch in California, while Ross roamed the tough streets of Chicago and was a runner for Al Capone—both would bask in the limelight as boxing champions. Their stories include legendary encounters with such opponents as Jimmy McLarnin (known as the Jew Killer), Max Schmeling (Hitler’s favorite athlete), and Primo Carnera (a sad giant controlled and mistreated by gangsters). While recounting the exploits of these two men, the author also paints an evocative picture of boxing and the crucial role it played in an era of anti-Semitism. A vivid and engaging look at these two heroes and the difficult era in which they lived, Max Baer and Barney Ross will appeal to boxing fans, sports historians, and anyone interested in Jewish history.

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In a 1941 Nazi roundup of educated Poles, Stefan Budziaszek—newly graduated from medical school in Krakow—was incarcerated in the Krakow Montelupich Prison and transferred to the Auschwitz concentration camp in February 1942. German big businesses brutally exploited the cheap labor of prisoners in the camp, and workers were dying. In 1943, Stefan, now a functionary prisoner, was put in charge of the on-site prisoner hospital, which at the time was more like an infirmary staffed by well-connected but untrained prisoners. Stefan transformed this facility from just two barracks into a working hospital and outpatient facility that employed more than 40 prisoner doctors and served a population of 10,000 slave laborers.Stefan and his staff developed the hospital by commandeering medication, surgical equipment, and even building materials, often from the so-called Canada warehouse filled with the effects of Holocaust victims. But where does seeking the cooperation of the Nazi concentration camp staff become collusion with Nazi genocide? How did physicians deal with debilitated patients who faced “selection” for transfer to the gas chambers? Auschwitz was a cauldron of competing agendas. Unexpectedly, ideological rivalry among prisoners themselves manifested itself as well. Prominent Holocaust witnesses Elie Wiesel and Primo Levi both sought treatment at this prisoner hospital. They, other patients, and hospital staff bear witness to the agency of prisoner doctors in an environment better known for death than survival.

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From the foremost historian of 20th century Spain, A People Betrayed is the story of the devastating betrayal of Spain by its political class, its military and its Church. This comprehensive history of modern Spain chronicles the fomenting of violent social division throughout the country by institutionalised corruption and startling political incompetence. Most spectacularly during the Primo de Rivera and Franco dictatorships, grotesque and shameless corruption went hand-in-hand with inept policies that prolonged Spain’s economic backwardness well into the 1950s. A People Betrayed looks back to the years prior to 1923 when electoral corruption excluded the masses from organized politics and gave them a choice between apathetic acceptance and violent revolution. Bitter social conflict, economic tensions and conflict between centralist nationalism and regional independence movements then exploded into the civil war of 1936-1939. It took the horrors of that war and the dictatorship that followed to break the pattern. The moderation shared by the progressive right and a chastened left underlay a bloodless transition to democracy after 1975. Yet, as before, corruption and political incompetence continued to have a corrosive effect on political coexistence and social cohesion. Sparkling with vivid portraits of politicians and army officers, some corrupt and others clean, recounting the triumphs and disasters of Kings Alfonso XIII and Juan Carlos, A People Betrayed unravels the mystery of why both right and left have been unable or unwilling to deal with corruption and the pernicious clash between Spanish centralist nationalism and regional desires for independence.

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What does it mean when people use the word 'Hell' to convey the horror of an actual, personal or historical experience? Now available in paperback, this book explores the idea that modern, Western secular cultures have retained a belief in the concept of Hell as an event or experience of endless or unjust suffering. In the contemporary period, the descent to Hell has come to represent the means of recovering - or discovering - selfhood. In exploring these ideas, this book discusses descent journeys in Holocaust testimony and fiction, memoirs of mental illness, and feminist, postmodern and postcolonial narratives written after 1945. A wide range of texts are discussed, including writing by Primo Levi, W.G. Sebald, Anne Michaels, Alasdair Gray, and Salman Rushdie, and films such as Coppola's Apocalypse Now and the Matrix trilogy. Drawing on theoretical writing by Bakhtin, Levinas, Derrida, Judith Butler, David Harvey and Paul Ricoeur, the book addresses such broader theoretical issues as: narration and identity; the ethics of the subject; trauma and memory; descent as sexual or political dissent; the interrelation of realism and fantasy; and Occidentalism and Orientalism. Key Features *Defines and discusses what constitutes Hell in contemporary secular Western cultures *Relates ideas from psychoanalysis to literary traditions ranging from Virgil and Dante to the present *Explores the concept of Hell in relation to crises in Western thought and identity. e.g. distortions of global capitalism, mental illness, war trauma and incarceration *Explains the significance of this narrative tradition of a 'descent to hell' in the immediate political context of 9/11 and its aftermath

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Following The People and the Books, which "covers more than 2,500 years of highly variegated Jewish cultural expression" (Robert Alter, The New York Times Book Review), poet and literary critic Adam Kirsch now turns to the story of modern Jewish literature. From the vast emigration of Jews out of Eastern Europe to the Holocaust to the creation of Israel, the twentieth century transformed Jewish life. The same was true of Jewish writing: the novels, plays, poems and memoirs of Jewish writers provided intimate access to new worlds of experience. Kirsch surveys four themes that shaped the twentieth century in Jewish literature and culture: Europe, America, Israel and the endeavour to reimagine Judaism as a modern faith. With discussions of major books by over thirty writers—ranging from Franz Kafka to Philip Roth, Elie Wiesel to Tony Kushner, Hannah Arendt to Judith Plaskow—he argues that literature offers a new way to think about what it means to be Jewish in the modern world. With a wide scope and diverse, original observations, Kirsch draws fascinating parallels between familiar writers and their less familiar counterparts. While everyone knows the diary of Anne Frank, for example, few outside of Israel have read the diary of Hannah Senesh. Kirsch sheds new light on the literature of the Holocaust through the work of Primo Levi, explores the emergence of America as a Jewish home through the stories of Bernard Malamud and shows how Yehuda Amichai captured the paradoxes of Israeli identity. An insightful and engaging work from "one of America’s finest literary critics" (The Wall Street Journal), The Blessing and the Curse brings the Jewish experience vividly to life.

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Visual Translation breaks new ground in the study of French manuscripts, contributing to the fields of French humanism, textual translation, and the reception of the classical tradition in the first half of the fifteenth century. While the prominence and quality of illustrations in French manuscripts have attracted attention, their images have rarely been studied systematically as components of humanist translation. Anne D. Hedeman fills this gap by studying the humanist book production closely supervised by Laurent de Premierfait and Jean Lebègue for courtly Parisian audiences in the first half of the fifteenth century. Hedeman explores how visual translation works in a series of unusually densely illuminated manuscripts associated with Laurent and Lebègue circa 1404–54. These manuscripts cover both Latin texts, such as Statius’s Thebiad and Achilleid, Terence’s Comedies, and Sallust’s Conspiracy of Cataline and Jurguthine War, and French translations of Cicero’s De senectute, Boccaccio’s De casibus virorum illustrium and Decameron, and Bruni’s De bello Punico primo. Illuminations constitute a significant part of these manuscripts’ textual apparatus, which helped shape access to and interpretation of the texts for a French audience. Hedeman considers them as a group and reveals Laurent’s and Lebègue’s growing understanding of visual rhetoric and its ability to visually translate texts originating in a culture removed in time or geography for medieval readers who sought to understand them. The book discusses what happens when the visual cycles so carefully devised in collaboration with libraries and artists by Laurent and Lebègue escaped their control in a process of normalization. With over 180 color images, this major reference book will appeal to students and scholars of French, comparative literature, art history, history of the book, and translation studies.

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'The chilling narrative presents a graphic and compelling self-portrait of the Nazi war criminal who oversaw Auschwitz concentration camp' JEWISH BOOK WORLD'This book is filled with evil ... and yet it is one of the most instructive books ever published' Primo LeviAn extraordinary and unique document: Hoess was in charge of the huge extermination camp in Poland where the Nazis murdered some three million Jews, from the time of its creation (he was responsible for building it) in 1940 until late in 1943, by which time the mass exterminations were half completed. Before this he had worked in other concentration camps, and afterwards he was at the Inspectorate in Berlin. He thus knew more, both at first-hand and as an administrator, about Nazi Germany's greatest crime than did any save two or three other men.Taken prisoner by the British, he was handed over to the Poles, tried, sentenced to death, and taken back to Auschwitz and there hanged. During the period between his trial and his execution, he was ordered to write his autobiography. This is it. Hoess repeatedly says he was glad to write the book. He enjoyed the work. And finally the most careful checking has shown that he took great pains to tell the truth. Here we have, painted by his own hand, a vivid and unforgettable self-portrait of one of the great monsters of all time. To this are added portraits of some of his more spectacular fellow-criminals. The royalties from this macabre but historically important book go to the fund set up to help the few survivors from the Auschwitz camps.

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'A transfixingly readable amalgam of memoir and history... Superbly written and researched.... [Meller] has turned the raw material of her life into literature'Ian Thomson, author of Primo LeviRachel Meller was never close to her aunt Lisbeth, a cool, unemotional woman with a drawling Viennese-Californian accent, a cigarette in her hand. But when Lisbeth died, she left Rachel an intricately carved Chinese box with a sunflower clasp. Inside the box were photographs, letters and documents that led Rachel to uncover a story she had never known: that of a passionate Jewish teenager growing up in elegant Vienna, who was caught up by war, and forced to flee to Shanghai.Far from home, in a strange city, Lisbeth and her parents build a new life - a life of small joys and great hardship, surrounded by many others who, like them, have fled Hitler and the Nazis. 1930s Shanghai is a metropolis where the old rules do not apply - a city of fabulous wealth and crushing poverty, where disease is rife, and gangsters rub shoulders with rich émigrés; where summer brings unspeakable heat, and winter is bitterly cold; and where European refugees build a community and, maybe, a young woman can find love.Set against a backdrop of the war in the Far East, The Box with the Sunflower Clasp is a sweeping family memoir that tells the hidden history of the Jews of Shanghai. Rachel Meller writes with elegance and insight as she examines what it means to survive, and what the legacy of displacement and war might mean for the generation that comes afterwards.

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"These are pages that one reads with almost physical pain. . .all the way to its stoic conclusion." —Primo Levi"The testimony of a profoundly serious man. . . . In its every turn and crease, it bears the marks of the true." —Irving Howe, New Republic"This remarkable memoir. . .is the autobiography of an extraordinarily acute conscience. With the ear of a poet and the eye of a novelist, Amery vividly communicates the wonder of a philosopher—a wonder here aroused by the 'dark riddle' of the Nazi regime and its systematic sadism." —Jim Miller, Newsweek"Whoever has succumbed to torture can no longer feel at home in the world. The shame of destruction cannot be erased. Trust in the world, which already collapsed in part at the first blow, but in the end, under torture, fully, will not be regained. That one's fellow man was experienced as the antiman remains in the tortured person as accumulated horror. It blocks the view into a world in which the principle of hope rules. One who was martyred is a defenseless prisoner of fear. It is fear that henceforth reigns over him." —Jean AmeryAt the Mind's Limits is the story of one man's incredible struggle to understand the reality of horror. In five autobiographical essays, Amery describes his survival—mental, moral, and physical—through the enormity of the Holocaust. Above all, this masterful record of introspection tells of a young Viennese intellectual's fervent vision of human nature and the betrayal of that vision.

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Conrad in Italy provides international students and researchers with a variety of critical approaches. Richard Ambrosini surveys Conrad's reception within the Italian academy. Franco Marenco's essay on "Heart of Darkness" outlines Conrad's centrality in English Modernism. Alessandro Serpieri deals with Conrad's impressionistic treatment of space in The Secret Agent and other texts. Giuseppe Sertoli focuses on Conrad's debt to the Comtesse de Boigne's Memoires and to James's Portrait of a Lady in the writing of Suspense. Fausto Ciompi investigates the isotopy of dream in Lord Jim and other early novels. Elio Di Piazza reads the The Mirror of the Sea as an inquiry into British and Russian empires. Maria Teresa Chialant's study of "Amy Foster" and "Tomorrow" accounts for the interest of Italian critics in Conrad's minor works. Francesco Marroni unfolds the moral structure of "The Secret Sharer". Nicoletta Vallorani tackles the theme of the double in "The Secret Sharer" from the perspective of the art of photography. Luisa Villa illuminates the complex structure of Chance in the light of Conrad's re-elaboration of the Victorian multi-plot novel. Mario Domenichelli proposes a reading of Conrad's cooperation with Ford. The Inheritors is the subject of Mario Curreli's essay on Conrad's debt to H.G. Wells, Zangwill, and Drumont, while it places the issue of fourth-dimension in the context of European colonialisms. Marialuisa Bignami's survey of Conrad's influence on Primo Levi and Marilena Saracino's intertextual analysis of "Heart of Darkness" and Luigi Guarneri's Tenebre sul Congo are two exercises in dialogic reading which confirm Conrad's well-established reception in Italian culture.

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'This erudite and heartfelt survey reminds us that the need for consolation is timeless, as are the inspiring words and examples of those who walked this path before us.' - Toronto StarAs read on BBC Radio 4's 'Book of the Week', a timely, moving and profound exploration of how writers, composers and artists have searched for solace while facing loss, tragedy and crisis, from the historian and Booker Prize-shortlisted novelist Michael Ignatieff.When we lose someone we love, when we suffer loss or defeat, when catastrophe strikes – war, famine, pandemic – we go in search of consolation. Once the province of priests and philosophers, the language of consolation has largely vanished from our modern vocabulary, and the places where it was offered, houses of religion, are often empty. Rejecting the solace of ancient religious texts, humanity since the sixteenth century has increasingly placed its faith in science, ideology, and the therapeutic.How do we console each other and ourselves in an age of unbelief? In a series of portraits of writers, artists, and musicians searching for consolation – from the books of Job and Psalms to Albert Camus, Anna Akhmatova, and Primo Levi – writer and historian Michael Ignatieff shows how men and women in extremity have looked to each other across time to recover hope and resilience. Recreating the moments when great figures found the courage to confront their fate and the determination to continue unafraid, On Consolation takes those stories into the present, movingly contending that we can revive these traditions of consolation to meet the anguish and uncertainties of the twenty-first century.

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Words like "terrorism" and "war" no longer encompass the scope of contemporary violence. With this explosive book, Adriana Cavarero, one of the world's most provocative feminist theorists and political philosophers, effectively renders such terms obsolete. She introduces a new word--"horrorism"--to capture the experience of violence. Unlike terror, horrorism is a form of violation grounded in the offense of disfiguration and massacre. Numerous outbursts of violence fall within Cavarero's category of horrorism, especially when the phenomenology of violence is considered from the perspective of the victim rather than that of the warrior. Cavarero locates horrorism in the philosophical, political, literary, and artistic representations of defenseless and vulnerable victims. She considers both terror and horror on the battlefields of the Iliad, in the decapitation of Medusa, and in the murder of Medea's children. In the modern arena, she forges a link between horror, extermination, and massacre, especially the Nazi death camps, and revisits the work of Primo Levi, Hannah Arendt's thesis on totalitarianism, and Arendt's debate with Georges Bataille on the estheticization of violence and cruelty. In applying the horroristic paradigm to the current phenomena of suicide bombers, torturers, and hypertechnological warfare, Cavarero integrates Susan Sontag's views on photography and the eroticization of horror, as well as ideas on violence and the state advanced by Thomas Hobbes and Carl Schmitt. Through her searing analysis, Caverero proves that violence against the helpless claims a specific vocabulary, one that has been known for millennia, and not just to the Western tradition. Where common language fails to form a picture of atrocity, horrorism paints a brilliant portrait of its vivid reality.

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Peter Balakian is a renowned poet, scholar, and memoirist; but his work as an essayist often prefigures and illuminates all three. "I think of vise and shadow as two dimensions of the lyric (literary and visual) imagination," he writes in the preface to this collection, which brings together essayistic writings produced over the course of twenty-five years. Vise, "as in grabbing and holding with pressure," but also in the sense of the vise-grip of the imagination, which can yield both clarity and knowledge. Consider the vise-grip of some of the poems of our best lyric poets, how language might be put under pressure "as carbon might be put under pressure to create a diamond." And shadow, the second half of the title: both as noun, "the shaded or darker portion of the picture or view or perspective," "partial illumination and partial darkness"; and as verb, to shadow, "to trail secretly as an inseparable companion" or a "force that follows something with fidelity; to cast a dark light on something-a person, an event, an object, a form in nature." Vise and Shadow draws into conversation such disparate figures as W B Yeats, Hart Crane, Joan Didion, Primo Levi, Robert Rauschenberg, Bob Dylan, Elia Kazan, and Arshile Gorky, revealing how the lyric imagination of these artists grips experience, shadows history, and casts its own type of light, creating one of the deepest kinds of human knowledge and sober truth. In these elegantly written essays, Balakian offers a fresh way to think about how the power of poetry, art, and the lyrical imagination illuminate history, trauma, and memory.

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The extraordinary letters of Italo Calvino, one of the great writers of the twentieth century, translated into English for the first time by Martin McLaughlin, with an introduction by Michael Wood.Italo Calvino, novelist, literary critic and editor, was also a masterful letter writer whose correspondents included Umberto Eco, Primo Levi, Gore Vidal and Pier Paolo Pasolini. This collection of his extraordinary letters, the first in English, gives an illuminating insight into his work and life. They include correspondence with fellow authors, generous encouragement to young writers, responses to critics, thoughts on literary criticism and literature in general, as well as giving glimpses of Calvino's role in the antifascist Resistance, his disenchantment with Communism and his travels to America and Cuba. Together they reveal the searching intellect, clarity and passionate commitment of a great writer at work.'This literally marvelous collection of letters shows him to have been gregarious, puckish, funny, combative, and, above all, wonderful company, and opens a new and fascinating perspective on one of the master writers of the twentieth century. Michael Wood and Martin McLaughlin have done Calvino, and us, a great and loving service.' John Banville'A charming addition to the Planet Calvino - a place cluttered with sphinxes, chimeras, knights, spaceships and viscounts both cloven and whole' GuardianItalo Calvino, one of Italy's finest postwar writers, was born in Cuba in 1923 and grew up in San Remo, Italy. Best known for his experimental masterpieces, Invisible Cities and If on a Winter's Night a Traveller, he was also a brilliant exponent of allegorical fantasy in works such as The Complete Cosmicomics. He died in Siena in 1985.

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Elie Wiesel's harrowing first-hand account of the atrocities committed during the Holocaust, Night is translated by Marion Wiesel with a preface by Elie Wiesel in Penguin Modern Classics.Born into a Jewish ghetto in Hungary, as a child, Elie Wiesel was sent to the Nazi concentration camps at Auschwitz and Buchenwald. This is his account of that atrocity: the ever-increasing horrors he endured, the loss of his family and his struggle to survive in a world that stripped him of humanity, dignity and faith. Describing in simple terms the tragic murder of a people from a survivor's perspective, Night is among the most personal, intimate and poignant of all accounts of the Holocaust. A compelling consideration of the darkest side of human nature and the enduring power of hope, it remains one of the most important works of the twentieth century.Elie Wiesel (b. 1928) was fifteen years old when he and his family were deported by the Nazis to Auschwitz. After the war, Wiesel studied in Paris and later became a journalist. During an interview with the distinguished French writer, Francois Mauriac, he was persuaded to write about his experiences in the death camps. The result was his internationally acclaimed memoir, La Nuit or Night, which has since been translated into more than thirty languages.If you enjoyed Night, you might also like Primo Levi's The Periodic Table, also available in Penguin Modern Classics.'A slim volume of terrifying power'The New York Times'To the best of my knowledge no one has left behind him so moving a record' Alfred Kazin'Wiesel has taken his own anguish and imaginatively metamorphosed it into art' Curt Leviant, Saturday Review

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Since World War II, French and Francophone literature and film have repeatedly sought not to singularize the Holocaust as the paradigm of historical trauma but rather to connect its memory with other memories of violence, namely that of colonialism. These works produced what Debarati Sanyal calls a “memory-in-complicity” attuned to the gray zones that implicate different regimes of violence across history as well as those of different subject positions such as victim, perpetrator, witness, and reader/spectator. Examining a range of works from Albert Camus, Primo Levi, Alain Resnais, and Jean-Paul Sartre to Jonathan Littell, Assia Djebar, Giorgio Agamben, and Boualem Sansal, Memory and Complicity develops an inquiry into the political force and ethical dangers of such implications, contrasting them with contemporary models for thinking about trauma and violence and offering an extended meditation on the role of aesthetic form, especially allegory, within acts of transhistorical remembrance. What are the political benefits and ethical risks of invoking the memory of one history in order to address another? What is the role of complicity in making these connections? How does complicity, rather than affect based discourses of trauma, shame and melancholy, open a critical engagement with the violence of history? What is it about literature and film that have made them such powerful vehicles for this kind of connective memory work? As it offers new readings of some of the most celebrated and controversial novelists, filmmakers, and playwrights from the French-speaking world, Memory and Complicity addresses these questions in order to reframe the way we think about historical memory and its political uses today.

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This title presents classic dishes from the North-west of Italy. Discover the secrets of the world-famous cuisines of Lombardy, Emilia-Romagna, Piedmont, Liguria and Aosta Valley, in a collection of 65 mouthwatering recipes. This is an insightful guide to the geography, climate and culinary history of each region, exploring the similarities and differences that bind the North-west of Italy together. This fascinating exploration of the typical ingredients of the area includes wonderful foods such as Parmesan cheese, balsamic vinegar, fresh egg pasta, risotto rice, Parma ham and exquisite white truffles. It is illustrated with over 370 beautiful photographs by the award-winning food photographer Martin Brigdale. Lombardy, Emilia-Romagna, Piedmont, Liguria and Aosta Valley comprise the diverse North-western corner of Italy. This fabulous new book opens with an exploration into each region of this part of Italy, focussing on their geography, history and food culture. It includes fascinating information about the festivals and celebrations that take place, as well as the typical foods that accompany them. The recipe section contains 65 authentic dishes from antipasto, through the primo and secondo, to dessert. Famous classics are included, such as Minestrone Soup, Barolo Risotto, Salsa Verde and Panna Cotta. Each dish is beautifully photographed and complete nutritional breakdowns are provided throughout. Cook's tips and variations provide extra help and ideas to help you make the most out of each recipe. A celebration of the distinctive tastes and traditions that have shaped the Italian menu, this book is ideal for anyone wanting to learn how to prepare the classics of North-west Italy.

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As read on BBC Radio 4's 'Book of the Week', a timely, moving and profound exploration of how writers, composers and artists have searched for solace while facing loss, tragedy and crisis, from the historian and Booker Prize-shortlisted novelist Michael Ignatieff.'This erudite and heartfelt survey reminds us that the need for consolation is timeless, as are the inspiring words and examples of those who walked this path before us.' Toronto StarWhen we lose someone we love, when we suffer loss or defeat, when catastrophe strikes – war, famine, pandemic – we go in search of consolation. Once the province of priests and philosophers, the language of consolation has largely vanished from our modern vocabulary, and the places where it was offered, houses of religion, are often empty. Rejecting the solace of ancient religious texts, humanity since the sixteenth century has increasingly placed its faith in science, ideology, and the therapeutic.How do we console each other and ourselves in an age of unbelief? In a series of portraits of writers, artists, and musicians searching for consolation – from the books of Job and Psalms to Albert Camus, Anna Akhmatova, and Primo Levi – writer and historian Michael Ignatieff shows how men and women in extremity have looked to each other across time to recover hope and resilience. Recreating the moments when great figures found the courage to confront their fate and the determination to continue unafraid, On Consolation takes those stories into the present, movingly contending that we can revive these traditions of consolation to meet the anguish and uncertainties of the twenty-first century.

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In this highly original work, Steven A. Epstein shows that the ways Italians employ words and think about race and labor are profoundly affected by the language used in medieval Italy to sustain a system of slavery. The author's findings about the surprising persistence of the "language of slavery" demonstrate the difficulty of escaping the legacy of a shameful past. For Epstein, language is crucial to understanding slavery, for it preserves the hidden conditions of that institution. He begins his book by discussing the words used to conduct and describe slavery in Italy, from pertinent definitions given in early dictionaries, to the naming of slaves by their masters, to the ways in which bondage has been depicted by Italian writers from Dante to Primo Levi and Antonio Gramsci. Epstein then probes Italian legal history, tracing the evolution of contracts for buying, selling, renting, and freeing people. Next he considers the behaviors of slaves and slave owners as a means of exploring how concepts of liberty and morality changed over time. He concludes by analyzing the language of the market, where medieval Italians used words to fix the prices of people they bought and sold. The first history of slavery in Italy ever published, Epstein's work has important implications for other societies, particularly America's. "For too long," Epstein notes, "Americans have studied their own slavery as it if were the only one ever to have existed, as if it were the archetype of all others." His book allows citizens of the United States and other former slave-holding nations a richer understanding of their past and present.

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Since World War II, French and Francophone literature and film have repeatedly sought not to singularize the Holocaust as the paradigm of historical trauma but rather to connect its memory with other memories of violence, namely that of colonialism. These works produced what Debarati Sanyal calls a “memory-in-complicity” attuned to the gray zones that implicate different regimes of violence across history as well as those of different subject positions such as victim, perpetrator, witness, and reader/spectator. Examining a range of works from Albert Camus, Primo Levi, Alain Resnais, and Jean-Paul Sartre to Jonathan Littell, Assia Djebar, Giorgio Agamben, and Boualem Sansal, Memory and Complicity develops an inquiry into the political force and ethical dangers of such implications, contrasting them with contemporary models for thinking about trauma and violence and offering an extended meditation on the role of aesthetic form, especially allegory, within acts of transhistorical remembrance. What are the political benefits and ethical risks of invoking the memory of one history in order to address another? What is the role of complicity in making these connections? How does complicity, rather than affect based discourses of trauma, shame and melancholy, open a critical engagement with the violence of history? What is it about literature and film that have made them such powerful vehicles for this kind of connective memory work? As it offers new readings of some of the most celebrated and controversial novelists, filmmakers, and playwrights from the French-speaking world, Memory and Complicity addresses these questions in order to reframe the way we think about historical memory and its political uses today.

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A collection of diverse yet interconnected essays from one of the world’s most respected historians. Carlo Ginzburg has been at the forefront of the discipline of microhistory ever since his earliest works were published to great acclaim in the 1970s. The Soul of Brutes brings together four of Ginzburg’s recent scintillating essays and lectures that testify to the diversity of his thoughts on history and philosophy. “Civilization and Barbarism” resurrects a sixteenth-century debate between two thinkers in Spain about the humanness, or lack thereof, of Native Americans, and highlights the influence of classical thinkers, from Herodotus to Aristotle, and the iterations and interpretations through which their writings have traversed down to the Cinquecento. In “The Soul of Brutes” Ginzburg traces the genealogy of the debate on the rationality of animals and the limits of their imagination, from Plutarch and Aristotle to sixteenth-century thinkers like Pietro Pomponazzi and Girolamo Rorario. Following Montaigne, he provokes, are we to beasts as they seem to us? In “Calvino, Manzoni and the Grey Zone,” Carlo Ginzburg pithily writes about the mental dialogue between Holocaust survivor Primo Levi and two Italians who profoundly influenced Levi’s search for these “unexplored pockets of exception”—his contemporary Italo Calvino and the nineteenth-century novelist and philosopher Alessandro Manzoni. And finally, in “Schema and Bias”, he probes whether the historian can clearly see into the past, peering through the layers of bias, which include their own prejudices, or if relativism is the only path. With several beautifully reproduced color illustrations, The Soul of Brutes will interest not only scholars of history, philosophy, and art, but also general intellectual readers.

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This is the first collection in English of the extraordinary letters of one of the great writers of the twentieth century. Italy's most important postwar novelist, Italo Calvino (1923-1985) achieved worldwide fame with such books as Cosmicomics, Invisible Cities, and If on a Winter's Night a Traveler. But he was also an influential literary critic, an important literary editor, and a masterful letter writer whose correspondents included Umberto Eco, Primo Levi, Gore Vidal, Leonardo Sciascia, Natalia Ginzburg, Michelangelo Antonioni, Pier Paolo Pasolini, and Luciano Berio. This book includes a generous selection of about 650 letters, written between World War II and the end of Calvino's life. Selected and introduced by Michael Wood, the letters are expertly rendered into English and annotated by well-known Calvino translator Martin McLaughlin. The letters are filled with insights about Calvino's writing and that of others; about Italian, American, English, and French literature; about literary criticism and literature in general; and about culture and politics. The book also provides a kind of autobiography, documenting Calvino's Communism and his resignation from the party in 1957, his eye-opening trip to the United States in 1959-60, his move to Paris (where he lived from 1967 to 1980), and his trip to his birthplace in Cuba (where he met Che Guevara). Some lengthy letters amount almost to critical essays, while one is an appropriately brief defense of brevity, and there is an even shorter, reassuring note to his parents written on a scrap of paper while he and his brother were in hiding during the antifascist Resistance. This is a book that will fascinate and delight Calvino fans and anyone else interested in a remarkable portrait of a great writer at work.

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This book is a new short history of Spain during a crucial period, the reign of Alfonso XIII (1902-1931). Traditionally, this has been seen as a time that epitomised the worst features of 'old Spain': a backward country, poor and chronically unequal, with a government dominated by a tiny oligarchy ruling over a corrupt system -- an anomaly in Western Europe. However, this study, in line with the most recent historiography, offers a new insight into the period as one that was actually characterised by extensive modernisation in Spanish society and politics. Spain experienced, albeit in an unbalanced way, many of the changes already in progress in other European countries, such as urbanisation, industrialisation, mass migration, the rise in literacy, secularisation, and the emergence of mass politics. It then suffered profound conflicts associated with these changes, and a political dynamic of reform and reaction, revolution and counter-revolution. The book is divided into four main sections, dealing, chronologically, with the beginnings of the regenerationist era, the climax of the liberal monarchy, conflicts during the crisis of liberalism, and the military dictatorship of Primo de Rivera. Primarily a political history, it also touches on social, cultural and economic issues, and offers a comparative European perspective. Last but not least, there is a special interest in the problems of nation-building, a central theme of the period, and the competition between different versions of Spanish nationalism and regional nationalist movements -- above all, Catalanism and Basque nationalism. Overall, the Spanish situation is presented here not as a unique case but as a variation within the difficulties that were encountered all across continental Europe in achieving the transition from classical liberalism to mass democracy.

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In 1961, when Franco Basaglia arrived outside the grim walls of the Gorizia asylum, on the Italian border with Yugoslavia, it was a place of horror, a Bedlam for the mentally sick and excluded, redolent of Basaglia's own wartime experience inside a fascist gaol. Patients were frequently restrained for long periods, and therapy was largely a matter of electric and insulin shocks. The corridors stank, and for many of the interned the doors were locked for life. This was a concentration camp, not a hospital.Basaglia, the new Director, was expected to practise all the skills of oppression in which he had been schooled, but he would have none of this. The place had to be closed down by opening it up from the inside, bringing freedom and democracy to the patients, the nurses and the psychiatrists working in that 'total institution'.Inspired by the writings of authors such as Primo Levi, R. D. Laing, Erving Goffman, Michel Foucault and Frantz Fanon, and the practices of experimental therapeutic communities in the UK, Basaglia's seminal work as a psychiatrist and campaigner in Gorizia, Parma and Trieste fed into and substantially contributed to the national and international movement of 1968. In 1978 a law was passed (the 'Basaglia law') which sanctioned the closure of the entire Italian asylum system.The first comprehensive study of this revolutionary approach to mental health care, The Man Who Closed the Asylums is a gripping account of one of the most influential movements in twentiethcentury psychiatry, which helped to transform the way we see mental illness. Basaglia's work saved countless people from a miserable existence, and his legacy persists, as an object lesson in the struggle against the brutality and ignorance that the establishment peddles to the public as common sense.

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Conceptions of evil have changed dramatically over time, and though humans continue to commit acts of cruelty against one another, today we possess a clearer, more moral way of analyzing them. In Narrating Evil, Maria Pia Lara explores what has changed in our understanding of evil, why the transformation matters, and how we can learn from this specific historical development. Drawing on Immanuel Kant's and Hannah Arendt's ideas about reflective judgment, Lara argues that narrative plays a key role in helping societies acknowledge their pasts. Particular stories haunt our consciousness and lead to a kind of examination and dialogue that shape notions of morality. A powerful description of a crime can act as a filter, helping us to draw conclusions about what constitutes a moral wrong, and public debates over these narratives allow us to construct a more accurate picture of historical truth, leading to a better understanding of why such actions are possible. In building her argument, Lara considers Greek tragedies, Shakespeare's depictions of evil, Joseph Conrad's literary metaphors, and movies that portray human cruelty. Turning to such philosophers and writers as Jurgen Habermas, Walter Benjamin, Primo Levi, Giorgio Agamben, and Ariel Dorfman, Lara defines a reflexive relationship between an event, the narrative of the event, and the public reception of the narrative, and she proves that the stories of perpetrators and sufferers are always intertwined. The process of disclosure, debate, and the public fashioning of collective judgment are vital methods through which we make sense not only of new forms of cruelty but of past crimes as well. Narrating Evil describes the steps of this process and why they are a crucial part of our attempt to build a different, more just world.

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This is the first collection in English of the extraordinary letters of one of the great writers of the twentieth century. Italy's most important postwar novelist, Italo Calvino (1923-1985) achieved worldwide fame with such books as Cosmicomics, Invisible Cities, and If on a Winter's Night a Traveler. But he was also an influential literary critic, an important literary editor, and a masterful letter writer whose correspondents included Umberto Eco, Primo Levi, Gore Vidal, Leonardo Sciascia, Natalia Ginzburg, Michelangelo Antonioni, Pier Paolo Pasolini, and Luciano Berio. This book includes a generous selection of about 650 letters, written between World War II and the end of Calvino's life. Selected and introduced by Michael Wood, the letters are expertly rendered into English and annotated by well-known Calvino translator Martin McLaughlin. The letters are filled with insights about Calvino's writing and that of others; about Italian, American, English, and French literature; about literary criticism and literature in general; and about culture and politics. The book also provides a kind of autobiography, documenting Calvino's Communism and his resignation from the party in 1957, his eye-opening trip to the United States in 1959-60, his move to Paris (where he lived from 1967 to 1980), and his trip to his birthplace in Cuba (where he met Che Guevara). Some lengthy letters amount almost to critical essays, while one is an appropriately brief defense of brevity, and there is an even shorter, reassuring note to his parents written on a scrap of paper while he and his brother were in hiding during the antifascist Resistance. This is a book that will fascinate and delight Calvino fans and anyone else interested in a remarkable portrait of a great writer at work.

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From Rabelais's celebration of wine to Proust's madeleine and Virginia Woolf's boeuf en daube in To the Lighthouse, food has figured prominently in world literature. But perhaps nowhere has it played such a vital role as in the Italian novel. In a book flowing with descriptions of recipes, ingredients, fragrances, country gardens, kitchens, dinner etiquette, and even hunger, Gian-Paolo Biasin examines food images in the modern Italian novel so as to unravel their function and meaning. As a sign for cultural values and social and economic relationships, food becomes a key to appreciating the textual richness of works such as Lampedusa's The Leopard, Manzoni's The Betrothed, Primo Levi's Survival in Auschwitz, and Calvino's Under the Jaguar Sun. The importance of the culinary sign in fiction, argues Biasin, is that it embodies the oral relationship between food and language while creating a sense of materiality. Food contributes powerfully to the reality of a text by making a fictional setting seem credible and coherent: a Lombard peasant eats polenta in The Betrothed, whereas a Sicilian prince offers a monumental macaroni timbale at a dinner in The Leopard. Similarly, Biasin shows how food is used by writers to connote the psychological traits of a character, to construct a story by making the protagonists meet during a meal, and even to call attention to the fictionality of the story with a metanarrative description. Drawing from anthropology, psychoanalysis, sociology, science, and philosophy, the author gives special attention to the metaphoric and symbolic meanings of food. Throughout he blends material culture with observations on thematics and narrativity to enlighten the reader who enjoys the pleasures of the text as much as those of the palate. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Judith Butler follows Edward Said's late suggestion that through a consideration of Palestinian dispossession in relation to Jewish diasporic traditions a new ethos can be forged for a one-state solution. Butler engages Jewish philosophical positions to articulate a critique of political Zionism and its practices of illegitimate state violence, nationalism, and state-sponsored racism. At the same time, she moves beyond communitarian frameworks, including Jewish ones, that fail to arrive at a radical democratic notion of political cohabitation. Butler engages thinkers such as Edward Said, Emmanuel Levinas, Hannah Arendt, Primo Levi, Martin Buber, Walter Benjamin, and Mahmoud Darwish as she articulates a new political ethic. In her view, it is as important to dispute Israel's claim to represent the Jewish people as it is to show that a narrowly Jewish framework cannot suffice as a basis for an ultimate critique of Zionism. She promotes an ethical position in which the obligations of cohabitation do not derive from cultural sameness but from the unchosen character of social plurality. Recovering the arguments of Jewish thinkers who offered criticisms of Zionism or whose work could be used for such a purpose, Butler disputes the specific charge of anti-Semitic self-hatred often leveled against Jewish critiques of Israel. Her political ethic relies on a vision of cohabitation that thinks anew about binationalism and exposes the limits of a communitarian framework to overcome the colonial legacy of Zionism. Her own engagements with Edward Said and Mahmoud Darwish form an important point of departure and conclusion for her engagement with some key forms of thought derived in part from Jewish resources, but always in relation to the non-Jew. Butler considers the rights of the dispossessed, the necessity of plural cohabitation, and the dangers of arbitrary state violence, showing how they can be extended to a critique of Zionism, even when that is not their explicit aim. She revisits and affirms Edward Said's late proposals for a one-state solution within the ethos of binationalism. Butler's startling suggestion: Jewish ethics not only demand a critique of Zionism, but must transcend its exclusive Jewishness in order to realize the ethical and political ideals of living together in radical democracy.

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Judith Butler follows Edward Said's late suggestion that through a consideration of Palestinian dispossession in relation to Jewish diasporic traditions a new ethos can be forged for a one-state solution. Butler engages Jewish philosophical positions to articulate a critique of political Zionism and its practices of illegitimate state violence, nationalism, and state-sponsored racism. At the same time, she moves beyond communitarian frameworks, including Jewish ones, that fail to arrive at a radical democratic notion of political cohabitation. Butler engages thinkers such as Edward Said, Emmanuel Levinas, Hannah Arendt, Primo Levi, Martin Buber, Walter Benjamin, and Mahmoud Darwish as she articulates a new political ethic. In her view, it is as important to dispute Israel's claim to represent the Jewish people as it is to show that a narrowly Jewish framework cannot suffice as a basis for an ultimate critique of Zionism. She promotes an ethical position in which the obligations of cohabitation do not derive from cultural sameness but from the unchosen character of social plurality. Recovering the arguments of Jewish thinkers who offered criticisms of Zionism or whose work could be used for such a purpose, Butler disputes the specific charge of anti-Semitic self-hatred often leveled against Jewish critiques of Israel. Her political ethic relies on a vision of cohabitation that thinks anew about binationalism and exposes the limits of a communitarian framework to overcome the colonial legacy of Zionism. Her own engagements with Edward Said and Mahmoud Darwish form an important point of departure and conclusion for her engagement with some key forms of thought derived in part from Jewish resources, but always in relation to the non-Jew. Butler considers the rights of the dispossessed, the necessity of plural cohabitation, and the dangers of arbitrary state violence, showing how they can be extended to a critique of Zionism, even when that is not their explicit aim. She revisits and affirms Edward Said's late proposals for a one-state solution within the ethos of binationalism. Butler's startling suggestion: Jewish ethics not only demand a critique of Zionism, but must transcend its exclusive Jewishness in order to realize the ethical and political ideals of living together in radical democracy.

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Ventotene is a small island located in the Tyrrhenian sea, known in Antiquity as Pandateria. The site hosts the ruins of a large Roman villa for otium dated to the Augustan age where, during the first century AD, many women related to imperial families were exiled and enclosed. Notable figures exiled to Ventotene include Agrippina the Elder, Julia Livilla and Claudia Octavia, amongst others. This volume is an introduction to the roman antiquities of the island and is the first of a series of thematic monographs dedicated to the island. The first part of the book offers a brief overview of the geology of the island and reviews the studies and archaeological excavations carried out in Ventotene since the 18th century. The central part of the monograph is dedicated to the reconstruction of the historical events that have affected the island and to the development of the archaeological topography of the Roman age. The final chapter examines the numerous underwater archaeological discoveries made in the waters surrounding the island. | Ventotene è una piccola isola del medio Tirreno conosciuta nell’antichità con il nome di Pandateria. In questo luogo si conservano gli imponenti resti di una villa romana di età augustea destinata all’otium. Nel corso del I sec. d.C. l’isola funse da luogo di prigionia per una serie di donne legate alla famiglia imperiale che vi furono mandate in esilio. La prima di esse fu, nel 2 a.C., Giulia: era stata accusata di impudicizia sulla base della ‘Lex Iulia de adulteriis coercendis’ e rimase nell’isola con sua madre Scribonia, che la seguì volontariamente, fino al 3 d.C. Nel 29 d.C. la relagatio ad insulam toccò ad Agrippina Maggiore esiliata su ordine di Tiberio: la figlia di Giulia e di Vipsanio Agrippa morì a Ventotene nel 33 d.C. e le sue spoglie furono recuperate e riportate in pompa magna a Roma da Caligola nel 37 d.C. Dal 39 al 41 d.C. l’imperatore Caligola confinò a Pandateria sua sorella Iulia Livilla. Nel 62 d.C. Nerone mandò in esilio a Ventotene Ottavia, sua prima moglie, che vi morì solo pochi giorni dopo. L’ultima esiliata fu, nel 95 d.C., Flavia Domitilla, nipote di Domiziano, accusata di giudaismo. Questo volume costituisce un’introduzione alle antichità romane di Ventotene ed è il primo di una serie contributi monografici dedicati da Archaeopress Publishing al patrimonio archeologico isolano. Nella prima parte del libro si offre una breve panoramica sulla geologia e sulla storia degli studi e degli scavi che hanno interessato Ventotene sin dal XVIII secolo. La parte centrale della monografia è dedicata alla ricostruzione dei tempi e dei modi che hanno caratterizzato lo sviluppo insediamentale dell’isola e si fornisce un esauriente quadro della topografia di età imperiale. Il capitolo finale prende in esame le numerose testimonianze archeologiche recuperate nelle acque che circondano Ventotene.

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This book would appeal to professionals and practitioners in the field of bereavement care, particularly funeral practices. In the presence of much that is so meaningless through grief, this book provides a meaningful overview, perhaps with new insights and perspectives, and is as such highly recommended.'- The Compassionate Friends Newsletter UK'Discusses research in the field of art therapy, the forms of research available in the field, and the ways in which definitions of research affect understanding of the arts therapies and how they are practised. In his introductory chapter, the author outlines the importance of research into the arts therapies and explains that, while the rest of the book focuses primarily on research into drama therapy , his observations are applicable to other forms of art therapy. He describes the characteristics of art therapy and how these affect the types of research that can be carried out in the field... The author addresses questions relating to research by practicing art therapists, the investigative processes open to them, and the necessary differences between the approaches they take and those of traditional academic research. He proposes an art-based form of research, which uses art as both the means of interpreting art and of presenting that interpretation.'- ARTbibliographies ModernIn The Social Symbolism of Grief and Mourning Roger Grainger focuses on the role of funerals in promoting the personal and social adjustment of the bereaved. The work explores the significance of many of the areas and stages connected with death, with chapters covering such topics as:* attitudes towards death* our fear of death and dying* ways in which we attempt to come to terms with death* the rituals that surround these processes.By tying together folklore and traditional beliefs with actual funeral practices, both ancient and modern, the author has created a work that examines the anthropological, psychological and superstitious aspects of our relationship to death and dying.'Grainger is multi-talented, drawing on his expertise in drama, counselling, acting, theology, sociology and anthropology... He has some interesting things to say about the necessity of chaos, and how this is ritualised in the Irish wake. Unlike many authors on bereavement, Grainger takes seriously the ghost beliefs that are widespread throughout history'- Bereavement Care'The Social Symbolism of Grief and Mourning is a complex study of death from the perspectives of drama, psychology, anthropology, and working pastoral practice. Roger Grainger ties his study to ancient and current funeral practices, and examines the beliefs about death implicit in our social behaviour; but more importantly, he had understood and can communicate, the absurd quality of death and its religious nature. By its very nature, death is paradoxical: it cannot be contained by words or rites, but that is just what we seek to do, must do, to make sense of it. In doing this, we make sense of life. The important bearing on changing funeral practices, but more pressingly on the way we speak and preach (if we do) about death.'- Church Times'Roger Grainger's book is a refreshingly new approach to a wide range of theory and practice regarding attitudes towards death, dying and the dead. Most of the material cited was collected presumably for his PhD in the 1970s and the only major criticism relates to the absence of contributions of contemporary philosophers and commentators such as Foucault, Levinas, Primo Levi and Elias. However, this is more than compensated for by a fresh look at the work of some of the late nineteenth-century and early twentieth-century anthropologists as well as eastern works, such as the Tibetan Book Of The Dead … Grainger cites sources which deplore the current state of British funerals and promotes the charter of the National Funeral College. In concluding the book with a chapter entitled The Rite of Passage, he conveys, with good supporting evidence, the importance of sustaining these rites in order to support bereaved people in what can be seen as a mythical experience which is also practical and rooted in reality. I recommend this book not least because of its exhaustive research which provides an excellent resource for any further study in this area.'- Progress in Palliative Care

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