The contemporaries of Hildegard of Bingen called her ""prophetissa teutonica"", honouring her philosophical writings and interpretation of the cosmos. Mediaevalists still consider her one of the leading mystics, and point to her active spiritual and artistic life in the 12th century as the finest example of what a woman can achieve. The abbess Hildegard of Bingen was the first composer to sign her musical works. As a playwright and author, she witnessed and shaped the time of the Crusades, the literary minnesang, and political and theological debate. The author of this text draws a complex picture of her life and work, as he ""translates"" Hildegard's ideas and her mysterious world of symbols from mediaeval Latin into contemporary concepts. Heinrich Schipperges delineates this remarkable thinker's view of the human being as a microcosm of the universe, intricately bound by the senses to the life of the soul, nature, and God.

This study of eunuchs guides readers as they travel through various lands and periods, familiarizing themselves with the duties and responsibilities, the unspeakable torments and the passions and joys of these individuals. Eunuchs were not simply ""bedchamber attendants"", as the Greek term suggests. Nor were they always slaves. They could just as well be ascetics, priests, magicians, scholars, physicians, military commanders, admirals or senior officials at the courts of both eastern and western rulers. In the Byzantine empire, the only office they were precluded from attaining was that of emperor. The rich and varied forms of religious, social and sexual life associated with eunuchs and castrati embrace a wealth of myths relating to gods and demons, initiation rites, rituals and magic. They touch on the history of law and medicine, various systems of government, and secret societies. And they are presented to us in terms of the cruellest punishments and tortures. On the one hand, they facilitated unique developments in the evolution of vocal music, and on the other, they gave rise to a multiplicity of human behavioural patterns that reflect every aspect of good and evil. Readers should become acquainted with various forms of sexuality, such as androgyny, transvestism, transsexualism and homosexuality, and learn about the historical, religious and social issues associated with their characteristic ""life settings"". Whether out of a sense of shame or because of moral considerations, these phenomena appear only on the margins of the history of customs and mores.

This study of eunuchs guides readers as they travel through various lands and periods, familiarizing themselves with the duties and responsibilities, the unspeakable torments and the passions and joys of these individuals. Eunuchs were not simply ""bedchamber attendants"", as the Greek term suggests. Nor were they always slaves. They could just as well be ascetics, priests, magicians, scholars, physicians, military commanders, admirals or senior officials at the courts of both eastern and western rulers. In the Byzantine empire, the only office they were precluded from attaining was that of emperor. The rich and varied forms of religious, social and sexual life associated with eunuchs and castrati embrace a wealth of myths relating to gods and demons, initiation rites, rituals and magic. They touch on the history of law and medicine, various systems of government, and secret societies. And they are presented to us in terms of the cruellest punishments and tortures. On the one hand, they facilitated unique developments in the evolution of vocal music, and on the other, they gave rise to a multiplicity of human behavioural patterns that reflect every aspect of good and evil. Readers should become acquainted with various forms of sexuality, such as androgyny, transvestism, transsexualism and homosexuality, and learn about the historical, religious and social issues associated with their characteristic ""life settings"". Whether out of a sense of shame or because of moral considerations, these phenomena appear only on the margins of the history of customs and mores.

The contemporaries of Hildegard of Bingen called her ""prophetissa teutonica"", honouring her philosophical writings and interpretation of the cosmos. Mediaevalists still consider her one of the leading mystics, and point to her active spiritual and artistic life in the 12th century as the finest example of what a woman can achieve. The abbess Hildegard of Bingen was the first composer to sign her musical works. As a playwright and author, she witnessed and shaped the time of the Crusades, the literary minnesang, and political and theological debate. The author of this text draws a complex picture of her life and work, as he ""translates"" Hildegard's ideas and her mysterious world of symbols from mediaeval Latin into contemporary concepts. Heinrich Schipperges delineates this remarkable thinker's view of the human being as a microcosm of the universe, intricately bound by the senses to the life of the soul, nature, and God.

Before the war, there had been eleven Jewish families, fifty people in all, in the small German town of Schmallenberg. But when Hans Frankenthal returned in 1945 at the age of nineteen, orphaned and robbed of his youth by the Nazis, he found that all the Jews of Schmallenberg had disappeared too-and no one who remained cared to hear what had happened to them, or to him. Here, Frankenthal tells his story-of the horrors of the Holocaust survived by one man, but also of its aftermath, observed by an unwelcome witness to Schmallenberg's, and Germany's, shameful past.
Summoning the vanished world of Jewish livestock dealers in rural Germany, the milieu of his boyhood, Frankenthal paints a clear picture of what it was like to live as a Jew in a small German town before and after the Nazis came to power. He gives a harrowing account of his family's deportation to Auschwitz and of his "life" with his brother as slave laborers in an I. G. Farben factory near the death camp where his parents perished. When, acting on his father's last words to him, Frankenthal returns to his hometown, we get a rare firsthand look at the post-war experience of a Jewish survivor in small-town Germany. A sobering snapshot of the larger reckoning denied and delayed, Frankenthal's account of his own post-war trials and of his fellow citizens' reaction to the Jewish tragedy is an important reminder of how much of history resides in one person's story, and how much depends on our willingness to hear it.

After the defeat of Germany in World War II, hundreds of thousands of Jewish survivors of the Holocaust were transported to camps maintained by the Allies for displaced persons (DPs). In Waiting for Hope: Jewish Displaced Persons in Post-World War II Germany, historians Angelika Kö nigseder and Juliane Wetzel offer a social and cultural history of the DP camps.
Starting with the discovery of Nazi death camps by Allied forces, Kö nigseder and Wetzel describe the inadequate preparations that had been made for the starving and sick camp survivors. News of having to live in camps again was devastating to these survivors, and many Jewish survivors were forced to live side by side with non-Jewish anti-Semitic DPs. The Allied soldiers were ill equipped to deal with the physical wreckage and mental anguish of their charges, but American rabbis soon arrived to perform invaluable work helping the survivors cope with grief and frustration.
Kö nigseder and Wetzel devote attention to autonomous Jewish life in the DP camps. Theater groups and orchestras prospered in and around the camps; Jewish newspapers began to publish; kindergartens and schools were founded; and a tuberculosis hospital and clinic for DPs was established in Bergen-Belsen. Underground organizations coalesced to handle illegal immigration to Israel and the training of soldiers to fight in Palestine. In many places there was even a last flowering of shtetl life before the DPs began to scatter to Israel, Germany, and other countries.
Drawing on original documents and the work of other historians, Waiting for Hope sheds light on a largely unknown period in postwar Jewish history and shows that the suffering ofthe survivors did not end with the war.