‘After many years I had excised myself from the life I had led in town, just as one might cut a figure out of a landscape or group photo. Abashed by the harm I had wreaked on the picture left behind, and unsure where the cut-out might end up next, I lived a provisional existence. I did so in a place where I knew none of my neighbours, where the street names, views, smells and faces were all unfamiliar to me, in a cheaply appointed flat where I would be able to lay my life aside for a while.’ In River, a woman moves to a London suburb for reasons that are unclear. She takes long, solitary walks by the River Lea, observing and describing her surroundings and the unusual characters she encounters. Over the course of these wanderings she amasses a collection of found objects and photographs and is drawn into reminiscences of the different rivers which haunted the various stages of her life, from the Rhine, where she grew up, to the Saint Lawrence, the Hooghly, and the banks of the Oder. Written in language that is as precise as it is limpid, River is a remarkable novel, full of poignant images and poetic observations, an ode to nature, edgelands, and the transience of all things human.

In May and September 1976, two earthquakes ripped through north-eastern Italy, causing severe damage to the landscape and its population. About a thousand people died under the rubble, tens of thousands were left without shelter, and many ended up leaving their homes in Friuli forever. The displacement of material as a result of the earthquakes was enormous. New terrain was formed that reflects the force of the catastrophe and captures the fundamentals of natural history. But it is far more difficult to find expression for the human trauma, the experience of an abruptly shattered existence. In Rombo, Esther Kinsky’s sublime new novel, seven inhabitants of a remote mountain village talk about their lives, which have been deeply impacted by the earthquake that has left marks they are slowly learning to name. From the shared experience of fear and loss, the threads of individual memory soon unravel and become haunting and moving narratives of a deep trauma.

An unnamed narrator, recently bereaved, travels to Olevano, a small village south-east of Rome. It is winter, and from her temporary residence on a hill between village and cemetery, she embarks on walks and outings, exploring the banal and the sublime with equal dedication and intensity. Seeing, describing, naming the world around her is her way of redefining her place within it. Written in a rich and poetic style, Grove is an exquisite novel of grief, love and landscapes.

This book provides an original argument that rejects the idea of national MPs having but one 'standard' mode of representation. It acknowledges the national electoral connection, but considers representation beyond national borders. The author empirically investigates such patterns of representation in MPs' parliamentary speech-making behavior and their attitudes in Austria, Germany, Ireland and the UK. The book analyzes representative claims in parliamentary debates on the Constitutional Treaty, the Lisbon Treaty and the Eurozone crisis, and relies on qualitative interviews with members of the European affairs and budget committees. It finds a Eurosceptic Europeanization in that national MPs from the Eurosceptic left particularly represent other EU citizens.

Cool is a word of American English that has been integrated into the vocabulary of numerous languages around the globe. Today it is a term most often used in advertising trendy commodities, or, more generally, in promoting urban lifestyles in our postmodern age. But what is the history of the term "cool?" When has coolness come to be associated with certain modes of contemporary self-fashioning? On what grounds do certain nations claim a privilege to be recognized as "cool?" These are some of the questions that served as a starting-point for a comparative cultural inquiry which brought together specialists from American Studies and Japanese Studies, but also from Classics, Philosophy and Sociology. The conceptual grid of the volume can be described as follows: (1) Coolness is a metaphorical term for affect-control. It is tied in with cultural discourses on the emotions and the norms of their public display, and with gendered cultural practices of subjectivity. (2) In the course of the cultural transformations of modernity, the term acquired new importance as a concept referring to practices of individual, ethnic, and national difference. (3) Depending on cultural context, coolness is defined in terms of aesthetic detachment and self-irony, of withdrawal, dissidence and even latent rebellion. (4) Coolness often carries undertones of ambivalence. The situational adequacy of cool behavior becomes an issue for contending ethical and aesthetic discourses since an ethical ideal of self-control and a strategy of performing self-control are inextricably intertwined. (5) In literature and film, coolness as a character trait is portrayed as a personal strength, as a lack of emotion, as an effect of trauma, as a mask for suffering or rage, as precious behavior, or as savvyness. This wide spectrum is significant: artistic productions offer valid insights into contradictions of cultural discourses on affect-control. (6) American and Japanese cultural productions show that twentieth-century notions of coolness hybridize different cultural traditions of affect-control.

As well as being Germany's most important poet, Hans Magnus Enzensberger is a provocative cultural essayist and one of Europe's leading political thinkers. No British poet can match him in his range of interests and his moral passion. Enzensberger is a cultured, learned, widely knowledgeable man, but his poems wear their knowledge, learning and culture very lightly. Perfectly at ease in a variety of poetic forms, he presents us again and again with things that matter. This is intelligent and pointed poetry in the tradition of Brecht, humanely political and generously engaged. The poems have the ease and the lightness of real mastery. They are moral in their insistence that human life can be lived well or badly, that it is up to us to choose well and to act wisely. Enzensberger is now writing with an increasing awareness of mortality, yet addresses social and political dangers and evils with undiminished urgency. This is a dual language edition expanding Enzensberger's earlier Bloodaxe Selected Poems with work from his later collections Kiosk, Lighter Than Air and A History of Clouds. The translations are by Enzensberger himself and by Michael Hamburger, David Constantine and Esther Kinsky.

This book provides an original argument that rejects the idea of national MPs having but one 'standard' mode of representation. It acknowledges the national electoral connection, but considers representation beyond national borders. The author empirically investigates such patterns of representation in MPs' parliamentary speech-making behavior and their attitudes in Austria, Germany, Ireland and the UK. The book analyzes representative claims in parliamentary debates on the Constitutional Treaty, the Lisbon Treaty and the Eurozone crisis, and relies on qualitative interviews with members of the European affairs and budget committees. It finds a Eurosceptic Europeanization in that national MPs from the Eurosceptic left particularly represent other EU citizens.

Die AufsAtze des Bandes sind die A1/4berarbeiteten und zum Teil stark erweiterten Fassungen von VortrAgen, die im Dezember 2001 auf einem Internationalen Kolloquium in Bonn gehalten wurden. Sie behandeln Probleme, die sich mit der Geschichte jeder Weltepoche verbinden, an deren Anfang, Johann Gustav Droysen zufolge, der Name Alexander steht. Michael Zahrnt (KAln) fragt - Ist Samos 'eine Reise wert'? - und wartet mit einer Neuinterpretation des Verbanntendekrets (324 v. Chr.) auf. Gerhard Wirth (Bonn) arbeitet in seinem Beitrag "Der Epitaphios des Hypereides und das Ende einer Illusion" die kritische Potenz und resignative Tendenz des Epitaphs heraus. Vasile Lica (Galatzi) liefert unter dem Titel "Alexander der GroAe in RumAnien" eine knappe Geschichte der Alexanderrezeption in der rumAnischen Literatur, Kunst und Historiographie vom Mittelalter bis in die Gegenwart. Guido Schepens (Leuven) begibt sich wieder in die hellenistische Zeit, rA1/4ckt "Die Westgriechen in antiker und moderner Universalgeschichte" ins Blickfeld und widmet dem Sosylos-Fragment (FGrHist 1769) kritische Aoeberlegungen. Gerhard Dobesch (Wien) legt in seinem Aufsatz "Caesar und der Hellenismus" dar, wie stark die Geisteswelt der spAten Republik von griechischen Denkformen hellenistischer TAnung geprAgt war. Die LektA1/4re des Bandes macht rasch klar, warum ihm der Obertitel DIORTHOSEIS gegeben wurde. Die darin versammelten AufsAtze 'berichtigen' in der Tat etliche Positionen der Forschung. Sie fA1/4hren die Lebendigkeit der Altertumswissenschaft vor Augen und widerlegen das Vorurteil, in ihr lieAen sich NeuansAtze und -erkenntnisse nicht mehr gewinnen.

In these 99 meditations, poet and novelist Hans Magnus Enzensberger celebrates the tenacity of the normal and routine in everyday life, where the survival of the objects we use without thinking--a pair of scissors, perhaps--is both a small, human victory and a quiet reminder of our own ephemeral nature. He sets his quotidian reflections against a broad historical and political backdrop: the cold war and its accompanying atomic threat; the German student revolt; would-be socialism in Cuba, China, and Africa; and World War II as experienced by the youthful poet. Enzensberger's poems are conversational, skeptical, and serene; they culminate in the extended set of observations that gives the collection its title. Clouds, alien and yet symbols of human life, are for Enzensberger at once a central metaphor of the Western poetic tradition and "the most fleeting of all masterpieces." "Cloud archaeology," writes Enzensberger, is "a science for angels." Praise for the German edition "After reading this wonderful volume of poetry one would like to call Enzensberger simply the lyric voice of transience."-- Sueddeutsche Zeitung "With this book Enzensberger reveals himself both as a spokesman of persistence and as a decelerator."--Neue Zuercher Zeitung

"Summer Resort," the first novel by noted translator Esther Kinsky, is set in a village somewhere on the endless Hungarian plain. It is the hottest summer in memory and everyone in the village dreams of the sweet life in udulo, a summer resort on a river. The characters that populate "Summer Resort" tell stories--comic, tragic, or both--of life in rural Hungary. Tales of onion kings and melon pickers, of scrapyards and sugar beet factories, paint a vivid and human picture of their world.

In the course of the novel, the storytellers' paths intersect at the summer resort with the bar owner Lacibacsi, the Kozak Boys and their fat and pale wives, and the builder Antal, who introduces a mysterious new woman to the inhabitants of the resort. The stranger disrupts their otherwise staid summer routines--with surprising, unpredictable consequences.

Now available for the first time in English, "Summer Resort "brings to a new audience one of the most distinctive emerging voices in recent German writing.

Lonely and disillusioned after the collapse of her happy marriage with Alex, Victoria Lansky, a Soviet native, meets Zachary, who brings sunshine back into her bleak existence. Though not ready for a new relationship, she is swept off her feet. Unexpectedly, she finds herself admired and wanted, experiencing passionate intimacy. But, when fate presents her with the challenge of choosing between a new romance and an old love and responsibilities, Victoria is torn. Can you have feelings for two men? What is love, and are you ever too old for it? Is sex a blessing or a bane? Should responsibilities overrule your right to be happy? Can you love someone's child more than anything? There are no unequivocal answers to those questions in Cycles. But there is the unequivocal promise of a new beginning that follows any misfortune, for life is just that-a series of Cycles.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Allgemeine Principien Zur offentlichen Und Besonders Militar-Erziehung Franz Kinsky

After the Happy End by Rita Kinsky tells the story of Victoria, a thirty-something Soviet emigre forced to immigrate to the United States and build a new life. She falls in love with this country where the American dream comes true for any hard-working person with strong values. When her marriage breaks and she is estranged from her son, Victoria must learn to live by herself-easier said than done. Eventually, she finds her way to another man, Alex. The relationship seems to hold all the promise she hoped for. After everything looks so promising, like so often in life, events she couldn't have predicted hijack her dream. Alex's daughter brings troubling challenges into Victoria's world. She realizes that when drugs are involved, even a strong marriage is in danger. Written with humorous and inviting prose, After the Happy End is a fictional work that reflects many women's experiences. This is a must read for parents or for anyone interested in learning more about the emigre experience.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.