He was the son of a hereditary peer, one of the wealthiest men in Britain. His childhood was privileged; at Cambridge, he flourished. At the age of 21, he founded The Film Society, and became a pioneering standard-bearer for film as art. He was a collaborator of Alfred Hitchcock, rescuing The Lodger and later producing his ground-breaking British thrillers The Man Who Knew Too Much, The 39 Steps, Secret Agent and Sabotage. He directed comedies from stories by H.G. Wells, worked in Hollywood with Eisenstein, and made documentaries in Spain during the Civil War. He lobbied for Trotsky to be granted asylum in the UK, and became a leading propagandist for the anti-fascist and Communist cause. Under the nose of MI5, who kept him under constant surveillance, he became a secret agent of the Comintern and a Soviet spy. He was a man of high intelligence and moral concern, yet he was blind to the atrocities of the Stalin regime. This is the remarkable story of Ivor Montagu, and of the burgeoning cinematic culture and left-wing politics of Britain between the wars. It is a story of restless energy, generosity of spirit, creative achievement and intellectual corruption.

Within the definition of museum, Bierbaum (library and information services, U. of Iowa) embraces science and nature centers, historical societies, and aquariums, as well as more traditional manifestations. She offers a guide to libraries and information services servicing such institutions, focusing on how to find, acquire, organize, and interpret documentary records that illuminate the objects in the library and enhance the scholarship of the curators, the creativity of the exhibitors, and the skill of the educators. The date for the first edition is not noted. Annotation copyrighted by Book News Inc., Portland, OR

This work gives an account of the refashioning of ideas about national character in late Victorian culture, with a wide reference to literature and popular culture around the time of the Boer War, and a particular scrutiny of images of the soldier. In specific images, narratives and motifs, the book highlights dynamic tensions, between the external boundaries of empire and those of civil society, and between class antagonisms and national projections. Many new sources and materials are introduced to this field of study.

The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.