The Catalogue of Palaearctic Coleoptera provides information about all beetles occurring in Europe, North Africa and Asia north of the tropics.

New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France's perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran's history and culture remained a constant source of inspiration across different generations and artistic movements, from the 'Oriental' poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier's strategic citation of Persian poetry to his daughter Judith Gautier's full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David's opera Lalla Roukh, and ominous, as in Massenet's Le Mage, Iran elicited a multiplicity of treatments. This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers' pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject.

New Makers of Modern Culture is the successor to the classic reference works Makers of Modern Culture and Makers of Nineteenth-Century Culture, published by Routledge in the early 1980s. The set was extremely successful and continues to be used to this day, due to the high quality of the writing, the distinguished contributors, and the cultural sensitivity shown in the selection of those individuals included. New Makers of Modern Culture takes into full account the rise and fall of reputation and influence over the last twenty-five years and the epochal changes that have occurred: the demise of Marxism and the collapse of the Soviet Union; the rise and fall of postmodernism; the eruption of Islamic fundamentalism; the triumph of the Internet. Containing over eight hundred essay-style entries, and covering the period from 1850 to the present, New Makers includes artists, writers, dramatists, architects, philosophers, anthropologists, scientists, sociologists, major political figures, composers, film-makers and many other culturally significant individuals and is thoroughly international in its purview. Next to Karl Marx is Bob Marley, next to John Ruskin is Salmon Rushdie, alongside Darwin is Luigi Dallapiccola, Deng Xiaoping runs shoulders with Jacques Derrida, Julia Kristeva with Kropotkin. Once again, Wintle has enlisted the services of many distinguished writers and leading academics, such as Sam Beer, Bernard Crick, Edward Seidensticker and Paul Preston. In a few cases, for example Michael Holroyd and Philip Larkin, contributors are themselves the subject of entries. With its global reach, New Makers of Modern Culture provides a multi-voiced witness of the contemporary thinking world. The entries carry short bibliographies and there is thorough cross-referencing. There is an index of names and key terms.