A Century of Posters presents a pictorial record of the development of poster art and graphic design from 1880 to 1980. Comprising over 400 colour images, it features a wealth of well-known artists from Henri Toulouse-Lautrec to Jan Tschichold.

For review see: J. van Goor, in: Bijdragen en mededelingen betreffende de geschiedenis der Nederlanden, jrg. 110, afl. 1 (1995); p. 137-140.

During the Allied bombing of Germany, Hitler was more distressed by the loss of cultural treasures than by the leveling of homes. Remarkably, his propagandists broadcast this fact, convinced that it would reveal not his callousness but his sensitivity: the destruction had failed to crush his artist's spirit. It is impossible to begin to make sense of this thinking without understanding what Wolf Lepenies calls The Seduction of Culture in German History. This fascinating and unusual book tells the story of an arguably catastrophic German habit--that of valuing cultural achievement above all else and envisioning it as a noble substitute for politics. Lepenies examines how this tendency has affected German history from the late eighteenth century to today. He argues that the German preference for art over politics is essential to understanding the peculiar nature of Nazism, including its aesthetic appeal to many Germans (and others) and the fact that Hitler and many in his circle were failed artists and intellectuals who seem to have practiced their politics as a substitute form of art. In a series of historical, intellectual, literary, and artistic vignettes told in an essayistic style full of compelling aphorisms, this wide-ranging book pays special attention to Goethe and Thomas Mann, and also contains brilliant discussions of such diverse figures as Novalis, Walt Whitman, Leo Strauss, and Allan Bloom. The Seduction of Culture in German History is concerned not only with Germany, but with how the German obsession with culture, sense of cultural superiority, and scorn of politics have affected its relations with other countries, France and the United States in particular.

The series tells the story of two families - Terra and Cambará -, and how they evolve through 200 years of history, from 1745 to 1945. Living in the state of Rio Grande do Sul, in southern Brazil, both families experience the transformations of the country.

Almost the only indisputable fact about Colonel Tom Parker is that he was the manager of the greatest performer in popular music: Elvis Presley. His real name wasn’t Tom Parker †“ indeed, he wasn’t an American at all, but a Dutch immigrant called Andreas van Kujik. And he certainly wasn’t a proper military colonel: he purchased his title from a man in Louisiana. But while the Colonel has long been acknowledged as something of a charlatan, this book is the first to reveal the extraordinary extent of the secrets he concealed, and the consequences for the career, and ultimately the life, of the star he managed. As Alanna Nash’ prodigious research has discovered, the Colonel left Holland most probably because, at the age of twenty, he bludgeoned a woman to death. Entering the US illegally, he then enlisted in the army as ‘Tom Parker’. But, with supreme irony for someone later styling himself as Colonel, Parker’s military career ended in desertion, and discharge after a psychiatrist had certified him as a psychopath. He then became a fairground barker, working sideshows with a zeal for small-scale huckstering and the casual scam that never left him. And by the height of Elvis’s success, Parker had become a pathological gambler who, at the same time as he was taking, amazingly, a full 50% of Presley’s earnings, frittered away all his wealth in the casinos of Las Vegas. As Nash shows, therefore, the often baffling trajectory of Elvis Presley’s career makes perfect sense once the secret imperatives of the Colonel’s life are known. Parker never booked Presley for a tour of Europe because of the dark secret that ensured he himself could never return there. Even at his most famous, Elvis was still being booked to play out-of-the-way towns in North Carolina †“ because the former fairground barker (who shamelessly negotiated as such even with top record company and film executives) knew them from his days on the circus circuit. And Elvis was trapped playing years of arduous seasons in Las Vegas †“ two shows nightly, seven days a week, until boredom and despair brought on the excessive drug use that killed him †“ because for Parker he was “an open chit†? whose huge earnings prevented his manager’s losses at the gambling tables being called in. Alanna Nash knew Parker towards the end of his life, and has now uncovered the whole story, improbable, shocking, and never less than compelling, of how this larger-than-life man made, and then unmade, popular music’s first and greatest superstar.