This timely new monograph takes as its starting point the provocative contention that Holocaust film scholarship has been marginalized academically despite the crucial role Holocaust film has played in fostering international awareness of the Nazi genocide and scholarly understandings of cinematic power. The book suggests political and economic motivations for this seeming paradox, the ideological parameters of which are evident in debates and controversies over Holocaust films themselves, and around Holocaust culture in general. Lending particular attention to four exemplary Holocaust “art” films (Korczak [Poland, 1990], The Quarrel [Canada, 1990], Entre Nous [France, 1983], and Balagan [Germany, 1994]), this book breaks disciplinary ground by drawing critical connections between public and scholarly debates over Holocaust representation, and the often sophisticated cinematic structures lending aesthetic shape to them in today’s global arena.

The dictionary is based on a new concept which takes into account recent developments and findings in lexicographical research. It combines the best features of monolingual and bilingual dictionaries as well as learner dictionaries. Every sense of a word is first fully explained and then provided with translation equivalents. The grammatical behaviour of the words, their construction patterns are described in a language that is clear and easy to understand. Every sense of a word, every construction pattern is illustrated with an example. These example sentences are given in English and German so that the word looked up is shown in actual use and the translation guarantees its understanding and promotes retention. Special care is taken to explain differences between English and German in language use and culture. A new reader-friendly layout ensures that users will easily and speedily find the answer to what they want to know.

Eine Reihe von zerstörerischen Plagen sucht Ägypten heim udnd bringt es an den Rande des Ruins. Dann passiert die ultimative Katastrophe, der Nil, der Fluss der Ägypten nährt und am Leben hält, trocknet aus. Im tiefsten, gänzlich unerforschten Afrika birgt die Quelle des Nils ein fürchterliches Geheimnis. In seiner Verzweiflung wendet sich der Pharao an den berühmten Magus Taita. Dank seiner tiefen Weisheit und seines okkultes Wissens ist Taita der Einzige der die Nilquelle erreichen und das unglücksvolle Rätsel lösen kann. Keiner weiss jedoch von dem gräßlichen Feind der den Magus in diesem fernen Land am Ende der Welt erwartet.

In March 2011, NATO launched a mission hitherto entirely unthinkable: to protect civilians against Libya's ferocious regime, solely from the air. NATO had never operated in North Africa, or without troops on the ground; it also had never had to move as quickly as it did that spring. It took seven months, 25,000 air sorties, 7,000 combat strike missions, 3,100 maritime hailings and nearly 400 boardings for Tripoli to fall. This book tells for the first time the whole story of this international drama, spanning the hallways of the United Nations in New York, NATO Headquarters in Brussels and, crucially, the two operational epicentres: the Libyan battlefield, and Joint Force Command Naples, which was in charge of the mission. Weighill and Gaub offer a comprehensive exploration of both the war's progression and the many challenges NATO faced, from its extremely rapid planning and limited understanding of Libya and its forces, to training shortfalls and the absence of post-conflict planning. Theirs is a long-awaited account of the Libyan war: one that truly considers all the actors involved.

"This is the book on porcelain we have been waiting for. . . . A remarkable achievement."—Edmund de Waal, author of The Hare with Amber Eyes A sweeping cultural and economic history of porcelain, from the eighteenth century to the present Porcelain was invented in medieval China—but its secret recipe was first reproduced in Europe by an alchemist in the employ of the Saxon king Augustus the Strong. Saxony’s revered Meissen factory could not keep porcelain’s ingredients secret for long, however, and scores of Holy Roman princes quickly founded their own mercantile manufactories, soon to be rivaled by private entrepreneurs, eager to make not art but profits. As porcelain’s uses multiplied and its price plummeted, it lost much of its identity as aristocratic ornament, instead taking on a vast number of banal, yet even more culturally significant, roles. By the nineteenth and twentieth centuries, it became essential to bourgeois dining, and also acquired new functions in insulator tubes, shell casings, and teeth. Weaving together the experiences of entrepreneurs and artisans, state bureaucrats and female consumers, chemists and peddlers, Porcelain traces the remarkable story of “white gold” from its origins as a princely luxury item to its fate in Germany’s cataclysmic twentieth century. For three hundred years, porcelain firms have come and gone, but the industry itself, at least until very recently, has endured. After Augustus, porcelain became a quintessentially German commodity, integral to provincial pride, artisanal industrial production, and a familial sense of home. Telling the story of porcelain’s transformation from coveted luxury to household necessity and flea market staple, Porcelain offers a fascinating alternative history of art, business, taste, and consumption in Central Europe.