DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div

This book examines the insurgency and flight of the Armenian communities in Musa Dagh between 1915 and 1939. It analyzes the narratives surrounding the Armenian rebellion against the Ottoman Empire, including the community’s resistance against the imperial order for relocation and the flight to the Musa Mountain.

Musa Dagh traces the trials and tribulations of Franz Werfels The Forty Days of Musa Dagh in Hollywood. The book is an original work and the first to deal with the historic controversy Werfels masterpiece stirred since its publication in the United States in 1934.

A fresh look at the forgotten genocide of world history.

Gurgen Marhari's controversial novel, Burning Orchards, is set in the Ottoman city of Van, Eastern Anatolia, during the period leading up to the Armenian rebellion of 1915 and relates the epic story of the events which culminated in the catastrophe of the following years, wonderfully told by one of the great writers emerging from Soviet Armenia. Written with an abiding humanity, Mahari's characters are portrayed as complex and flawed - neither hero nor villain but keenly observed and evoked with a tender humour. Burning Orchards offers a version of events leading up to the siege of Van different from the received, politically charged accounts, even daring to reflect something of the loyalty many Ottoman Armenians had felt towards the former Empire. First published in Armenian in 1966 after Mahari's long exile in Siberian, Burning Orchards (Ayrvogh Aygestanner), was banned and publicly burned in the streets of Yerevan, even though the authorities in Moscow had eventually agreed to its publication. Much against the wishes of his wife he tried to rewrite the novel, removing passages criticising some Armenian political parties and leaders, but dying before it could be finalised. The translation offered here is of the banned 1966 publication. A brilliant work, epic in scope and masterful in its depiction of the cruel displacement of an ancient people from their historic homeland, Burning Orchards is a re-discovered classic.

This story is about a long suppressed love triangle between Leonidas Tachezy, a high-level Austrian career bureaucrat, his younger, trophy wife Amelie, and a Jewish woman from his past, Vera Wormser, with whom he'd fallen in love when she was fourteen. After his marriage, Leonidas encounters Vera in a German university town where she is studying philosophy. He makes a promise that implies marriage, but drops out of her life entirely to return to a comfortable existence until one day when a letter arrives, addressed with Vera's unmistakable handwriting in pale blue ink. Like Humbert Humbert in Lolita, Leonidas explains his "crime" against Vera to an imaginary courtroom in a way that anticipates Nabokov.