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How did Germany's Christians respond to Nazism? In Twisted Cross, Doris Bergen addresses one important element of this response by focusing on the 600,000 self-described 'German Christians,' who sought to expunge all Jewish elements from the Christian church. In a process that became more daring as Nazi plans for genocide unfolded, this group of Protestant lay people and clergy rejected the Old Testament, ousted people defined as non-Aryans from their congregations, denied the Jewish ancestry of Jesus, and removed Hebrew words like 'Hallelujah' from hymns. Bergen refutes the notion that the German Christians were a marginal group and demonstrates that members occupied key positions within the Protestant church even after their agenda was rejected by the Nazi leadership. Extending her analysis into the postwar period, Bergen shows how the German Christians were relatively easily reincorporated into mainstream church life after 1945. Throughout Twisted Cross, Bergen reveals the important role played by women and by the ideology of spiritual motherhood amid the German Christians' glorification of a 'manly' church.

Un Chien Andalou, the most influential of all surrealist films, has shocked, provoked and puzzled audiences and critics since its release in 1929. Luis Bunuel's first film was a collaboration with his fellow Spaniard, the 24-year-old Salvador Dali. They aimed to expunge from their script any 'idea or image that might lend itself to a rational explanation'. The result is a film that alludes and disturbs but stubbornly resists a definitive meaning. This edition includes a foreword by Jean Vigo, an early champion of the film, a shot-by-shot transcription and an extended introduction by Phillip Drummond.

The past remains essential - and inescapable. A quarter-century after the publication of his classic account of man's attitudes to his past, David Lowenthal revisits how we celebrate, expunge, contest and domesticate the past to serve present needs. He shows how nostalgia and heritage now pervade every facet of public and popular culture. History embraces nature and the cosmos as well as humanity. The past is seen and touched and tasted and smelt as well as heard and read about. Empathy, re-enactment, memory and commemoration overwhelm traditional history. A unified past once certified by experts and reliant on written texts has become a fragmented, contested history forged by us all. New insights into history and memory, bias and objectivity, artefacts and monuments, identity and authenticity, and remorse and contrition, make this book once again the essential guide to the past that we inherit, reshape and bequeath to the future.

During the 19th Century Britain entered into three brutal wars with Afghanistan, each one an imperial struggle for power that saw the British forces trying, and failing, to gain control of an inhospitable and impenetrable region. The first two wars (1839 - 42, 1878 - 81) were attempts to expunge pro-Russian sympathies, and thehe third, in 1919, a result of an Afghan-declared holy war against British India. In the last of the three, over 100,000 Afghans answered the call for a holy war, generating a military force that would prove too great for the British Imperial army. Each of the three wars were plagued with military disasters, lengthy sieges and costly engagements for the British, and history has proved the Afghans a formidable foe and Afghanistan an unconquerable territory. This book reveals the history of these three Anglo-Afghan wars, the imperial power struggles that led to conflict and the torturous experiences of the men on the ground as they struggled against the inhospitable Afghan terrain and an unrelenting enemy. The book concludes with a brief overview of the motives for today's conflict and draws the historical parallels between the past and present.

In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat. Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

How did Germany's Christians respond to Nazism? In Twisted Cross, Doris Bergen addresses one important element of this response by focusing on the 600,000 self-described 'German Christians,' who sought to expunge all Jewish elements from the Christian church. In a process that became more daring as Nazi plans for genocide unfolded, this group of Protestant lay people and clergy rejected the Old Testament, ousted people defined as non-Aryans from their congregations, denied the Jewish ancestry of Jesus, and removed Hebrew words like 'Hallelujah' from hymns. Bergen refutes the notion that the German Christians were a marginal group and demonstrates that members occupied key positions within the Protestant church even after their agenda was rejected by the Nazi leadership. Extending her analysis into the postwar period, Bergen shows how the German Christians were relatively easily reincorporated into mainstream church life after 1945. Throughout Twisted Cross, Bergen reveals the important role played by women and by the ideology of spiritual motherhood amid the German Christians' glorification of a 'manly' church.

The past remains essential - and inescapable. A quarter-century after the publication of his classic account of man's attitudes to his past, David Lowenthal revisits how we celebrate, expunge, contest and domesticate the past to serve present needs. He shows how nostalgia and heritage now pervade every facet of public and popular culture. History embraces nature and the cosmos as well as humanity. The past is seen and touched and tasted and smelt as well as heard and read about. Empathy, re-enactment, memory and commemoration overwhelm traditional history. A unified past once certified by experts and reliant on written texts has become a fragmented, contested history forged by us all. New insights into history and memory, bias and objectivity, artefacts and monuments, identity and authenticity, and remorse and contrition, make this book once again the essential guide to the past that we inherit, reshape and bequeath to the future.

The key to life is to build in the mental equivalents of what you want and to expunge the equivalents of what you do not want. How do you do it? You build in the mental equivalents by thinking quietly, constantly, and persistently of the kind of thing you want, and by thinking that has two qualities: clearness or definiteness, and interes

In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat. Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat. Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.