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Rebecca Schroeter, a talented musician herself, was seldom on stage, but always at the center of the bustle and socializing off it. Haydn, the most famous composer in Europe, met her and demanded her attention, with the relationship continuing until his death in 1809. Rebecca Schroeter's life is almost an archetypal one of the period—a romantically-inclined young woman, an ambitious and supportive wife, a favorite on the social scene. Peter Hobday balances an intimate account of her life with convincing historical detail to produce an accomplished portrait of the age.

When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity national, political, personal, and sexual music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn’s study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference including that embodied in Germany’s difficult history rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music’s role in each. The study also examines queer strategies like kitsch and camp and explores the movement’s charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.

All of the influential people, the historic sites, and the notable events are here. Daniel Schroeter's fascinating history includes the foundation of the ancient Kingdom of Israel, the development of the modern Zionist movement, the legacy of World War II and the Holocaust, the creation of statehood, the conquest of new Arab territory, and the growth of the Palestinian Liberation Organization. With stunning artwork and photographs, Israel: An Illustrated History provides a thorough introduction to the history of Israel in a beautiful keep-sake edition. Profusely illustrated with photographs, historical artifacts, works of art, and facsimile documents, chapters profile notable personalities such as Theodor Herzl, David Ben-Gurion, Golda Meir, Menachim Begin, Yasir Arafat, and Yitzhak Rabin. Readers will find sidebars on political figures such as Natan Sharansky, government organizations such as the Mossad, and cultural institutions such as the Israel Philharmonic Orchestra. Primary sources such as Biblical passages, excerpts from Herzl's Der Judenstadt, a diary from the first Aliyah, and the U.N. partition resolution of 1947 bring Israel's history to life; landmark structures such as the Western (or Wailing) Wall, the Second Temple, and excavations of the City of David and the Dead Sea caves add to the visual narrative. A glossary, chronology, and a list of Israel's prime ministers and presidents make this beautiful book an invaluable reference.

When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity national, political, personal, and sexual music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn’s study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference including that embodied in Germany’s difficult history rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music’s role in each. The study also examines queer strategies like kitsch and camp and explores the movement’s charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.