'Victor Hugo was een gek die dacht dat hij Victor Hugo was,' luidt een bekende uitspraak van Cocteau. Het is een kernachtige samenvatting van de verbazing waaraan vele boeken gewijd zijn: hoe wist één man in één leven zoveel te zijn en te doen? Hij was de grootste dichter van zijn tijd, een van de belangrijkste toneelschrijvers en de populairste romanschrijver; hij was politicus, filosoof, tekenaar en journalist; hij was de toegewijde vader van vier kinderen en minnaar van een onafzienbare reeks maîtresses.
In de politiek uitte zich zijn tomeloze energie en dadendrang al evenzeer als in zijn schrijverschap en privé-leven. Hij was overal tegelijk: in het parlement en op straat, in de Académie en op de barricaden, in gesprek met de koning, met Thiers en met Lamartine, maar ook met de straatveger. Hij had een open oog en oor voor wat er leefde onder het volk; veel minder voor de slinkse politieke spelletjes die er om hem heen werden gespeeld in de Kamer. Hugo was een man die de politiek wilde gebruiken om misstanden te bestrijden - niet een man die misstanden gebruikte om politieke en maatschappelijke successen te behalen. Het kostte hem twintig jaar ballingschap. Maar omdat hij in zijn geschriften bleef geloven in en getuigen van de noodzaak van maatschappelijke veranderingen heeft hij waarschijnlijk toch veel bijgedragen aan de hervormingen waar hij zijn leven lang voor pleitte: gratis onderwijs voor iedereen, een eerlijker strafrecht, menswaardiger arbeidsomstandigheden.
Al deze aspecten komen aan bod in Zelf gezien, een van de meest gedreven en oneerbiedige autobiografieën uit de negentiende eeuw.

This book explores the changing representation on the early modern stage of the built environment of London. It covers a period in which the city underwent rapid growth to become the country's first metropolis, and it examines how the urban environment becomes part of the frame of reference of the drama that is set there.

As the [al-Qaida terrorists] charged one wall, three Green Berets leaned over the parapets, oblivious to the enemy small-arms fire that was cracking by their heads and shoulders.
Focus, squeeze, focus, squeeze, they recited quietly. . . . Each time . . . the lifeless body [of an al-Qaida terrorist] would snap back through the desert air and drop onto the sandy courtyard.
The war in Afghanistan was the most secret conflict since the CIAs covert war in Laos; thousands of journalists covered it, yet, ironically, little is known about how it was waged or what really happened--until now.
The Hunt for bin Laden plunges the reader into Americas War on Terror, from the first top-secret meetings of TASK FORCE DAGGER in Tampa on the afternoon of September 11, 2001, through the liberation of Kabul sixty-two days later and the tragedies of OPERATION ANACONDA. The book takes the reader into the heat of battle--as seen through the eyes of the Green Berets on the ground. This is the story of how only a few hundred men, operating from a secret Special Forces base, changed the course of history in Central Asia and destroyed a hundred-thousand-man terrorist army in less than ninety days.
Action-packed and controversial, The Hunt for bin Laden is teeming with revelations and inside information. The truth about John Walker Lindh and Mike Spann, the failure of the conventional generals, the courage of the Northern Alliance, the wounding and murder of journalist, and the flaws and frustrations of the hunt for bin Laden himself.
In mid-December 2001, Robin Moore arrived in Afghanistan, where he joined his old friends, whom he had celebrated thirty-five years earlier in his book The Green Berets and who were now calling in airstrikes and fighting alongside the armies of the Northern Alliance against the terrorist al-Qaida and Taliban. In less than three winter months, about a hundred Green Berets accounted for the deaths of perhaps as many as forty thousand terrorists and the winning of a war in Afghanistan--where the Soviets had found fighting a war all but impossible.

Keuze uit het werk van de Nederlandse filosoof (1632-1677).

As cultural practice, the early modern duel both indicated and shaped the gender assumptions of wealthy young men; it served, in fact, as a nexus for different, often competing, notions of masculinity. As Jennifer Low illustrates by examining the aggression inherent in single combat, masculinity could be understood in spatial terms, social terms, or developmental terms. Low considers each category, developing a corrective to recent analyses of gender in early modern culture by scrutinizing the relationship between social rank and the understanding of masculinity. Reading a variety of documents, including fencing manuals and anti-dueling tracts as well as plays by Shakespeare, Jonson, Middleton, and other dramatists, Low demonstrates the interaction between the duel as practice, as stage-device, and as locus of early modern cultural debate.

The rise of feminism is undeniably one of the major events in the development of literary criticism this century. Feminist approaches have pushed forward both the theory of literary criticism and the understanding of individual works of literature. K. K. Ruthven's lucid introduction to the subject offers a broad survey, looking at the impact of Marxism, structuralism, and post-structuralism on feminist critical practice; the argument that literary language has been shaped by masculine bias; and feminist claims for distinctive styles and traditions of women's writing. As a lively contribution written by a man to a highly controversial topic dominated by women, K. K. Ruthven's study is original and even provocative, but above all serves as a valuably clear and sympathetic guide to the complexities of an important issue in modern literary studies.

The first comprehensive history of the oldest national religious Jewish women's organization in the United States

Gone to Another Meeting charts the development of the National Council of Jewish Women (NCJW) and its impact on both the Jewish Community in the United States and American Society in general.

Founded in 1893 by Hannah Greenebaum Solomon, NCJW provided a conduit through which Jewish women’s voices could be heard and brought a Jewish voice to America’s women’s rights movement. NCJW would come to represent both the modernization and renewal of traditional Jewish womanhood. Through its emphasis on motherhood, its adoption of domestic feminism, and its efforts to carve a distinct Jewish niche in the late 19th-century Progressive social reform movement in the largely Christian world of women’s clubs, NCJW was instrumental in defining a uniquely American version of Jewish womanhood.

Including topics as diverse as feminism and its relationship to the marketplace, plagiarism and copyright, silence and forgetting, and myth in a digital age, this book explores the role of rewriting within feminist literature from the 1970s onwards in relation to the theme of cultural memory.

With Leap, Terry Tempest Williams, award-winning author of Refuge, offers a sustained meditation on passion, faith, and creativity-based upon her transcendental encounter with Hieronymus Bosch's medieval masterpiece The Garden of Delights.

Williams examines this vibrant landscape with unprecedented acuity, recognizing parallels between the artist's prophetic vision and her own personal experiences as a Mormon and a naturalist. Searing in its spiritual, intellectual, and emotional courage, Williams's divine journey enables her to realize the full extent of her faith and through her exquisite imagination opens our eyes to the splendor of the world.

De Kleine Komedie bestaat al 225 jaar en is daarmee het oudste theater van Amsterdam. Het heeft een veelbewogen geschiedenis achter de rug van verwaarlozing, geldgebrek, dreigende afbraak en talloze verbouwingen. In de achttiende eeuw werd er Franstalig toneel opgevoerd, in de negentiende eeuw fungeerde het als kerk en begin twintigste eeuw werd het pand onder andere gebruikt als bioscoop, verenigingsgebouw, veilingplaats en tijdens de Tweede Wereldoorlog zelfs als fietsenstalling. In de tweede helft van de twintigste eeuw werd de Kleine Komedie het fameuze theater voor gevestigde en aankomende kleinkunstenaars. Eerst voor Toon Hermans en Wim Kan, later voor Youp van t Hek, Brigitte Kaandorp, Hans Teeuwen, Theo Maassen en vele anderen.

At the beginning of the 1650s, England was in ruins – wrecked, impoverished, grief-stricken by plague and civil war. What started out as a heaven was soon to become one of the cruellest places on earth. The history of Willoughbyland is a microcosm of empire, its heady attractions and fatal dangers.

Bundel verhalen over alledaagse juridische problemen veelal op het gebied van het privaatrecht door de schrijver getoetst aan bestaande rechtspraak.

Een jonge vrouw belandt na een jeugd die sterk in het teken van het geloof stond in haar studententijd in een wereld van hippies, vrije seks en anarchie.

We live in a world, according to N. Katherine Hayles, where new languages are constantly emerging, proliferating, and fading into obsolescence. These are languages of our own making: the programming languages written in code for the intelligent machines we call computers. Hayles's latest exploration provides an exciting new way of understanding the relations between code and language and considers how their interactions have affected creative, technological, and artistic practices.

My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: language and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age.

We are the children of computers in more than one sense, and no critic has done more than N. Katherine Hayles to explain how these technologies define us and our culture. Heady and provocative, My Mother Was a Computer will be judged as her best work yet.

These three journeys take theater critic Margaret Croyden to a Polish forest retreat devised by experimental theater director Jerzy Grotowski, through intensive sessions at a Catskills ashram with Hindu guru Baba Muktananda, and, finally, to a spiritual teacher in an Israel divided by both the metaphor and the reality of war. Each experience, powerfully evoked, arouses memories of Croyden's past - her long forgotten childhood with her Jewish family in Brooklyn, her youthful dreams and aspirations, and her adult search for fulfillment and spiritual transendence. Each experience brings her closer to her identity as a woman, a Jew, and a writer. Croydens quest turns up no easy answers, no doctrinaire catharses. The struggle for self-knowledge is slow and painful, requiring both a remembering and a forgetting. Croydens perceptions may sometimes shock - especially those of the relationship between sexuality and religious ecstasy and of the Arab-Israeli conflict. This memoir - moving, thought-provoking, and daringly honest - tells a brave tale of a modern womans discovery of her authentic self.

In de levens van vijf vrouwen tussen 3000 v. Chr. en heden tekent zich de geschiedenis van Irak af.

Het vrije brein van Idriss Aberkane pleit voor nieuwe leermethoden en een persoonlijke revolutie. Ons brein kan veel meer dan we denken! Hoe? Door eerst ons olifantentouwtje te breken. In principe kan iedereen wiskunde leren, verscheidene talen spreken en zich allerlei vaardigheden eigen maken. Behalve een werkgeheugen hebben we ook een procesgeheugen, een verhalend geheugen en een ruimtelijk geheugen. Daarmee kan ons brein nieuwe wegen of snelheden vinden. Idriss Aberkane geeft uitleg, biedt denkopdrachten en houdt een enthousiast pleidooi voor spelend leren en de bevrijding van onze hersenen. Een geniale brain-opener voor iedereen. Als je een heel jong olifantje een touwtje om zijn poot doet, kan hij niet weglopen. Dertig jaar later loopt hij nog niet weg, als hij datzelfde babytouwtje aan zijn poot heeft. Zo is het ook met ons brein, op heel veel terreinen laten jij en ik ons onnodig beperken. Dus weg met dat touwtje. Een explosief boek. Le Point Idriss Aberkane (1986, van Marokkaans-Franse afkomst) is internationaal onderwijsadviseur en een sprankelende persoonlijkheid. Hij heeft drie doctoraten, in neurowetenschappen, filosofie en economie. Het vrije brein is gebaseerd op wetenschappelijk onderzoek naar leermethoden en de werking van ons geheugen. Een belangrijk boek, omdat Aberkane ontwikkelingen in de neurowetenschap uitlegt aan het grote publiek, en aan wetenschappers uit andere disciplines. Pierre Collet, Universiteit van Straatsburg.

Autobiografie van de Russische zakenman (1963), topman van het oliebedrijf Yukos, die sedert 2003 gevangen zit op beschuldiging van corruptie en economische delicten.

All the stories in Tales of the Night take place on the night of the 19th March 1929. All show different facets of love -love as violence, love as redemption, as suffering, as wisdom. Each has as a theme a particular discipline- mathematics, dance, law, visual arts, medicine, drama and astronomy. A young mathematician is led to an understanding of Europe's 19th century Scramble for Africa by a meeting with a fellow train passenger who reveals himself to be Joseph Conrad. A respected judge confesses his love for a young homosexual who he has convicted of immorality. A small, insular town is ravaged by a smallpox epidemic. Set in the Congo, on a small sailing boat off Lisbon, in the Baltic archipelago and in the author's native Denmark, these intricate and surprising stories, powerfully but wonderfully influenced by the work of Karen Blixen, amount to a rich and rewarding book.

A controversial and trenchant critique of Christian teachings about sexuality, which demonstrates how Christianity has idolized a particular heterosexual idea which has been devised, refined and imposed with scant consideration of the experience, desires or needs of women.

Published to accompany a Rijksmuseum van Oudheden exhibition tour of Australia and New Zealand organised by the Western Australian Museum, from December 1997 to April 1999.

Korte levensschetsen van zes medewerkers van Hitler.