A young man describes his torment as he struggles to reconcile the diverse influences of Western culture and the traditions of his own Japanese heritage.

Focusing on knowledge, science and literature in early modern Germany, this collection presents 12 essays on emerging epistemologies regarding: the transcendent nature of the Divine; the natural world; the body; sexuality; intellectual property; aesthetics; demons; and witches.

This book presents two plays, both of which are translated into English for the first time. In Voyage to the Sonorous Land, or The Art of Asking, a cockeyed optimist and a spoilsport lead a group of characters to the hinterland of their imaginations, where they search not for the right answers but for the questions. The Hour We Knew Nothing of Each Other takes place in a city square where more than four hundred characters pass by one another without speaking a single word.

The European Dada movement of the early 20th century has long been regarded as a male preserve, one in which women have been relegated to footnotes or mentioned only as the wives, girlfriends, or sisters of Dada men. This fascinating book challenges that assumption, focusing on the creative contributions made to Dada by five pivotal European women. Ruth Hemus establishes the ways in which Emmy Hennings and Sophie Taeuber in Zurich, Hannah Höch in Berlin, and Suzanne Duchamp and Céline Arnauld in Paris made important interventions across fine art, literature, and performance. Hemus highlights how their techniques and approaches were characteristic of Dada's rebellion against aesthetic and cultural conventions, analyzes the impact of gender on each woman's work, and shows convincingly that they were innovators and not imitators. In its new and original perspective on Dada, the book broadens our appreciation and challenges accepted understandings of this revolutionary avant-garde movement.

On a business trip to Tunisia, Preising, a leading Swiss industrialist, is invited to spend the week with the daughter of a local gangster. He accompanies her to the wedding of two London city traders at a desert luxury resort that was once the site of an old Berber oasis. With the wedding party in full swing and the bride riding up the aisle on a camel, no one is aware that the global financial system stands on the brink of collapse. As the wedding guests nurse their hangovers, they learn that the British pound has depreciated tenfold, and their world begins to crumble around them. So begins Barbarian Spring, the debut novel from Jonas Lüscher, a major emerging voice in European fiction. The timely and unusual novel centers on a culture clash between high finance and the value system of the Maghreb. Provocative and entertaining, Barbarian Spring is a refreshingly original and all-too-believable satire for our times.

It is indeed a pleasure to write a foreword for this spectacular book which represents a landmark in the history of ocular pathology. Not since the three volumes of the Henke-Lubarsch handbook appeared forty years ago has anything like this come on the market. This book represents a compre hensive, thorough and up-to-date clinically oriented textbook on ocular pathology. We are all indebted to the senior author, who is now professor of ophthal mology at the University of Erlangen, who presents us here with the fruit of decades of industrious endeavors. We also have to be grateful to the American ophthalmic pathologist, Dr. David Apple, who, as one of the main collaborators of the German edition, has now provided us with the English translation. The book has a twofold purpose: First, it is meant to be a source of instruction for ophthalmologists and pathologists. For that purpose it is beautifully illustrated both by clinical pictures and by excellent photomicro graphs and electromicroscopic pictures. Most valuable from a didactic point of view are the colored schematic drawings and the many tables. These two features are practically unique and should help any neophyte in grasp ing the principles of ocular pathology.