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

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.

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.

The Armenians living in villages on the mountain of Musa Dagh, Syria had a cuisine that was distinct from the traditional cooking of Armenians throughout the rest of of the Middle East. This book preserves the recipes from that area, a small Armenian homeland that the residents evacuated in 1939 when it was transferred from Syria to Turkey. Three sisters have teamed up to produce this wonderful cookbook that provides the recipes as taught to them by their mother and tell the stories of the village where they lived as youngsters.

Narrative Cultures and the Aesthetics of Religion presents the aesthetics of narrativity in religious contexts by approaching narrative acts as situated modes of engaging with reality, equally shaped by the immersive character of the stories told and the sensory qualities of their performances. Introducing narrative cultures as an integrative framework of analysis, the volume builds a bridge between classical content-based approaches to narrative sources and the aesthetic study of religions as constituted by sensory and mediated practices. Studying stories in conjunction with the role that performative acts of storytelling play in the cultivation of the senses, the contributors explore the efficacy of storytelling formats in narrative cultures from ancient times until today, in regions and cultures across the globe. Contributors are: Stefan Binder, Arianna Borrelli, Markus Altena Davidsen, Laura Feldt, Ingvild Sælid Gilhus, Dirk Johannsen, Jens Kreinath, Isabel Laack, Martin Lehnert, Brigitte Luchesi, Bastiaan van Rijn, Caroline Widmer, Annette Wilke, Katharina Wilkens.

An NYRB Classics Original Few writers had to confront as many of the last century’s mass tragedies as Vasily Grossman, who wrote with terrifying clarity about the Shoah, the Battle of Stalingrad, and the Terror Famine in the Ukraine. An Armenian Sketchbook, however, shows us a very different Grossman, notable for his tenderness, warmth, and sense of fun. After the Soviet government confiscated—or, as Grossman always put it, “arrested”—Life and Fate, he took on the task of revising a literal Russian translation of a long Armenian novel. The novel was of little interest to him, but he needed money and was evidently glad of an excuse to travel to Armenia. An Armenian Sketchbook is his account of the two months he spent there. This is by far the most personal and intimate of Grossman’s works, endowed with an air of absolute spontaneity, as though he is simply chatting to the reader about his impressions of Armenia—its mountains, its ancient churches, its people—while also examining his own thoughts and moods. A wonderfully human account of travel to a faraway place, An Armenian Sketchbook also has the vivid appeal of a self-portrait.

A Financial Times Book of the Year A Foreign Affairs Book of the Year A Spectator Book of the Year “A landmark contribution to the study of these epochal events.” —Times Literary Supplement “Brilliantly researched and written...casts a careful eye upon the ghastly events that took place in the final decades of the Ottoman empire, when its rulers decided to annihilate their Christian subjects...Hitler and the Nazis gleaned lessons from this genocide that they then applied to their own efforts to extirpate Jews.” —Jacob Heilbrun, The Spectator Between 1894 and 1924, three waves of violence swept across Anatolia, targeting the region’s Christian minorities. By 1924, the Armenians, Assyrians, and Greeks, once nearly a quarter of the population, had been reduced to 2 percent. Most historians have treated these waves as distinct, isolated events, and successive Turkish governments presented them as an unfortunate sequence of accidents. The Thirty-Year Genocide is the first account to show that all three were actually part of a single, continuing, and intentional effort to wipe out Anatolia’s Christian population. Despite the dramatic swing from the Islamizing autocracy of the sultan to the secularizing republicanism of the post–World War I period, the nation’s annihilationist policies were remarkably constant, with continual recourse to premeditated mass killing, homicidal deportation, forced conversion, and mass rape. And one thing more was a constant: the rallying cry of jihad. While not justified under the teachings of Islam, the killing of two million Christians was effected through the calculated exhortation of the Turks to create a pure Muslim nation. “A subtle diagnosis of why, at particular moments over a span of three decades, Ottoman rulers and their successors unleashed torrents of suffering.” —Bruce Clark, New York Times Book Review