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1
Renowned for its accuracy, brevity, and readability, this book has long been the gold standard of concise histories of the Napoleonic Wars. Now in an updated and revised edition, it is unique in its portrayal of one of the world's great generals as a scrambler who never had a plan, strategic or tactical, that did not break down or change of necessity in the field. Distinguished historian Owen Connelly argues that Napoleon was the master of the broken play, so confident of his ability to improvise, cover his own mistakes, and capitalize on those of the enemy that he repeatedly plunged his... more Renowned for its accuracy, brevity, and readability, this book has long been the gold standard of concise histories of the Napoleonic Wars. Now in an updated and revised edition, it is unique in its portrayal of one of the world's great generals as a scrambler who never had a plan, strategic or tactical, that did not break down or change of necessity in the field. Distinguished historian Owen Connelly argues that Napoleon was the master of the broken play, so confident of his ability to improvise, cover his own mistakes, and capitalize on those of the enemy that he repeatedly plunged his armies into uncertain, seemingly desperate situations, only to emerge victorious as he "blundered" to glory. Beginning with a sketch of Napoleon's early life, the book progresses to his command of artillery at Toulon and the "whiff of grapeshot" in Paris that netted him control of the Army of Italy, where his incredible performance catapulted him to fame. The author vividly traces Napoleon's campaigns as a general of the French Revolution and emperor of the French, knowledgeably analyzing each battle's successes and failures. The author depicts Napoleon's "art of war" as a system of engaging the enemy, waiting for him to make a mistake, improvising a plan on the spot-and winning. Far from detracting from Bonaparte's reputation, his blunders rather made him a great general, a "natural" who depended on his intuition and ability to read battlefields and his enemy to win. Exploring this neglected aspect of Napoleon's battlefield genius, Connelly at the same time offers stirring and complete accounts of all the Napoleonic campaigns. less 
Peter ParetOwen Connelly…has written an unpretentious but comprehensive study of Napoleon’s generalship that combines an original thesis with broad, critical knowledge of the sources. He, too, is not always on firm ground and at times must speculate, but his are informed guesses. He concentrates on strategy and operations; and his book might be categorised as pure military history. But it gains greatly from... (Source)
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2
Carl Von Clausewitz, Peter Paret, Daniel Moran | 4.71
Carl von Clausewitz's major theoretical work, On War, has retained its freshness and relevance since it first appeared 160 years ago. Clausewitz was also a wide-ranging, innovative historian--his acerbic history of Prussia before 1806 became an underground classic long before it could be published--and a combative political essayist, whose observations on the affairs of Germany and Europe combine social egalitarianism with a nearly Bismarckian Realpolitik. In this companion volume to On War, the editors bring together Clausewitz's political writings and a selection of his historical... more Carl von Clausewitz's major theoretical work, On War, has retained its freshness and relevance since it first appeared 160 years ago. Clausewitz was also a wide-ranging, innovative historian--his acerbic history of Prussia before 1806 became an underground classic long before it could be published--and a combative political essayist, whose observations on the affairs of Germany and Europe combine social egalitarianism with a nearly Bismarckian Realpolitik. In this companion volume to On War, the editors bring together Clausewitz's political writings and a selection of his historical works--material that is fascinating in its own right, important as a commentary on his theories of war, and a valuable source for understanding European ideas and attitudes during and after the Napoleonic era. None of these works has previously appeared in English, with one exception, which was published in a corrupt, censored text that has now been restored to its original form. The editors have contributed introductions for the historical and for the political parts of the volume, as well as brief introductions to the individual selections. Their analyses and the texts themselves reveal Clausewitz to be an exceptionally independent observer both of the past and of his own times, whose outlook is distinguished by an unideological pragmatism and a keen sense of the possibilities and shortcomings of state power. less Peter ParetAmong Clausewitz’s writings, history and contemporary history outnumber theory. Most though not all of his histories have war as their subject, but even when his theme is a campaign or an entire war, he often addresses matters that go beyond the strictly military and beyond such issues closely associated with war as diplomacy and politics. One of his most original works, a study of the war of... (Source)
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3
Leopold von Ranke (1795-1886), generally recognized as the founder of the school of modern critical historical scholarship, and Jacob Burckhardt (1818-1897), the great Swiss proponent of cultural interpretation, are fathers of modern history--giants of their time who continue to exert an immense influence in our own. They are usually seen as contrasts, Ranke as representative of political history and Burckhardt of cultural history. In five essays, each flowing gracefully into the next, the distinguished historian Felix Gilbert shows that such contrasts are oversimplifications. Despite their... more Leopold von Ranke (1795-1886), generally recognized as the founder of the school of modern critical historical scholarship, and Jacob Burckhardt (1818-1897), the great Swiss proponent of cultural interpretation, are fathers of modern history--giants of their time who continue to exert an immense influence in our own. They are usually seen as contrasts, Ranke as representative of political history and Burckhardt of cultural history. In five essays, each flowing gracefully into the next, the distinguished historian Felix Gilbert shows that such contrasts are oversimplifications. Despite their interest in different aspects of the past, Ranke's and Burckhardt's views arose from common elements in the first half of the nineteenth century, the time in which they grew up and in which their first masterworks attracted such wide attention. This concise volume clarifies the beginnings of history as an autonomous discipline, while forcing us to examine our views on basic questions in historical scholarship.In the case of Ranke, relating his work to his times counteracts the current tendency to disregard the difference between the historical concepts of the eighteenth and nineteenth centuries. By focusing on this difference, Gilbert emphasizes the originality and novelty of Ranke's ideas about history. Although Burckhardt is often portrayed as an intellectually lonely figure, this book reveals the importance of relating his thought to the intellectual trends of his time. less Peter ParetIn this brief work, written at the end of a very distinguished scholarly career, Gilbert considers decisive phases in the developments of two kinds of history, and behind their differences points to similarities and forces that bring them together. He begins with the new awareness among historians, originating in the late Enlightenment and brought to the fore by the French Revolution and... (Source)
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4
Joseph Leo Koerner | 4.39
Caspar David Friedrich (1774 1840), the greatest painter of the Romantic movement in Germany, was perhaps Europe's first truly modern artist. His melancholy landscapes, often peopled by lonely wanderers, represent experiments towards a radically subjective art, one in which, as Friedrich wrote, the painter depicts not what he sees before him, but what he sees within him. Yet in their awesome power to capture the individuality of visible forms Friedrich's pictures also accept and express the irredeemable otherness of Nature. Winner of the 1992 Mitchell Prize for the History of Art, this... more Caspar David Friedrich (1774 1840), the greatest painter of the Romantic movement in Germany, was perhaps Europe's first truly modern artist. His melancholy landscapes, often peopled by lonely wanderers, represent experiments towards a radically subjective art, one in which, as Friedrich wrote, the painter depicts not what he sees before him, but what he sees within him. Yet in their awesome power to capture the individuality of visible forms Friedrich's pictures also accept and express the irredeemable otherness of Nature. Winner of the 1992 Mitchell Prize for the History of Art, this compelling and highly original book is now made available in a compact pocket format. Beautifully illustrated, "Caspar David Friedrich and the Subject of Landscape" is the most comprehensive account ever published in English on this most fascinating of nineteenth-century masters.
“This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.”—Independent less Peter ParetOf the German painters at the end of the 18th century and the first decades of the 19th, the best known outside Germany is probably Caspar David Friedrich. His landscape paintings – craggy mountains, beaches along endless seas, ancient forests, often with one or two figures of men and women who observe this world, are part of it, but also threatened by it – are metaphors not only for the human... (Source)
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5
A half-century after its translation into English, Erich Auerbach's "Mimesis" still stands as a monumental achievement in literary criticism. A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.
A German Jew, Auerbach was forced out of his professorship at the... more A half-century after its translation into English, Erich Auerbach's "Mimesis" still stands as a monumental achievement in literary criticism. A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.
A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours.
For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.
less Peter ParetFor many of us Erich Auerbach’s Mimesis still stands as a monumental achievement in literary criticism. In the book he explores how great European writers from Homer to Virginia Woolf depicted reality and by doing so he has taught generations how to read Western literature. (Source)
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