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This book is a look back at the beginnings of the Es-pe-ranto move-ment in the US and beyond, opening a window into contemporaneous accounts on the pages of a world-renowned news-paper. -- Some of the articles in this collection reflect aspects of the his-tory of the Esperanto movement quite vividly; in others, we find odd anecdotes about Esperanto and the Esperantists; and many passionately-written letters from readers illustrate the ups and downs, the successes and conflicts of the Esperanto community, as well as its disputes with the skeptics outside their ranks. -- These first 35 years of the history of Esperanto seen from the vantage point of the New York Times show how Esperanto gradually became established in the US and in the world, carried on the high hopes of its early, idealistic proponents. -- The book is supplemented by an appendix containing an index of the names of persons mentioned in the newspaper articles, a short bibliography, and a collection of links to reliable information on Esperanto on the Internet.
"A history of Esperanto, the utopian "universal language" invented in 1887"--
This is Volume 1 of Dangerous Language. This book examines the rise of the international language Esperanto, launched in 1887 as a proposed solution to national conflicts and a path to a more tolerant world. The chapters in this volume chart the emergence of Esperanto as an answer to a widespread democratic desire for direct person-to-person international communication regardless of political boundaries. Its early success was limited, mostly because of the Czarist regime's suspicion of direct communication with foreigners, and, later, similar suspicion by dictatorial regimes generally. As speakers of a "dangerous language," its adepts were harassed and persecuted, especially in Germany and the Soviet Union. This book argues that the fate of Esperanto over the 130 years of its existence serves as a barometer to measure the degree to which regimes tolerate spontaneous personal contact with other countries and allow the pursuit of self-education outside prescribed national or ideological constraints. This book will appeal to a wide readership, including linguists, historians, political scientists and others interested in the history of the twentieth century from the unusual perspective of language. This volume is complemented by the sister volume Dangerous Language - Esperanto and the Decline of Stalinism which offers a concentration on the Cold War history of Esperanto in Eastern Europe.
This fascinating book takes invented languages and explores the origins, purpose, and usage of these curious artefacts of culture. Written by experts in the field, chapters discuss a wide range of languages - from Esperanto to Klingon - and uncover the motives behind their creation and the outcomes of their existence.
"Making History Matter explores the role history and historians played in imperial Japan’s nation and empire building from the 1890s to the 1930s. As ideological architects of this process, leading historians wrote and rewrote narratives that justified the expanding realm. Learning from their Prussian counterparts, they highlighted their empiricist methodology and their scholarly standpoint, to authenticate their perspective and to distinguish themselves from competing discourses. Simultaneously, historians affirmed imperial myths that helped bolster statist authoritarianism domestically and aggressive expansionism abroad. In so doing, they aligned politically with illiberal national leaders who provided funding and other support necessary to nurture the modern discipline of history. By the 1930s, the field was thriving and historians were crucial actors in nationwide commemorations and historical enterprises. Through a close reading of vast, multilingual sources, with a focus on Kuroita Katsumi, Lisa Yoshikawa argues that scholarship and politics were inseparable as Japan’s historical profession developed. In the process of making history matter, historians constructed a national past to counter growing interwar liberalism. This outlook—which continues as the historical perspective that the Liberal Democratic Party leadership embraces—ultimately justified the Japanese aggressions during the Asia-Pacific Wars."
Little What's-His-Name (Le Petit Chose) - Alphonse Daudet's (1840-1897) first published, though not his first written, novel - appeared in 1868. The first part was composed in that Southern France it describes so charmingly; its first chapters form one of the most touching of autobiographies. In the second part Daudet has to tell of the struggles of an idealistic young poet in the selfish, devouring whirlpool of Paris. The whole book seems to bear the impress of the circumstances under which it was written. It is full of the milk of human kindness. --- When Daudet wrote Le Petit Chose in his early manhood, he succeeded in producing one of the most delightfully idyllic of his works, one that will probably continue to be read as long as any of the more powerful novels of his prime. It is one of the most perfect representations in literature of childhood's hopes and fears and of youth's aspirations and defeats. It is perfect because it is real. --- Enjoy to the full one of the purest and most exquisite stories of youthful experience to be found in French or in any other literature. (W. P. Trent)
"Michael Kohlhaas" is a novella written by famed writer Heinrich von Kleist (1777-1811). The story is based upon the historical figure of Hans Kohlhase, a 16th century merchant who turned violent after being attacked and victimized by the authorities. As a result, he gathered around him a band of criminals and spread terror throughout the whole of Saxony. --- "The novella is a good example of Kleist's excellent narrative art: The action can be summed up in a few words, such as the formula for this story, given expressly on its first page: 'His sense of justice made him a robber and a murderer.' There is no leisurely exposition of time, place, or situation; all the necessary elements are given concisely in the first sentences. The action develops logically, with effective use of retardation and climax, but without disturbing episodes; and the reader is never permitted to forget the central theme. The descriptive element is realistic, with only pertinent details swiftly presented, often in parentheses, while the action moves on. The characterization is skilfully indirect, through unconscious action and speech. The author does not shun the trivial or even the repulsive in detail, nor does he fear the most tragic catastrophes ... The whole work in all its parts is firmly and finely forged by a master workman. --- Kleist has remained a solitary figure in German literature. Owing little to the dominant literary influences of his day, he has also found few imitators. Two generations passed before he began to come into his heritage of legitimate fame. Now ... his place is well assured among the greatest dramatic and narrative authors of Germany." (John S. Nollen)
"The Last Mistress" is the story of Richard Brown, who leaves an English boarding school at the end of World War II to find his way in the world. Believing that he might have a vocation to take Holy Orders, he decided to travel to Jerusalem and then onto Rome. A brief stay in Paris opens a new world to him. On arrival in Palestine, he gets caught up in the war between Jews and Arabs and is conscripted into the Palestine Police. Posted on the border between Palestine and Lebanon, he gets the opportunity to visit Beirut and enjoy its pleasures before being demobilized and sent back to London. --- His journey through life does not stop there. Graduating from Imperial College, London University, he enters the business world, and as a high-flying investment banker he decides that the sky's the limit. He travels around the world, continuing with his lighthearted erotic romp through life before a tragic event brings him back to earth and allows him to find his true vocation. --- Though by no means an autobiography, much of the background, especially the events in Palestine, are factual and well authenticated. However, as with his previous novels, the author draws on his personal experiences and titillates us with descriptions of gastronomic delights and seductive and sensual pleasures of love.
"Bug-Jargal" (1826; first published as a short story in 1819) is an early novel by French writer Victor Hugo (1802-1885). It describes the friendship between the enslaved African prince Bug-Jargal and Leopold D'Auverney, a French military officer, during the slave revolt in Santo Domingo of August, 1791, that would eventually lead to the creation of the republic of Haiti in 1804. --- Bug-Jargal, black slave and son of a king, is a man "of the noblest moral and intellectual character, passionately in love with a white woman, yet tempering the wildest passion with the deepest respect... There is no reader of the tale, who can forget the entrancing interest of the scenes in the camp of the insurgent chief Biassou, or the death-struggle between Habibrah and D'Auverney, upon the brink of the cataract. The latter, in particular, is drawn with such intense force, that the reader seems almost to be a witness of the changing fortunes of the fight, and can hardly breathe freely till he comes to the close." (The Edinburgh Review)
The gentle melancholy of two people coming together in a way which can never lead to full satisfaction, the quiet tragedy of a separation not forced by external powers but by the constant pressure of circumstances-this is what sounds through this splendid story. "Trials and Tribulations" is built entirely on this motive. An honest sturdy young officer and a decent pretty girl get to know each other on an excursion. Unconsciously they drift into a relation where heart meets heart, the breaking of which causes the deepest pain. But both see clearly from the beginning that there is no other end. For they know that the world is stronger than the individual, and the many small moments than the one supreme. They know it, for they are, like their creator, resigned realists. They shut their eyes only in order not to see the end too near. (Richard M. Meyer)---The interest of Fontane's novels lies rather in character than in action. While he portrays many types characteristic of Berlin and the surrounding region, and is very successful in rendering local color and the atmosphere of the particular circle described in each book, his penetration into universal human nature is sufficiently deep to raise him far above provincialism. His effort is to represent people vividly and naturally in their normal relations, not to strain after sensational or even dramatic situations. "Trials and Tribulations" ("Irrungen Wirrungen", 1887) gives an excellent idea of his power. In a gently moving story, told without the forcing of emotion or the contriving of exciting scenes, he deals with the pathos of the relation between a man and a woman, alike in an attractive simplicity of character, but forced apart by difference of rank. The situation is laid before us without expressed censure or protest, and is allowed to have its effect by the sober truth of its presentation. Fontane's is an honest and sincere art, none the less great because unpretentious. (W.A.N.)