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Originally published: Germany: S. Fischer Verlag.
A riveting account of the dictator’s final years, when he got the war he wanted but led his nation, the world, and himself to catastrophe—from the author of Hitler: Ascent “Skillfully conceived and utterly engrossing.” —The New York Times Book Review In the summer of 1939, Hitler was at the zenith of his power. Having consolidated political control in Germany, he was at the helm of a newly restored major world power, and now perfectly positioned to realize his lifelong ambition: to help the German people flourish and to exterminate those who stood in the way. Beginning a war allowed Hitler to take his ideological obsessions to unthinkable extremes, including the mass genocide of millions, which was conducted not only with the aid of the SS, but with the full knowledge of German leadership. Yet despite a series of stunning initial triumphs, Hitler’s fateful decision to invade the Soviet Union in 1941 turned the tide of the war in favor of the Allies. Now, Volker Ullrich, author of Hitler: Ascent 1889–1939, offers fascinating new insight into Hitler’s character and personality. He vividly portrays the insecurity, obsession with minutiae, and narcissistic penchant for gambling that led Hitler to overrule his subordinates and then blame them for his failures. When he ultimately realized the war was not winnable, Hitler embarked on the annihilation of Germany itself in order to punish the people who he believed had failed to hand him victory. A masterful and riveting account of a spectacular downfall, Ullrich’s rendering of Hitler’s final years is an essential addition to our understanding of the dictator and the course of the Second World War.
A collection of essential writings from the iconic foremother of Black women's intellectual history, feminism, and activism, who helped pave the way for modern social justice movements like Black Lives Matter and Say Her Name A Penguin Classic The Portable Anna Julia Cooper brings together, for the first time, Anna Julia Cooper's major collection of essays, A Voice from the South, along with several previously unpublished poems, plays, journalism and selected correspondences, including over thirty previously unpublished letters between Anna Julia Cooper and W. E. B. Du Bois. The Portable Anna Julia Cooper will introduce a new generation of readers to an educator, public intellectual, and community activist whose prescient insights and eloquent prose underlie some of the most important developments in modern American intellectual thought and African American social and political activism. Recognized as the iconic foremother of Black women's intellectual history and activism, Cooper (1858-1964) penned one of the most forceful and enduring statements of Black feminist thought to come of out of the nineteenth century. Attention to her work has grown exponentially over the years--her words have been memorialized in the US passport and, in 2009, she was commemorated with a US postal stamp. Cooper's writings on the centrality of Black girls and women to our larger national discourse has proved especially prescient in this moment of Black Lives Matter, Say Her Name, and the recent protests that have shaken the nation.
The magazine of mobile warfare.
This collection of essays on modernist culture reassesses the convergence of low and high cultures, of socialist and aesthete, late Victorian and young Georgian, the popular and the coterie. Academic literary studies have until recently preferred to treat the "opaque," "difficult" writings of high moderns Conrad, Yeats, Woolf, and Eliot, and the more accessible work of the low moderns Kipling, Shaw, and Wells in separate categories. In contributions by scholars David Bromwich, Roy Foster, Edna Longley, Louis Menand, Edward Mendelson, and others, High and Low Moderns brings these writers into critical proximity. Essays on such topics as the public mourning of Queen Victoria, Florence Farr and the "New Woman," the Edwardian Shaw, Lady Gregory's attraction to Irish felons, and the high artistic uses of low entertainments--cinema, detective fiction, and journalism-- introduce a subtler model of modernism, in which "demotic" and "elite" cultural forms criticize, imitate, and address one another.