Here are 100 books that The Faustian Bargain fans have personally recommended if you like
The Faustian Bargain.
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My interest in this topic began because of a trip to a museum in 2008. I noticed that a painting had been removed from view and a small piece of paper was hanging on the wall where the painting had been. The paper explained that this piece was involved in a court case revolving around whether or not it had been stolen from its Jewish owner by the Nazis during World War II. Nazi cultural appropriation, looting, suppression, and destruction turned out to be one of the most fascinating stories of the entire war. The research for my historical novel took several years, but it allowed me to write a book based on the facts.
Noah Charney is an art historian and has written several interesting books that I have read. Even though this book, Stealing the Mystic Lamb, came out too late for my novel, the âaltarpieceâ of my book is in fact the âMystic Lambâ otherwise known as the Ghent Altarpiece. My quasi-obsession with this monumental piece of art is matched by Charney and he describes how often it has been stolen and nearly destroyed. No other piece of art has had a history quite like this one.Â
Jan van Eyck's Ghent Altarpiece is on any art historian's list of the ten most important paintings ever made. It is also the most frequently stolen artwork of all time. Since its completion in 1432, this twelve-panel oil painting has been looted in three different wars, burned, dismembered, forged, smuggled, censored, hidden, attacked by iconoclasts, hunted by the Nazis and Napoleon, used as a diplomatic tool, ransomed, rescued by Austrian double-agents, and stolen a total of thirteen times. In this fast-paced, real-life thriller, art historian Noah Charney unravels the fascinating stories of each of these thefts. Charney also explores psychologicalâŠ
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa storiesâall reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argueâŠ
I am a professor of English and Visual Culture at St. Johnâs University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitlerâs Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
This is one of the most influential studies of cultural politics in Nazi Germany which takes as its focus the bureaucracy Joseph Goebbels charged with integrating pre-National Socialist artists and their organizations into the new cultural and political order. Noteworthy, of course, throughout Steinweisâs masterpiece of institutional reconstruction, is the revelation that National Socialist aesthetic preferences were not novel but represented the appropriation of the prevailing conservative taste dominant in the late Weimar Republic.
From 1933 to 1945, the Reich Chamber of Culture exercised a profound influence over hundreds of thousands of German artists and entertainers. Alan Steinweis focuses on the fields of music, theatre and the visual arts in this study of Nazi cultural administration, examining a complex pattern of interaction among leading Nazi figures, German cultural functionaries, ordinary artists, and consumers of culture. Steinweis gives special attention to Nazi efforts to purge the arts of Jews and other so-called undesirables.
I am a professor of English and Visual Culture at St. Johnâs University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitlerâs Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'etre of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi GermanyâŠ
Stealing technology from parallel Earths was supposed to make Declan rich. Instead, it might destroy everything.
Declan is a self-proclaimed interdimensional interloper, travelling to parallel Earths to retrieve futuristic cutting-edge technology for his employer. It's profitable work, and he doesn't ask questions. But when he befriends an amazing humanoid robot,âŠ
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
When I first read Herfâs book during the 1990s, it totally transformed my understanding of National Socialismâs attitude toward technology and modernity.
Prior to its publication, Nazism was commonly perceived asanti-modernandanti-technological: as aspiring toward a vaguely defined pre-modern, martial-communitarian dystopia. Conversely, Herf shows that Nazism concertedly sought to integrate technological modernity within the movementâs militaristic, pan-German ideological framework. Here, the effusive expression employed by Goebbels to describe Nazismâs hypertrophic pro-technological enthusiasms, âsteely romanticism,â says it all!
In this respect, Ernst JĂŒngerâs allegorical glorification of totalitarian militarism in The Worker (Der Arbeiter) was paradigmatic.Â
In a unique application of critical theory to the study of the role of ideology in politics, Jeffrey Herf explores the paradox inherent in the German fascists' rejection of the rationalism of the Enlightenment while fully embracing modern technology. He documents evidence of a cultural tradition he calls 'reactionary modernism' found in the writings of German engineers and of the major intellectuals of the. Weimar right: Ernst Juenger, Oswald Spengler, Werner Sombart, Hans Freyer, Carl Schmitt, and Martin Heidegger. The book shows how German nationalism and later National Socialism created what Joseph Goebbels, Hitler's propaganda minister, called the 'steel-like romanticismâŠ
I am a professor of English and Visual Culture at St. Johnâs University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitlerâs Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
Rich in illustrations, ambitious in scope, and still relevant despite having been written in the pre-perestroika Soviet Union, Golomstock makes his four-way comparison accessible and convincing by insisting that âtotalitarian art,â a distinct genre with its own aesthetics and style, organization, and ideology, emerged with the rise of the four regimes indicated in the title of his book.Â
In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings,âŠ
After seventeen years of researching media use in the Soviet Union, I found I was hooked for life on the problems of totalitarianism. I went on reading about Stalinist Russia, Nazi Germany, and the East German Stasi and wrote several novels based on what I had read. In 2009, I saw an exhibition of paintings called âLooking for Owners.â Some of the pictures were extremely beautiful works by well-known artists which, I was surprised to learn, had been stolen by the Nazis during World War II. Their rightful owners had never been traced. I knew at once that there was a story in this.
If you want to know about art thefts in Europe during World War II, this is the book to read. This is the Bible!
Lynn Nicolas provides an exhaustive account of why the works were taken, where the looting took place, how it was done, how many artworks were plundered (the answer is in the hundreds of thousands), and what attempts were made after the war to recover the works and restore them to their owners.
I was awed by the extent of her research, which is truly groundbreaking. Before The Rape of Europa was published in 1994, little was known about the means and scale â and even the fact â of Nazi looting. Â
When the Nazi occupation of Poland, France and the Low Countries, and finally Italy, began a colossal wave of organised and casual pillaging stripped entire countries of their cultural heritage. From the day Hitler came to power, art was a matter of the highest priority to the Reich. He and other Nazis were ravenous collectors, stopping at nothing to acquire paintings and sculpture. Nicholas catalogues this theft and destruction but also shows how the dedicated corps of `Museum Officers', brought to Europe after the Allied victory, spent six years locating and sorting huge repositories of treasure and restoring their contentsâŠ
Nature writer Sharman Apt Russell tells stories of her experiences tracking wildlifeâmostly mammals, from mountain lions to pocket miceânear her home in New Mexico, with lessons that hold true across North America. She guides readers through the basics of identifying tracks and signs, revealing a landscape filled with the marksâŠ
After seventeen years of researching media use in the Soviet Union, I found I was hooked for life on the problems of totalitarianism. I went on reading about Stalinist Russia, Nazi Germany, and the East German Stasi and wrote several novels based on what I had read. In 2009, I saw an exhibition of paintings called âLooking for Owners.â Some of the pictures were extremely beautiful works by well-known artists which, I was surprised to learn, had been stolen by the Nazis during World War II. Their rightful owners had never been traced. I knew at once that there was a story in this.
Without the Monuments Men, the artworks plundered by the Nazis might never have been recovered. A lot might still be missing.
The Monuments Men were art experts, scholars, and historians who had volunteered for a specially-formed military unit. They followed the Allied armies through Europe and made sure no historical monuments or irreplaceable artworks were inadvertently destroyed. Using Rose Vallandâs notes from the Jeu de Paume, they tracked down stolen treasures in castles, monasteries, and even a salt mine!
Engaging and well-written, this book is a must-read. I borrowed it from the library, but ended up buying my own copy. I had to have it!
Now a major film starring GEORGE CLOONEY, MATT DAMON, CATE BLANCHETT, BILL MURRAY, JOHN GOODMAN, HUGH BONNEVILLE, BOB BALABAN, JEAN DUJARDIN and DIMITRI LEONIDAS. What if I told you that there was an epic story about World War II that has not been told, involving the most unlikely group of heroes? What if I told you there was a group of men on the front lines who didn't carry machine guns or drive tanks; a new kind of soldier, one charged with saving, not destroying. From caves to castles in a thrilling race against time, these men risked their livesâŠ
My interest in this topic began because of a trip to a museum in 2008. I noticed that a painting had been removed from view and a small piece of paper was hanging on the wall where the painting had been. The paper explained that this piece was involved in a court case revolving around whether or not it had been stolen from its Jewish owner by the Nazis during World War II. Nazi cultural appropriation, looting, suppression, and destruction turned out to be one of the most fascinating stories of the entire war. The research for my historical novel took several years, but it allowed me to write a book based on the facts.
Dagniniâs book focuses specifically on Italy and the amazing stories of Rome, Naples, Florence, and Pisa among others. If you love Italian art and architecture, you will not be able to put this book down. Descriptions of the damage, but also how it was fixed and avoided in some cases, are truly inspiring. Without these Allied personnel, so much more could have been lost.
In 1943, while the world was convulsed by war, a few visionaries -- in the private sector and in the military -- committed to protect Europe's cultural heritage from the indiscriminate ravages of World War II.
In the midst of the conflict, the Allied Forces appointed the monuments officersâa motley group of art historians, curators, architects, and artistsâto ensure that the great masterworks of European art and architecture were not looted or bombed into oblivion. The journalist Ilaria Dagnini Brey focuses her spellbinding account on the monuments officers of Italy, quickly dubbed "the Venus Fixers" by bemused troops.
As a child I found the history and biography books in our school library, and was enthralled. When I got older and discovered historical archives, the tension between public history in books and the secret or forgotten histories tucked away was irresistible. Writing books has taken me to five continents on journeys into everything from medicinal black markets to the traces of a wartime commercial spy network. For my latest book, digging through classified OSS files showed me what amazing stories still lie waiting for us.
Whitney gives a literary coda to World War II cloak-and-dagger, showing how its nests of spies and agencies pivoted and metastasised in the years afterward into the Cold War. The CIA took up where the OSS left off. Where Graham Greene and Kim Philby had run the haunts of Lisbon, then-young writers George Plimpton and Peter Matthiessen were cajoled to produce cultural propaganda in Paris and start the Paris Review. The CIA's literary operations continued into the 1960s when it launched a whispering campaign to prevent Pablo Neruda from receiving a Nobel prize, and launched Mundo Nuevo to engage Spanish-language readers.
When news broke that the CIA had colluded with literary magazines to produce cultural propaganda throughout the Cold War, a debate began that has never been resolved. The story continues to unfold, with the reputations of some of America's best-loved literary figures-including Peter Matthiessen, George Plimpton, and Richard Wright-tarnished as their work for the intelligence agency has come to light.
Finks is a tale of two CIAs, and how they blurred the line between propaganda and literature. One CIA created literary magazines that promoted American and European writers and cultural freedom, while the other toppled governments, using assassination and censorshipâŠ
The Bridge provides a compassionate and well researched window into the worlds of linear and circular thinking. A core pattern to the inner workings of these two thinking styles is revealed, and most importantly, insight into how to cross the distance between them. Some fascinating features emerged such as, circularâŠ
I started my career in tourism but soon discovered my passion for urban heritage. Working as a site manager for a world heritage site, I gathered extensive insights on various levels of heritage management and urban governance from many colleagues around the world. Today there is no single project or meeting that does not address the challenges of climate change. Obtaining my Ph.D. late in life, in Heritage-Based Urban Development, I quickly became convinced that the traditional ideas of what cultural heritage is do not reflect the situation today and hinder giving cultural heritage a role in climate change prevention and adaption, beyond the narrative that it has to be preserved.Â
Kalman's book on Heritage Management provides a great introduction and overview to the topic. He embraces an integrated and modern understanding of cultural heritage and addresses the potential obstacles heritage managers meet at the crossing points between the different relevant factors.
By focussing on the process, he gives fruitful insights based on case studies from around the world. Climate change, sustainability, and resilience are also integrated into this useful book.
I found this book useful because it describes cases, focuses on transferable principles, and emphasizes that the process is equally important as the desired result. By reading this book and the introduced approach, I really felt encouraged to follow up on my own approach, which I always focus on extracting strategies and principles from good examples because I strongly believe that they can be transferred much better to different places.
I also enjoyed the attention that has been given toâŠ
This new and substantially revised edition of Heritage Planning: Principles and Process offers an extensive overview of the burgeoning fields of heritage planning and conservation. Positioning professional practice within its broader applied and theoretical contexts, the authors provide a firm foundation for understanding the principles, history, evolution, debates, and tools that inform heritage planning, while also demonstrating how to effectively enact these processes.
Few published works focus on the practice of heritage planning. The first edition of this book was developed to fill this gap, and this second edition builds upon it. The book has been expanded in scope toâŠ
