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The Collapse: The Accidental Opening of the Berlin Wall
By Mary Elise Sarotte. 2014
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European history, Politics and government
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The Berlin Wall was erected in 1961 to end all traffic between the city’s two halves: the democratic west and…
the communist east. The iconic symbol of a divided Europe, the Wall became a focus of western political pressure on East Germany; as Ronald Reagan’s famously said in a 1987 speech in Berlin, "Mr. Gorbachev, tear down this wall!” But as award-winning historian Mary Sarotte shows in [Title TK] , the opening of the Wall on November 9, 1989 was not, as is commonly believed, the East German government’s deliberate concession to outside influence. It was an accident. A carelessly worded memo written by mid-level bureaucrats, a bumbling press conference given by an inept member of the East German Politburo, the negligence of government leaders, the bravery of ordinary people in East and West Berlin--these combined to bring about the end of nearly forty years of oppression, fear, and enmity in divided Berlin. When the news broke, Washington and Moscow could only stand by and watch as Tom Brokaw and other journalists narrated the televised broadcast of this critical moment in the thawing of the cold war. Sarotte opens her story in the months leading up to that fateful day. Following East German dissidents, she shows how their efforts coalesced around opposition to the regime’s restrictions on foreign travel. The city of Leipzig, close to the border with Czechoslovakia, became a hothouse of activism, and protests there quickly grew into massive demonstrations. The East German Politburo hoped to limit its citizens’ knowledge of these marches, but two daring dissidents, East Berliners Aram Radomski and Siegbert Schefke, managed to evade the Stasi and film the largest of them from a church tower. They then smuggled their tape to West Germany; broadcast in both nations, the footage galvanized activists across East Germany, and precipitated the stunning developments on November 9. Facing mounting pressure from its own citizens, the East German Politburo planned to put off enacting any meaningful change to its travel policy by issuing a deceptive ruling that would appear to offer more freedom, but which in fact would allow the state to maintain strict control over its citizen’s movements. But the bureaucrats tasked with preparing the "new” regulations misunderstood their task, and instead drafted a declaration that said East Germans could freely leave the country. This declaration ended up in the hands of regime spokesman Günter Schabowski, who announced the rules at a press conference without understanding their import. Stunned reporters were soon broadcasting the news around the world. Crowds of East Germans began streaming to the Wall, prompting a showdown with border guards, who received no support or direction from East German leadership as the throngs multiplied. By 11:30, Harald Jäger, a second-tier passport control officer, had had enough and finally opened the wall to the mob gathering outside his gate. Even though East German forces successfully regained control by the morning, it was too late--for the wall, for the regime, and for Communism in Eastern Europe. Drawing on evidence from archives in multiple countries and languages, along with dozens of interviews with key actors, including Harald Jäger, [Title TK] is the definitive account of the event that brought down the East German Politburo and came to represent the final collapse of the Cold War order.Юность Времен Лиры
By Claudio Ruggeri, Imran Nazirov. 2014
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Biography, Politics and government
Встреча двух друзей в один из летних дней, в которой более молодой будет слушать анекдоты и рассказы другого о мире,…
который исчез всего лишь вчера, но больше уже никогда не сможет существовать, во времена которого часто можно было услышать фразу «Я без единой лиры...»リラ世代の青年期 (少ない物で王様気分になれたとき)
By Annalisa Martino, Claudio Ruggeri. 2016
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Biography, Politics and government
夏の午後に出逢った二人の友達,若者は "リラを持っていない..." と言うフレーズをよく使っていた,今からそう遠くないが,既に存在しない時代に住んだ者の物語を聞く
Short Stories in Japanese: New Penguin Parallel Text (Penguin Parallel Text)
By Edited by Michael Emmerich. 2011
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General non-fiction, Anthologies, Criticism
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A dual-language edition of Japanese stories—many appearing in English for the first time This volume of eight short stories, with…
parallel translations, offers students at all levels the opportunity to enjoy a wide range of contemporary literature without having constantly to refer back to a dictionary. The stories—many of which appear here in English for the first time—are by well-known writers like Haruki Murakami and Banana Yoshimoto, as well as emerging voices like Abe Kazushige, Ishii Shinji, and Kawakami Hiromi. From the orthodox to the cutting-edge, they represent a range of styles and themes, showcasing the diversity of Japanese fiction over the past few decades in a collection that is equally rewarding for beginning, intermediate, and advanced students of English or Japanese. Complete with notes, the stories make excellent reading in either language.Yosano Akiko and The Tale of Genji (Michigan Monograph Series in Japanese Studies #28)
By Gaye Rowley, G. G. Rowley. 2000
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Criticism, Customs and cultures, General non-fiction
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Yosano Akiko (1878–1942) has long been recognized as one of the most important literary figures of prewar Japan. Her renown…
derives principally from the passion of her early poetry and from her contributions to 20th-century debates about women. This emphasis obscures a major part of her career, which was devoted to work on the Japanese classics and, in particular, the great Heian period text The Tale of Genji. Akiko herself felt that Genji was the bedrock upon which her entire literary career was built, and her bibliography shows a steadily increasing amount of time devoted to projects related to the tale. This study traces for the first time the full range of Akiko’s involvement with The Tale of Genji. The Tale of Genji provided Akiko with her conception of herself as a writer and inspired many of her most significant literary projects. She, in turn, refurbished the tale as a modern novel, pioneered some of the most promising avenues of modern academic research on Genji, and, to a great extent, gave the text the prominence it now enjoys as a translated classic. Through Akiko’s work Genji became, in fact as well as in name, an exemplum of that most modern of literary genres, the novel. In delineating this important aspect of Akiko’s life and her bibliography, this study aims to show that facile descriptions of Akiko as a “poetess of passion” or “new woman” will no longer suffice.