The siege of the Swedish stronghold of Narva by the Russians in 1704 is very typical yet rather unusual operation of this kind. Its study covers both operational and tactical levels, deals with peculiarities of the siege warfare, and describes everyday life of the participants.
A dual biography crafted around the famous encounter between the French philosopher who wrote about power and the Russian empress who wielded it with great aplomb. In October 1773, after a grueling trek from Paris, the aged and ailing Denis Diderot stumbled from a carriage in wintery St. Petersburg. The century’s most subversive thinker, Diderot arrived as the guest of its most ambitious and admired ruler, Empress Catherine of Russia. What followed was unprecedented: more than forty private meetings, stretching over nearly four months, between these two extraordinary figures. Diderot had come from Paris in order to guide—or so he thought—the woman who had become the continent’s last great hope for an enlightened ruler. But as it soon became clear, Catherine had a very different understanding not just of her role but of his as well. Philosophers, she claimed, had the luxury of writing on unfeeling paper. Rulers had the task of writing on human skin, sensitive to the slightest touch. Diderot and Catherine’s series of meetings, held in her private chambers at the Hermitage, captured the imagination of their contemporaries. While heads of state like Frederick of Prussia feared the consequences of these conversations, intellectuals like Voltaire hoped they would further the goals of the Enlightenment. In Catherine & Diderot, Robert Zaretsky traces the lives of these two remarkable figures, inviting us to reflect on the fraught relationship between politics and philosophy, and between a man of thought and a woman of action.
Newly translated, unfinished works about power, class conflict, and artistic inspiration by Russia's greatest poet. Alexander Pushkin, Russia’s foundational writer, was constantly experimenting with new genres, and this fresh selection ushers readers into his creative laboratory. Politics and history weighed heavily on Pushkin’s imagination, and in “Peter the Great’s African” he depicts the Tsar through the eyes of one of his closest confidantes, Ibrahim, a former slave, modeled on Pushkin’s maternal great-grandfather. At once outsider and insider, Ibrahim offers a sympathetic yet questioning view of Peter’s attempt to integrate his vast, archaic empire into Europe. In the witty “History of the Village of Goriukhino” Pushkin employs parody and self-parody to explore problems of writing history, while “Dubrovsky” is both a gripping adventure story and a vivid picture of provincial Russia in the late eighteenth century, with its class conflicts ready to boil over in violence. “The Egyptian Nights,” an effervescent mixture of prose and poetry, reflects on the nature of artistic inspiration and the problem of the poet’s place in a rapidly changing and ever more commercialized society.
In autumn 1621, at a fortified camp near Khotyn (Chocim), in the Principality of Moldavia, allied Polish, Lithuanian and Cossack armies faced a large Ottoman army led by Sultan Osman II. It was the concluding act of a war that had started with the defeat of a Polish army at Cecora one year earlier. As such it was actually part of the longer conflict, waged over the Commonwealth’s and the Ottoman’s influence over Moldavia. Throughout the whole of September and the first half of October 1621, the allied army managed to defend their camps against Turks, with both sides taking heavy losses from the hardship of the siege operations and worsening weather conditions. The conflict ended with the Treaty of Khotyn (9 October 1621) which did not particularly favor either of the sides. All the same, stopping the Ottoman was seen as a huge success for the Commonwealth, while attitudes on the Ottoman sides were far from victorious. The aftershock of the war led to the rebellion of janissaries in 1622, resulting in the overthrow and murder of Sultan Osman II. The book focuses on the Khotyn campaign of 1621, describing the day-by-day actions of the combatant armies – assaults, sallies and raids – during the whole of the siege. Additional theaters of war, such as Cossack operations from the summer of 1621 and Tatars raids against the Polish interior, are described as well. The reader will also find here details of the organization and strength of the fighting armies, information about the battle dispositions of the troops at Khotyn and commanders leading the troops. Actions leading to the outbreak of the open conflict between the Commonwealth and the Ottoman Empire are explained in a separate chapter, providing a good historical background of the war. Another chapter covers the outcome of the war and the ways that influenced the internal and external situation of both the Commonwealth and the Ottoman Empire. As with his previous works, the author has utilized a large number of primary sources: from the diaries of soldiers taking part in the campaign, through chronicles, official letters and documents from the period to army musters. Among the documents used are not only those written by Poles and Lithuanians, but also documents from Cossacks, Germans and Ottomans. Modern works, especially from Polish and Ukrainian historians, have also been used, in order to provide the most up-to-date and in-depth research. As this topic has previously not had much coverage in English, this book will be a valuable addition to the library of anyone interested in the history of the Polish-Lithuanian Commonwealth, in Zaporozhian Cossacks and in the Ottoman Empire in the early seventeenth century.
Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.
E. H. Gombrich's Little History of the World, though written in 1935, has become one of the treasures of historical writing since its first publication in English in 2005. The Yale edition alone has now sold over half a million copies, and the book is available worldwide in almost thirty languages. Gombrich was of course the best-known art historian of his time, and his text suggests illustrations on every page. This illustrated edition of the Little History brings together the pellucid humanity of his narrative with the images that may well have been in his mind's eye as he wrote the book. The two hundred illustrations—most of them in full color—are not simple embellishments, though they are beautiful. They emerge from the text, enrich the author's intention, and deepen the pleasure of reading this remarkable work. For this edition the text is reset in a spacious format, flowing around illustrations that range from paintings to line drawings, emblems, motifs, and symbols. The book incorporates freshly drawn maps, a revised preface, and a new index. Blending high-grade design, fine paper, and classic binding, this is both a sumptuous gift book and an enhanced edition of a timeless account of human history.