Weimar and now ;

Herbert Marcuse, Erich Fromm, Max Horkheimer, Franz Neumann, Theodor Adorno, Leo Lowenthal—the impact of the Frankfurt School on the sociological, political, and cultural thought of the twentieth century has been profound. The Dialectical Imagination is a major history of this monumental cultural and intellectual enterprise during its early years in Germany and in the United States. Martin Jay has provided a substantial new preface for this edition, in which he reflects on the continuing relevance of the work of the Frankfurt School.

Few figures in twentieth-century literary life enjoyed such a stormy sibling relationship as the brothers Thomas and Heinrich Mann. This book, the first complete English-language translation of their correspondence, provides an introduction to the intimate details of their personal and professional lives. From their differing views on the First World War and the question of Germany's future after the Second to the intense rivalry that accompanied their experiences of literary success, Thomas and Heinrich Mann were brothers whose relationship was marked by intense conflict and complex ties of loyalties. Moving from Germany at the turn of the century to their American exile in Princeton and Los Angeles in the 1930s, their letters portray their struggle as novelists and socially engaged intellectuals to apprehend the momentous historical changes in Germany and their experience of American exile.

Reproduces (translated into English) contemporary documents or writings with an introduction to each section.

Since its intitial publication in Berlin in 1928, Jan Tschichold's The New Typography has been recognized as the definitive treatise on book and graphic design in the machine age. At once a key theoretical document of Central European modernism between the world wars and an invaluable source of working principles for the practicing designer, this classic work enjoys the reputation among book artists that Le Corbusier's Toward a New Architectire has long held among architects. The book's legendary renown is certain to increase with the long-overdue appearance of this first English translation, published in a form that reflects Tschichold's original typography and design. Ranging from theoretical discussions of typography in the age of photography and mechanical standardization to practical considerations in designing business forms, The New Typography remains essential reading for designers, art historians, and all those concerned with the evolution of visual communication in the twentieth century.