For forty-five years Europe was divided, and at the center of that divided continent lay a divided Germany. Throughout that time West German politicians were trying to reunite their sundered country, even as they performed an intricate diplomatic minuet with their European -- and, particularly, their American -- allies and East Germany's Soviet sponsors.

Place names are a window into the history and characteristics of a country. Their names reflect the migrations of peoples, their religious and cultural traditions, local languages, conquests and fortifications long since disappeared. They also reflect the topography and industrial development of a place. The text is ordered by country alphabetically. The book will include a historical section, putting the place name into context, and references those events, which have had an impact on the geography of a country, and those foreign influences, which have played a part in shaping the place name. This volume is confined to the 38 countries of Europe, together with Andorra, Gibraltar, Liechtenstein, Malta, Monaco, San Marino, Cyprus and the Vatican City. All place names of cities and towns of particular importance and interest are included. Detailed maps accompany the text to illustrate change and evolution.

Europe is a word that is almost daily on our lips. But how far do we have to go back in order to find the origins of its name? The first part of this beautifully illustrated book traces the geographical and mythological basis of Europe's name. Who came up with the idea to distinguish the world in continents with proper names? The search will bring the reader back to the early history of mankind. How did the ancient Egyptians see the world and populations around them? Where did the Hebrews get the idea to split the world in three? And what was the world-picture in ancient Greece, laid down in geographic treatises and fragments? Where did the name 'Europe' originate from? Could it be from a person, either mortal or divine? In ancient Greek literature the name 'Europa' appears quite frequently for Greek goddesses and Greek women. Strangely enough, the best known Europa myth concerns a Phoenician princess, loved by the Greek god Zeus. Many mythographs doubt the Asian descent of the Phoenician Europa. Is her real origin to be located on mainland Greece? How can the contradicting Greek myths be interpreted, and was the name universally accepted as the name for the continent? In the second part of this book, the author tells the amazing story of how the Arts have treated the Europa myths for almost three millennia. He shows the extraordinary influence of the personification of the geographic continent Europe on literature, music, sculpture, painting, tapestry and other applied arts. All this clearly demonstrates the vivid interest in Europe for the subject throughout the ages and illustrates, according to Karel van Miert in his Foreword, our common European culture.

Beginning in 1948, the Soviet Union launched a series of wildly ambitious projects to implement Joseph Stalin’s vision of a total “transformation of nature.” Intended to increase agricultural yields dramatically, this utopian impulse quickly spread to the newly communist states of Eastern Europe, captivating political elites and war-fatigued publics alike. By the time of Stalin’s death, however, these attempts at “transformation”—which relied upon ideologically corrupted and pseudoscientific theories—had proven a spectacular failure. This richly detailed volume follows the history of such projects in three communist states—Poland, Hungary, and Czechoslovakia—and explores their varied, but largely disastrous, consequences.

Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.

In "Conflict, Peace, and Prosperity in the Name of God," Murat Iyigun explores how longer-term developments influenced the spread of monotheistic religions and how these trends affected other societies and religions. He explores with the statistical methods of economics the way religions shaped the development of societies and framed the conflicts between and within them. Specifically, he asks why and how political power and organized religion became so swiftly and successfully intertwined, and then examines the role of religion in conflict historically, as well as the sociopolitical, demographic, and economic effects of religiously motivated conflicts." Conflict, Peace, and Prosperity in the Name of God "breaks exciting new ground in our understanding of religion and societies, and the conflicts between them."