Jonathan Steinberg – författare

This is the life story of one of the most interesting human beings who ever lived. A political genius who remade Europe and united Germany between 1862 and 1890 by the sheer power of his great personality. It takes the reader into close proximity with a human being of almost superhuman abilities. We see him through the eyes of his secretaries, his old friends, his neighbours, his enemies and the press. Otto von Bismarck 'made' Germany but never 'ruled' it. For twenty eight years he acted as a prime minister without a party. He made speeches, brilliant in content but hesitant in delivery, and rarely addressed a public meeting. He planned three wars and after a certain stage in his career always wore military uniform to which he had no claim. The 'Iron Chancellor', the image of Prussian militarism, suffered from hypochondria and hysteria. Contemporaries called him a 'dictator' and several observers credited him with 'demonic' powers'. They were not wrong. The sheer power of his remarkable 'sovereign sel' awed even his enemies. William I observed that it was hard to be emperor under a man like Bismarck. He towered physically and intellectually over his contemporaries. His spoken and written prose sparkled with wit, insight, grand visions and petty malice. He united Germany and transformed Europe like Napoleon before and Hitler after him but with neither their control of the state nor command of great armies. He was and remained a royal servant. This new biography explores the greatness and limits of a huge and ultimately destructive self. It uses the diaries and letters of his contemporaries to explore the most remarkable figure of the nineteenth century, a man who never said a dull thing or wrote a slack sentence. A political genius who combined creative and destructive traits, generosity and pettiness, tolerance and ferocious enmity, courtesy and rudeness - in short, not only the most important nineteenth-century statesman but by far the most entertaining.

German and Italian fascist armies in the Second World War treated the Jews quite differently. Jews who fell into the hands of the German army ended up in concentration camps; none of those taken by the Italians suffered the same fate. Yet the protectors of the Jews were no philo-Semites, nor were they (often) great respecters of human life. Some of those same officers had sanctioned savage atrocities against Ethiopians and Arabs in the years before the war. Jonathan Steinberg uses this remarkable and poignant story to unravel the motives and forces underpinning both Fascism and Nazism. As a renowned historian of both Germany and Italy, he is uniquely placed to answer the underlying question; why?

Revised and completely updated edition of Jonathan Steinberg's classic account of Switzerland's unique political and economic system. Why Switzerland? examines the complicated voting system that allows citizens to add, strike out, or vote more than once for candidates, with extremely complicated systems of proportional representation; a collective and consensual executive leadership in both state and church; and the creation of the Swiss idea of citizenship, with tolerance of differences of language and religion, and a perfectionist bureaucracy which regulates the well-ordered society. This third edition tries to test the flexibility of the Swiss way of politics in the globalized world, social media, the huge expansion of money in world circulation and the vast tsunamis of capital which threaten to swamp it. Can the complex machinery that has maintained Swiss institutions for centuries survive globalization, neo-liberalism and mass migration from poor countries to rich ones?

Revised and completely updated edition of Jonathan Steinberg's classic account of Switzerland's unique political and economic system. Why Switzerland? examines the complicated voting system that allows citizens to add, strike out, or vote more than once for candidates, with extremely complicated systems of proportional representation; a collective and consensual executive leadership in both state and church; and the creation of the Swiss idea of citizenship, with tolerance of differences of language and religion, and a perfectionist bureaucracy which regulates the well-ordered society. This third edition tries to test the flexibility of the Swiss way of politics in the globalized world, social media, the huge expansion of money in world circulation and the vast tsunamis of capital which threaten to swamp it. Can the complex machinery that has maintained Swiss institutions for centuries survive globalization, neo-liberalism and mass migration from poor countries to rich ones?

German and Italian fascist armies in the Second World War treated the Jews quite differently. Jews who fell into the hands of the German army ended up in concentration camps; none of those taken by the Italians suffered the same fate. Yet the protectors of the Jews were no philo-Semites, nor were they (often) great respecters of human life. Some of those same officers had sanctioned savage atrocities against Ethiopians and Arabs in the years before the war. Jonathan Steinberg uses this remarkable and poignant story to unravel the motives and forces underpinning both Fascism and Nazism. As a renowned historian of both Germany and Italy, he is uniquely placed to answer the underlying question; why?

The Nazis burned books and banned much modern art. Modern expressive dance, however, found favour with the regime and especially with Dr Joseph Goebbels, the Minister of Propaganda. The way in which modern artists collaborated with Nazism reveals an important aspect of modernism, uncovers the bizarre bureaucracy which controlled Nazi culture and tells the histories of great figures who became enthusiastic Nazis and lied about it later.

"This book points the way for the next steps of further research ...[It] will be a seminal work in facilitating the analysis of understanding the roles of dance and body under fascism." * H-Net Reviews "...Reading along with rapt attention, I can't decide which is more surprising: the blistering clarity and conviction of Kant's claims and their documantation, or the fuzzy preoccupation with self that Hitler's dancers seemed to embody during this period." * Dance Critics Association Newsletter "This is a welcome publication ...[It] provides a valuable insight into the period for English-speaking readers ...The authors provide much new information and pose some serious questions ...essential read." * Dance Theatre Journal The Nazis burned books and banned much modern art. However, few people know the fascinating story of German modern dance, which was the great exception. Modern expressive dance found favor with the regime and especially with the infamous Dr. Joseph Goebbels, the Minister of Propaganda.How modern artists collaborated with Nazism reveals an important aspect of modernism, uncovers the bizarre bureaucracy which controlled culture and tells the histories of great figures who became enthusiastic Nazis and lied about it later. Lilian Karina, born in Russia, studied ballet with Eduardova and Gsovsky in Berlin in the 1920s and danced with Sascha Leontieff, Aurel von Milloss and many others. She fled from Germany to Hungary and later Sweden, where she opened a ballet studio and still lives in Stockholm. Marion Kant was raised in East Berlin and began dancing at the Comic Opera at the age of 14. She took her PhD at Humboldt University in musicology and dance history and has taught at the Free University of Berlin, Kings College London, Cambridge University, the University of Surrey and now at the University of Pennsylvania. Jonathan Steinberg is Walter H. Annenberg Professor of Modern European History, University of Pennsylvania.

Generalized probabilistic theories (GPTs) allow us to write quantum theory in a purely operational language and enable us to formulate other, vastly different theories. Afterwards he gives a complete characterization of low dimensional sections of arbitrary quantum systems using the theory of matrix pencils.