Explore the vast range of titles available.

Richard Bosworth's overview of Italy's role in European and world politics from 1860 to 1960 is lively and iconclastic. Based on a combination of primary research and secondary material he examines Italian diplomacy, military power, commerce, culture, tourism and ideology. His account challenges many aspects of current Italian historiography and offers an original vision of the place of Italy in modern history.

The new edition of this award-winning biography contains fresh insights into one of history's most intriguing figures. By emphasizing the impact of political and social upheaval in shaping Mussolini's image, Bosworth skillfully juxtaposes his subject's renowned brutality against his inner compassion. Mussolini never fails to grip.

Explores the way in which the main combatant societies of the Second World War have historicised that experience. Bosworth argues that the traumatic history of the war has remained crucial to the politics of post-war societies.

Transition of fluid flow from a laminar to turbulent state has been studied extensively for over a century, beginning with experiments carried out by Osborne Reynolds in 1883. Theoretical, experimental and numerical techniques have advanced and ever more accurate measurements of the transition process have taken place; however, there still remains much to understand regarding the origins of boundary-layer instabilities - in other words, the 'receptivity' of the boundary layer to initial perturbations. The present work considers experimentally the receptivity process for the Blasius boundary layer formed over a flat plate at zero incidence. Two types of interaction are studied, both forced by a two-dimensional harmonic disturbance within the freestream. The first considers the receptivity of the boundary layer to the excitation of Tollmien-Schlichting waves at localised roughness while the second considers the excitation of streaky structures within the boundary layer at high-amplitudes of the freestream forcing. Two-dimensional Tollmien-Schlichting waves are shown to be excited only in the presence of a roughness element placed on the plate surface. Results of previous experiments regarding Tollmien-Schlichting wave excitation at localised roughness are corroborated and theoretical works are further validated. Although the forcing does not resemble the 'optimal perturbations' for exciting streaks within boundary layers, it is found that streaks are excited within the boundary layer for forcing amplitudes in excess of 0.5% and their growth and characteristics are found and compared with other experimental and theoretical results. It is shown that TS waves, once excited, cause transition at much smaller amplitudes but that they are noticeably more difficult to excite than streaks within the boundary layer.

InCivilization and Its Discontents, Sigmund Freud claimed that Rome must be comprehended as \"not a human dwelling place but a mental entity,\" in which the palaces of the Caesars still stand alongside modern apartment buildings in layers of brick, mortar, and memory. \"The observer would need merely to shift the focus of his eyes, perhaps, or change his position, in order to call up a view of either the one or the other.\" In this one-of-a-kind book, historian Richard Bosworth accepts Freud's challenge, drawing upon his expertise in Italian pasts to explore the many layers of history found within the Eternal City. Often beginning his analysis with sites and monuments that can still be found in contemporary Rome, Bosworth expands his scope to review how political groups of different eras-the Catholic Church, makers of the Italian nation, Fascists, and \"ordinary\" Romans (be they citizens, immigrants, or tourists)-read meaning into the city around them. Weaving in the city's quintessential figures (Garibaldi, Pius XII, Mussolini, and Berlusconi) and architectural icons (the Vatican, St. Peter's Basilica, the Victor Emmanuel Monument, and EUR) with those forgotten or unknown, Bosworth explores the many histories that whisper their rival and competing messages and seek to impose their truth upon the passing crowds. But as this delightful study will reveal, Rome, that magisterial palimpsest, has never accepted a single reading of its historic meaning.

Explores the way in which the main combatant societies of the Second World War have historicised that experience. Bosworth argues that the traumatic history of the war has remained crucial to the politics of post-war societies.

First are those determined to place Pound high in the canon of Modernism while dismissing his politics as eccentricity. Feldman fails to stick for long enough on major potential themes - corporatism, the geographical lineaments of a Fascist empire, \"race\", the role of the party, the place of the monarchy and Vatican - to allow proper analysis of what was the more complex and contradictory reality of Fascist Italy than is adequately defined by chat about \"political religion\" or \"Modernism\".

Given that situation, he sets his task as to enquire \"what did influence (then) mean ... as applied to artists' and travellers' experience of Rome?\" \"Influence\", he knows from Michel Foucault, is an under-theorised term, all the more since, he adds, it has ironical connections with the Italian \"influenza\", a word that began to acquire an international medical meaning following an epidemic of some sort in Rome in 1743. The Enlightenment, the Italian and Roman confrontation with the French Revolution and especially its hostility to peasant \"backwardness\", the Industrial Revolution (which surely changed the meaning of \"dirt\" for many Europeans and so must have conditioned the earlier view, examined in detail in chapter 6, that Rome was \"one of the dirtiest cities in Europe\"), the rise of the modern nation (\"Italy\" seems always to be Italy for Wrigley), the spread of modern imperialism and its linked racial \"science\" (and of Italy's unbecoming role as the least of the Great Powers) - none of these crucial developments rates a major place in Wrigley's account.

Where words were concerned, Benito Mussolini, fascist Duce lording over Italy from 1922 to July 1943 (and then, restored by his Nazi allies in the troubled role of “puppet dictator” from September 1943 until his death on 28 April 1945), was a fertile creator. His “complete” works have been assembled in forty-four volumes,2 and, despite their length, they exclude much more material. Probably the most lasting image of this Italian dictator is of him orating, his body, face, and hands in constant if jerky movement with the passion of his phrase making, words bellowed from a balcony or some other elevated spot to the crowd below. The audience was a necessary part of this mise-en-scene. The dictator resounds into the present as the conductor of a modern political antiphony, needing and receiving response from a star-struck crowd, chanting “Duce, Duce, Duce,” “Eia, Eia, Eia, alala,” “A Noi,” and the other simple slogans of the regime. The crowd’s place was loyally to fill any pauses in the oration. When, finally, there was silence, regime propagandists claimed (to approval from some contemporary historians) that this staged charisma had fused leader and people into a mystical union. The enactment of the Duce, as it were, had provided a modern political version of sexual orgasm or religious transubstantiation. Here was the full expression of totalitarian rule over the human spirit.