The thing is (I tell those people) the language is part of the wonders of the place. It was the biggest charm for me in the first place. It's complex, yes, but it's rich and quirky and different. In particular, a whole realm of consciousness exists in the sphere of Japanese speakers that's perhaps truly unique in the world, more so than the sushi and the nature and decorum. It even allows for new literary techniques that are unimaginable in any other language.

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But Hitler could not have succeeded against his many rivals if it had not been for the attraction of his own personality, which one can feel even in the clumsy writing of Mein Kampf, and which is no doubt overwhelming when one hears his speeches … The fact is that there is something deeply appealing about him. One feels it again when one sees his photographs—and I recommend especially the photograph at the beginning of Hurst and Blackett’s edition, which shows Hitler in his early Brownshirt days. It is a pathetic, dog-like face, the face of a man suffering under intolerable wrongs. In a rather more manly way it reproduces the expression of innumerable pictures of Christ crucified, and there is little doubt that that is how Hitler sees himself. The initial, personal cause of his grievance against the universe can only be guessed at; but at any rate the grievance is here. He is the martyr, the victim, Prometheus chained to the rock, the self-sacrificing hero who fights single-handed against impossible odds. If he were killing a mouse he would know how to make it seem like a dragon. One feels, as with Napoleon, that he is fighting against destiny, that he can’t win, and yet that he somehow deserves to.

Isn't it a good thing that we at this moment no longer have dictators in Europe who see themselves as martyrs and victims and engage in pointless wars against impossible odds?

With centuries of history to consider, it can be easy to get in a bit of a twist when it comes to the various eras of Western classical music. Here’s a quick guide to the four key periods we usually learn about in music theory: Baroque, Classical, Romantic, 20th Century and beyond.

The Russian invasion of Ukraine could start the painful process of decolonizing Russia. Much depends on whether Russian intellectuals let go of the ideals of a great Russian people and the friendship of “brotherly” nations. This requires accepting the sovereignty and equality of other countries and cultures and admitting responsibility for the Soviet genocidal colonial past. Decolonizing Russian political discourse and culture will debunk the myth of Russian imperial innocence and victimhood and restore the dignity of the colonized.

Ukraina delar historiska rötter med Ryssland. Men landet har aldrig varit så mycket ukrainskt och så lite ryskt som 2022.

The problem with this alluring image is not just that it is false. The myth of Nazi occultism is more than an amusing curiosity, a testament to the power of cinematic suggestion. It actively detracts from a historical understanding of the very themes it highlights. It yields a distorted view of Nazism and a distorted view of occultism. But it also offers an occasion for critical reflection, a chance to see how we might make better sense of the tangled history of occultism in the Nazi era. It might even help us to understand Nazi evil and the not-so-hidden forces behind it.

With several thousand characters to contend with, how were the Japanese able to use typewriters before the advent of digital technology? The answer is the kanji typewriter (和文タイプライター or 邦文タイプライター), which was invented by Kyota Sugimoto in 1915. This invention was deemed so important that it was selected as one of the ten greatest Japanese inventions by the Japanese Patent Office during their 100th anniversary celebrations in 1985. Here are some photos of that first model. (Photos courtesy Canon Semiconductor Equipment.)

For all its transcendental appeals, art has always been inextricably grounded in the material realities of its production, an entwinement most evident in the intriguing history of artists' colours. Focusing in on painting's primary trio of red, yellow, and blue, Philip Ball explores the science and stories behind the pigments, from the red ochre of Lascaux to Yves Klein's blue.

The watermelon originally came from Africa, but after domestication it thrived in hot climates in the Middle East and southern Europe. It probably became common in European gardens and markets around 1600. Old watermelons, like the one in Stanchi's picture, likely tasted pretty good — Nienhuis thinks the sugar content would have been reasonably high, since the melons were eaten fresh and occasionally fermented into wine. But they still looked a lot different.

That's because over time, we've bred watermelons to have the bright red color we recognize today. That fleshy interior is actually the watermelon's placenta, which holds the seeds. Before it was fully domesticated, that placenta lacked the high amounts of lycopene that give it the red color. Through hundreds of years of domestication, we've modified smaller watermelons with a white interior into the larger, lycopene-loaded versions we know today.

Of course, we haven't only changed the color of watermelon. Lately, we've also been experimenting with getting rid of the seeds — which Nienhuis reluctantly calls "the logical progression in domestication." Future generations will at least have photographs to understand what watermelons with seeds looked like. But to see the small, white watermelons of the past, they too will have to look at Renaissance art.