Henry Ashby Turner - Works

Works

  • Stresemann and the Politics of the Weimar Republic, Princeton: Princeton University Press, 1963.
  • Nazism and the Third Reich, New York: Quadrangle Books, 1972
  • Faschismus und Kapitalismus in Deutschland, Goettingen: Vandenhoeck & Ruprecht, 1972
  • Reappraisals of Fascism (editor), New York: New Viewpoints, 1975.
  • Hitler aus nächster Nähe: Aufzeichnungen eines Vertrauten 1929-1932 (editor), Frankfurt/M, Berlin, Wien: Ullstein, 1978.
  • German Big Business and the Rise of Hitler, New York: Oxford University Press, 1985, translated as Die Grossunternehmer und der Aufstieg Hitlers, Berlin: Siedler Verlag, 1985.
  • Hitler: Memoirs of a Confidant (editor), New Haven: Yale University Press, 1985.
  • The Two Germanies since 1945, New Haven: Yale University Press, 1987, revised as
  • Germany from Partition to Reunification, New Haven: Yale University Press, 1992.
  • Geissel des Jahrhunderts: Hitler und seine Hinterlassenschaft, Berlin: Siedler Verlag, 1989.
  • Hitler's Thirty Days to Power: January 1933, Reading, Mass.: Addison-Wesley, 1996.
  • General Motors and the Nazis: The Struggle for Control of Opel, Europe's Biggest Carmaker, New Haven: Yale University Press, 2005.

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Famous quotes containing the word works:

    “No one after lighting a lamp puts it under the bushel basket, but on the lampstand, and it gives light to all in the house. In the same way, let your light shine before others, so that they may see your good works and give glory to your Father in heaven.”
    —Bible: New Testament, Matthew 5:15,16.

    “We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
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    “Most works of art, like most wines, ought to be consumed in the district of their fabrication.”
    —Rebecca West (1892–1983)