A SCHOLARLY BOOK REPOSITORY10 start with H start with H
From Aristophanes' Lysistrata to the notorious Mata Hari and the legendary Tokyo Rose, stories of female betrayal during wartime have recurred throughout human history. The myth of Hanoi Jane, Jerry Lembcke argues, is simply the latest variation on this enduring theme. Like most of the iconic femmes fatales who came before, it is based on a real person, Jane Fonda. And also like its predecessors, it combines traces of fact with heavy doses of fiction to create a potent symbol of feminine perfidy—part erotic warrior-woman Barbarella, part savvy antiwar activist, and part powerful entrepreneur.
Hanoi Jane, the book, deconstructs Hanoi Jane, the myth, to locate its origins in the need of Americans to explain defeat in Vietnam through fantasies of home-front betrayal and the emasculation of the national will-to-war. Lembcke shows that the expression “Hanoi Jane” did not reach the eyes and ears of most Americans until five or six years after the end of the war in Vietnam. By then, anxieties about America's declining global status and deteriorating economy were fueling a populist reaction that pointed to the loss of the war as the taproot of those problems. Blaming the antiwar movement for undermining the military's resolve, many found in the imaginary Hanoi Jane the personification of their stab-in-the- back theories.
Ground zero of the myth was the city of Hanoi itself, which Jane Fonda had visited as a peace activist in July 1972. Rumors surrounding Fonda's visits with U.S. POWs and radio broadcasts to troops combined to conjure allegations of treason that had cost American lives. That such tales were more imagined than real did not prevent them from insinuating themselves into public memory, where they have continued to infect American politics and culture.
Hanoi Jane is a book about the making of Hanoi Jane by those who saw a formidable threat in the Jane Fonda who supported soldiers and veterans opposed to the war they fought, in the postcolonial struggle of the Vietnamese people to make their own future, and in the movements of women everywhere for gender equality.
Sayre P. Sheldon chose the twentieth century for this collection of women's war writing because women's roles in war have changed dramatically in this century. The twentieth century has redefined the meaning of combat and expanded the territory of war to include women in larger numbers than ever before. When the technological advances of modern war began to target civilians, the home front became the front line. Women took an active part in war whether or not by choice, often by moving into occupations previously closed to them. Women covered wars for their newspapers, wrote war propaganda for their governments, published their wartime diaries, described fighting alongside men, and used wartime experience for their fiction and poetry.
Women writers also chose the right to imagine war, just as men for centuries had written about war without actually experiencing it. Women writers anthologized here include Anna Akhmatova, Vera Brittain, Gwendolyn Brooks, Willa Cather, Colette, Martha Gellhorn, H.D., Etty Hillesum, Käthe Kollwitz, Doris Lessing, Amy Lowell, Katherine Mansfield, Mary McCarthy, Toni Morrison, Dorothy Parker, Mary Lee Settle, Gertrude Stein, Huong Tram, Edith Wharton, Virginia Woolf, and Mitsuye Yamada.
Two and a half centuries after the American Revolution the United States stands as one of the greatest powers on earth and the undoubted leader of the western hemisphere. This stupendous evolution was far from a foregone conclusion at independence. The conquest of the North American continent required violence, suffering, and bloodshed. It also required the creation of a national government strong enough to go to war against, and acquire territory from, its North American rivals.
In A Hercules in the Cradle, Max M. Edling argues that the federal government’s abilities to tax and borrow money, developed in the early years of the republic, were critical to the young nation’s ability to wage war and expand its territory. He traces the growth of this capacity from the time of the founding to the aftermath of the Civil War, including the funding of the War of 1812 and the Mexican War. Edling maintains that the Founding Fathers clearly understood the connection between public finance and power: a well-managed public debt was a key part of every modern state. Creating a debt would always be a delicate and contentious matter in the American context, however, and statesmen of all persuasions tried to pay down the national debt in times of peace.
The fifth volume in The History of Wisconsin series covers the years from the outbreak of World War I to the eve of American entry into World War II. In between, the rise of the woman's movement, the advent of universal suffrage, and the "great experiment" of Prohibition are explored, along with the contest between newly emergent labor unions and powerful business and industrial corporations. Author Paul W. Glad also investigates the Great Depression in Wisconsin and its impact on rural and urban families in the state. Photographs and maps further illustrate this volume which tells the story of one of the most exciting and stressful eras in the history of the state.
Holidays in the Danger Zone exposes the mundane and everyday interactions between two seemingly opposed worlds: warfare and tourism. Debbie Lisle shows how a tourist sensibility shapes the behavior of soldiers in war—especially the experiences of Western military forces in “exotic” settings. This includes not only R&R but also how battlefields become landscapes of leisure and tourism. She further explores how a military sensibility shapes the development of tourism in the postwar context, from “Dark Tourism” (engaging with displays of conflict and atrocity) to exhibitions of conflict in museums and at memorial sites, as well as advertising, film, journals, guidebooks, blogs, and photography.
Focused on how war and tourism reinforce prevailing modes of domination, Holidays in the Danger Zone critically examines the long historical arc of the war–tourism nexus—from nineteenth-century imperialism to World War I and World War II, from the Cold War to globalization and the War on Terror.
Delia Malia Caparoso Konzett highlights films that mirror the cultural and political climate of the country over more than a century—from the era of U.S. imperialism on through Jim Crow racial segregation, the attack on Pearl Harbor and WWII, the civil rights movement, the contemporary articulation of consumer and leisure culture, as well as the buildup of the modern military industrial complex. Focusing on important cultural questions pertaining to race, nationhood, and war, Konzett offers a unique view of Hollywood film history produced about the national periphery for mainland U.S. audiences. Hollywood’s Hawaii presents a history of cinema that examines Hawaii and the Pacific and its representations in film in the context of colonialism, war, Orientalism, occupation, military buildup, and entertainment.
In How Difficult It Is to Be God, Carlos Iván Degregori—the world’s leading expert on Shining Path and the intellectual architect for Peru’s highly regarded Truth and Reconciliation Commission—elucidates the movement’s dynamics. An anthropologist who witnessed Shining Path’s recruitment of militants in the 1970s, Degregori grounds his findings in deep research and fieldwork. He explains not only the ideology and culture of revolution among the insurgents, but also their capacity to extend their influence to university youths, Indian communities, and competing social and political movements.
Making Degregori’s most important work available to English-language readers for the first time, this translation includes a new introduction by historian Steve J. Stern, who analyzes the author’s achievement, why it matters, and the debates it sparked. For anyone interested in Peru and Latin America’s age of “dirty war,” or in the comparative study of revolutions, Maoism, and human rights, this book will provide arresting new insights.
How to Look Good in A War examines the methods used to depict, defend and justify the use of state violence. Many books have shown how 'truth is the first casualty of war' but this is the first to analyse exactly how pro-war narratives are constructed and normalised.
Brian Rappert details the 'upside-down' world of war in which revelation conceals, knowledge fosters uncertainty, and transparency obscures. He looks at government spin during recent wars in Iraq, Afghanistan and Libya where officials manoeuvre between circulating and withholding information.
Examining how organised violence is justified, How to Look Good in A War draws on experiences from recent controversy to consider how ignorance about the operation of war is produced and how concerned individuals and groups can intervene to make a difference.
A groundbreaking lens on humanitarianism, which reframes global humanitarian responses to war and disaster through performance studies, revealing how aid, media, and public attention transform crisis into spectacle on a world stage.
As the world is challenged by a state of constant conflict and by disasters, both natural and manmade, support communities endeavour through humanitarianism to overcome human suffering and help to build more peaceful and safe futures. Humanitarian Performance argues that the humanitarian project—from its history and rationale to its contemporary practice—can be productively explored through the critical lens of performance studies. Using the outpouring of international support for projects to benefit survivors of the Asian tsunami, the War in Kosovo, and the crisis in Darfur as case studies, this timely volume explores humanitarian attention to these narratives and the stories of tragedy and survival that emerge. With the peculiar focus and international audiences that the media brings to local tragedies, these contemporary disasters—and the humanitarianism that they elicit—become a performance on the world stage.
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