An exploration of the nuclear arms race and the dangers arising with the advent of “limited warfare”
After the development of the atomic bomb in 1945, Americans became engaged in a "new kind of war" against totalitarianism. Enemies and objectives slipped out of focus, causing political and military aims to mesh as a struggle to contain communism both at home and abroad encompassed civilians as well as soldiers. In matters relating to Vietnam, Central America, and the nuclear arms race, the domestic and foreign dimensions of each issue became inseparable. Policymakers in Washington had to formulate strategies dictated by "limited war" in their search for peace.
Contributors to this volume demonstrate the multifaceted nature of modern warfare. Robert H. Ferrell establishes the importance of studying military history in understanding the post-World War II era. On Vietnam, Colonel Harry G. Summers, Jr., gives an intriguing argument regarding the U. S. Army; George C. Herring examines how America's decisions in 1954 assured deepened involvement; and Captain Mark Clodfelter uncovers new evidence concerning "Linebacker I." On the home front, Robert F. Burk analyzes the impact of the Cold War on the battle for racial justice; Charles DeBenedetti puts forth a challenging interpretation of the antiwar movement; and James C. Schneider provides perspective on the relationship between the Vietnam War and the Great Society. On Central America, two writers downplay communism in explaining the region's troubles. Ralph Lee Woodward, Jr., fits the Nicaraguan revolution in the long span of history, and Thomas M. Leonard shows how the Reagan administration forced Costa Rica to side with the United States's anti-Sandinista policy. Finally, on nuclear strategy, Donald M. Snow offers a thought-provoking assessment of the "star wars" program, and Daniel S. Papp recommends measures to promote understanding among the superpowers.
These essays demonstrate that the making of foreign policy is immensely complicated, not subject to easy solution or to simple explanation. Despite these complexities, the central objective of policymakers remained clear: to safeguard what was perceived as the national interest.
Contributors. José Julián Álvarez González, Roberto Aponte Toro, Christina Duffy Burnett, José A. Cabranes, Sanford Levinson, Burke Marshall, Gerald L. Neuman, Angel R. Oquendo, Juan Perea, Efrén Rivera Ramos, Rogers M. Smith, E. Robert Statham Jr., Brook Thomas, Richard Thornburgh, Juan R. Torruella, José Trías Monge, Mark Tushnet, Mark Weiner
Through close readings of nationalist newspapers and novels, the vernacular theater, and accounts of the 1896 anticolonial revolution, Rafael traces the deep ambivalence with which elite nationalists and lower-class Filipinos alike regarded Castilian. The widespread belief in the potency of Castilian meant that colonial subjects came in contact with a recurring foreignness within their own language and society. Rafael shows how they sought to tap into this uncanny power, seeing in it both the promise of nationhood and a menace to its realization. Tracing the genesis of this promise and the ramifications of its betrayal, Rafael sheds light on the paradox of nationhood arising from the possibilities and risks of translation. By repeatedly opening borders to the arrival of something other and new, translation compels the nation to host foreign presences to which it invariably finds itself held hostage. While this condition is perhaps common to other nations, Rafael shows how its unfolding in the Philippine colony would come to be claimed by Filipinos, as would the names of the dead and their ghostly emanations.
A Taste for the Foreign examines foreignness as a crucial aesthetic category for the development of prose fiction from Jacques Amyot’s 1547 translation of The Ethiopian Story to Antoine Galland’s early eighteenth-century version of The Thousand and One Nights. While fantastic storylines and elements of magic were increasingly shunned by a neo-classicist literary culture that valued verisimilitude above all else, writers and critics surmised that the depiction of exotic lands could offer a superior source for the novelty, variety, and marvelousness that constituted fiction’s appeal. In this sense, early modern fiction presents itself as privileged site for thinking through the literary and cultural stakes of exoticism, or the taste for the foreign. Long before the term exoticism came into common parlance in France, fiction writers thus demonstrated their understanding of the special kinds of aesthetic pleasure produced by evocations of foreignness, developing techniques to simulate those delights through imitations of the exotic. As early modern readers eagerly consumed travel narratives, maps, and international newsletters, novelists discovered ways to blur the distinction between true and imaginary representations of the foreign, tantalizing readers with an illusion of learning about the faraway lands that captured their imaginations.
This book analyzes the creative appropriations of those scientific or documentary forms of writing that claimed to inform the French public about exotic places. Concentrating on the most successful examples of some of the most important sub-genres of prose fiction in the long seventeenth century—heroic romances, shorter urban novels, fictional memoirs, and extraordinary voyages—the book examines how these types of fiction creatively appropriate the scientific or documentary forms of writing that claimed to inform the French public about exotic places.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement.
David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press