Using a great power-small power theoretical approach and advancing a supplier-recipient barganing model, Jeffery Lefebvre attempts to explain what the United States has paid for its relations with two weak and vulnerable arms recipients in the Horn of Africa.
Through massive documentation and extensive interviewing, Lefebvre sorts through the confusions and shifts of the United States’ post-World War II relations with Ethiopia and Somalia, two primary antagonists in the Horn of Africa. He consulted State Department, Pentagon, and AID officials, congressional staffers, current and former ambassadors, and Ethiopian and Somali government advisers.
The story of U.S. arms transfers to northeast Africa is tangled and complex. In 1953, 1960, and 1964-66, the United States entered into various arms provision deals with Ethiopia, spurred by the Soviet-sponsored buildup in the region. Policy changed in the 1970s: Nixon refused a large aid request in 1973, and in 1977 Carter ended Ethiopia’s military aid on human rights grounds and denied aid to Somalia during the 1977-78 Ogaden War. Reversing this policy, the Reagan administration extended military aid to Somalia despite its aggressive moves against Ethiopia. Changes in U.S. relations and the revolution in Somalia have altered the picture once more.
Jeffery Lefebvre concludes that U.S. diplomacy in northeast Africa has been overly influenced by a cold war mentality. In their obsession with countering Soviet pressure in the Third World, Washington decision makers exposed U.S. interests to unnecessary risks and given far too much for value received during four decades of vacillating and misguided foreign policy.
Arms for the Horn should interest all concerned with arms transfer issues and security studies, as well as specialist in Africa and the Middle East.
Reopening the canons of the Beat Generation, Blows Like a Horn traces the creative counterculture movement as it cooked in the heat of Bay Area streets and exploded into spectacles, such as the scandal of the Howl trial and the pop culture joke of beatnik caricatures. Preston Whaley shows Beat artists riding the glossy exteriors of late modernism like a wave. Participants such as Lawrence Lipton, Lawrence Ferlinghetti, and at great personal cost, even Jack Kerouac, defied the traditional pride of avant-garde anonymity. They were ambitious to change the culture and used mass-mediated scandal, fame, and distortion to attract knowing consumers to their poetry and prose.
Blows Like a Horn follows the Beats as they tweaked the volume of excluded American voices. It watches vernacular energies marching through Beat texts on their migration from shadowy urban corners and rural backwoods to a fertile, new hyper-reality, where they warped into stereotypes. Some audiences were fooled. Others discovered truths and were changed.
Mirroring the music of the era, the book breaks new ground in showing how jazz, much more than an ambient soundtrack, shaped the very structures of Beat art and social life. Jazz, an American hybrid—shot through with an earned-in-the-woodshed, African American style of spontaneous intelligence—also gave Beat poetry its velocity and charisma. Blows Like a Horn plumbs the actions and the art of celebrated and arcane Beat writers, from Allen Ginsberg to ruth weiss. The poetry, the music, the style—all of these helped transform U.S. culture in ways that are still with us.
Conflicts in the Horn have all too often dominated press coverage of Africa. This book exposes the subtle and ambiguous role ethnicity can plan in social conflict, a role that is nowhere as simple and direct as commonly assumed.
Social conflict is routinely attributed to ethnic differentiation because dividing lines between rival groups often follow ethnic contours and cultural symbolism has proved a potent ideological weapon. The purpose of this book is to examine the nature of the bond linking ethnicity to conflict in a variety of circumstances.
The diverse groups are involved in confrontations at different levels and varying intensity, ranging from elemental struggles for physical survival of groups at the margin of society, to contests for state power and control of resources at the center.
These ten studies from Sudan, Ethiopia, Uganda, and Kenya are based on primary research by anthropologists and historians who have long experience of the region. The insights gained from this comparative work help to refine common assumptions about conflict among ethnic groups.
Recepient of 2013 Guggenheim Fellowship
Apart from two volumes published in the 1990s, the work of L. S. Asekoff has been winning admirers only among those lucky enough to encounter it in poetry journals and magazines over the last three decades. Now comes a new collection from this startlingly original poet. Astonishing in its variety of forms and subject matter, The Gate of Horn includes a series of monologues in which Asekoff conjures voices as disparate as the Marquis de Sade, an ancient Aztec warrior, an immigrant
Korean woman, a Vietnam vet, and a Holocaust historian. Above all, however, it is Asekoff’s own unmistakable voice that is on display— surreally sensual, intensely lyrical, darkly tragicomic. Through the gates of death and dreams, these wide-ranging, loosely associative poems speak with wit and erudition to the deepest mysteries of language and of life.
The Horn of Africa, comprising Djibouti, Eritrea, Ethiopia, Sudan and Somalia, is the most conflict-ridden region in Africa. This book explores the origins and impact of these conflicts at both an intra-state and inter-state level and the insecurity they create.
The contributors show how regional and international interventions have compounded pre-existing tensions and have been driven by competing national interests linked to the 'War on Terror' and acts of piracy off the coast of Somalia.
The Horn of Africa outlines proposals for multidimensional mechanisms for conflict resolution in the region. Issues of border demarcation, democratic deficit, crises of nation and state building, and the roles of political actors and traditional authorities are all clearly analysed.
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