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From the Nobel Prize-winning author comes a novel of exile, displacement, and the agonizing cruelty and pain of colonialism, both for those who rule and those who are their victims. “A brilliant novel in every way.… [It] shimmers with artistic certainty.” —The New York Times Book Review Set on a troubled Carribbean island, where “everybody wants to fight his own little war,” where “everyone is a guerrilla,” the novel centers on an Englishman named Roche, once a hero of the South African resistance, who has come to the island – subdued now, almost withdrawn – to work and to help. Soon his English mistress arrives: casually nihilistic, bored, quickly enticed – excited – by fantasies of native power and sexuality, and blindly unaware of any possible consequences of her acts. At once Roche and Jane are drawn into fatal connection with a young guerrilla leader named Jimmy Ahmed, a man driven by his own raging fantasies of power, of perverse sensuality, and of the England he half remembers, half sentimentalizes. Against the larger anguish of the world they inhabit, these three act out a drama of death, hideous sexual violence, and political and spiritual impotence that profoundly reflects the ravages history can make on human lives.
DIVUses 1996 strike by Colombian coca workers as site to study the state and social movements, analyzing how peasants denied full citizenship become political players in a way that defines the Colombian state in the international arena./div
Prior to gaining international renown for his definitive biography of Che Guevara and his firsthand reports on the war in Iraq in the acclaimed THE FALL OF BAGHDAD, Jon Lee Anderson wrote GUERRILLAS, a daring on-the-ground account of five diverse insurgent movements around the world: the mujahedin of Afghanistan, the FMLN of El Salvador, the Karen of Burma, the Polisario of Western Sahara, and a group of young Palestines fighting against Israel in the Gaza Strip. Making the most of unprecedented, direct access to his subjects, Anderson combines powerful storytelling with a balanced, penetrating analysis of each situation. A work of phenomenal range, analytical acuity, and human empathy, GUERRILLAS amply demonstrates why Jon Lee Anderson is one of our most important chroniclers of societies in crisis.
Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz
The first documented, systematic study of a truly revolutionary subject, this 1937 text remains the definitive guide to guerrilla warfare. It concisely explains unorthodox strategies that transform disadvantages into benefits.
A remarkably clear explication of the tenets of Object-Oriented Philosophy and an acute critique of the movement's ramifications for philosophy today. How does the patience and rigour of philosophical explanation fare when confronted with an irrepressible desire to commune with the object and to escape the subjective perplexities of reference, meaning, and sense? Moving beyond the hype and the inflated claims made for “Object-Oriented” thought, Peter Wolfendale considers its emergence in the light of the intertwined legacies of twentieth-century analytic and Continental traditions. Both a remarkably clear explication of the tenets of OOP and an acute critique of the movement's ramifications for philosophy today, Object-Oriented Philosophy is a major engagement with one of the most prevalent trends in recent philosophy.
In this comparative study of the guerrilla movements of Latin America, the author explores the origins and outcomes of rural insurgencies in cases since 1956. Focusing on the personal backgrounds of guerrilla leaders, the book explores why some groups acquired greater military strength than others.
"[A] tart, funny, lurid little bomb of a book. It's all p.c., of course, but not at all predictable, and a lot of righteous information gets dispersed in record time." -- BUST Magazine We were Guerillas before we were Gorillas. From the beginning, the press wanted publicity photos. We needed a disguise. No one remembers, for sure, how we got our fur, but one story is that at an early meeting, an original Girl, a bad speller, wrote 'Gorilla' instead of 'Guerilla.' It was an enlightening mistake. It gave us our mask-ulinity. Ever wonder about the abundance of naked male statues in the Classical section of your favorite museum? Did you know medieval convents were hotbeds of female artistic expression? And how did those "bad boy" artists of the twentieth century make it even harder for a girl to get a break? Thanks to the Guerrilla Girls, those masked feminists whose mission it is to break the white male stronghold over the art world, art history--as we know it--is history. Taking you back through the ages, the Guerrilla Girls demonstrate how males (particularly white males) have dominated the art scene, and discouraged, belittled, or obscured women's involvement. Their skeptical and hilarious interpretations of "popular" theory are augmented by the newest research and the expertise of prominent feminist art historians. "Believe-it-or-not" quotations from some of the "experts" are sprinkled throughout, as are the Guerrilla Girls' signature masterpieces: reproductions of famous art works, slightly "altered" for historic accuracy and vindication. This colorful reinterpretation of classic and modern art, as outrageous as it is visually arresting, is a much-needed corrective to traditional art history, and an unabashed celebration of female artists.
Far from always having been an isolated nation and a pariah state in the international community, North Korea exercised significant influence among Third World nations during the Cold War era. With one foot in the socialist Second World and the other in the anticolonial Third World, North Korea occupied a unique position as both a postcolonial nation and a Soviet client state, and sent advisors to assist African liberation movements, trained anti-imperialist guerilla fighters, and completed building projects in developing countries. State-run media coverage of events in the Third World shaped the worldview of many North Koreans and helped them imagine a unified anti-imperialist front that stretched from the boulevards of Pyongyang to the streets of the Gaza Strip and the beaches of Cuba. This book tells the story of North Korea's transformation in the Third World from model developmental state to reckless terrorist nation, and how Pyongyang's actions, both in the Third World and on the Korean peninsula, ultimately backfired against the Kim family regime's foreign policy goals. Based on multinational and multi-archival research, this book examines the intersection of North Korea's domestic and foreign policies and the ways in which North Korea's developmental model appealed to the decolonizing world.
From the hills and valleys of the eastern Confederate states to the sun-drenched plains of Missouri and "Bleeding Kansas," a vicious, clandestine war was fought behind the big-battle clashes of the American Civil War. In the east, John Singleton Mosby became renowned for the daring hit-and-run tactics of his rebel horsemen. Here a relatively civilized war was fought; women and children usually left with a roof over their heads. But along the Kansas-Missouri border it was a far more brutal clash; no quarter given. William Clarke Quantrill and William "Bloody Bill" Anderson became notorious for their savagery.