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The relationship between landscape and identity is explored to reveal how Englishness encompasses the urban and rural, and the north and south.
This book argues that the root of effective special operations lies in understanding the relationship between moral and material attrition - this is achieved by examining both strategic theory and real-life case studies.
The twentieth century was dominated by war and by preparations for war in a way that is unparalleled in history. Originally published in 1988, this textbook highlights key themes of warfare throughout the world and emphasizes the gulf between the theory of war and its practice. The contributors are professional historians and strategists who consider the impact of war upon society, theories of insurgency and counter-insurgency and nuclear strategy, as well as more ‘traditional topics’ such as tactics and strategy on land, the role of sea power, the evolution of strategic bombing, colonial and revolutionary warfare. Each chapter discusses recent research on the topic and provides guides to further reading. Together they give a clear up-to-date overview of the conflicts which dominated the twentieth century. This textbook is useful reading for all students and teachers of strategic and war studies, military history and international relations and for all those concerned with the study of major conflicts in the twentieth century.
'At The Violet Hour' offers a richly historicised, trenchant look at the interlocking of literature with violence in British and Irish modernist texts.
For over 100 years, the agents of MI5 have defended Britain against enemy subversion. Their work has remained shrouded in secrecy—until now. This first-ever authorized account reveals the British Security Service as never before: its inner workings, its clandestine operations, its failures and its triumphs.
"Before leaving England he placed his finger on a map of Egypt at the point now known to fame as Tel-El-Kebir, and said 'That is where I shall beat Arabi'". No Victorian was a greater hero for a longer period than Sir Garnet Wolseley (1833-1913). The leading British general of the second half of the nineteenth century, he personally took part in a significantly influenced every campaign between the Crimea and the Boer War. To Disraeli he was ‘Our Only General’, while to many soldiers and to the public at large he epitomised the virtues they most admired: exceptional personal bravery and an unshakeable belief in the virtues of the British Empire. The phrase ‘All Sir Garnet’ was a guarantee that everything was under control. Seen from another angle, Wolseley’s career reflects a number of weaknesses. To control a global empire Britain had a powerful navy but only a small army. Its ability to deploy a force of limited size throughout the world, almost always against untrained and underequipped native armies, gave the dangerous and ultimately disastrous illusion that Britain was as formidable by land as it was by sea.
What does modern British and Irish literature have to do with French impressionist painting? And what does Henry James have to do with the legal dispute between John Ruskin and J.M.W. Whistler? What links Walter Pater with Conrad's portrait of a genocidal maniac in Heart of Darkness? Or George Moore with Irish nationalism, Virginia Woolf with modern distraction, and Ford Madox Ford with the Great Depression? Adam Parkes argues that we must answer such questions if we are to appreciate the full impact of impressionist aesthetics on modern British and Irish writers. Complicating previous accounts of the influence of painting and philosophy on literary impressionism, A Sense of Shock highlights the role of politics, uncovering new and deeper linkages. In the hands of such practitioners as Conrad, Ford, James, Moore, Pater, and Woolf, literary impressionism was shaped by its engagement with important social issues and political events that defined the modern age. As Parkes demonstrates, the formal and stylistic practices that distinguish impressionist writing were the result of dynamic and often provocative interactions between aesthetic and historical factors. Parkes ultimately suggests that it was through this incendiary combination of aesthetics and history that impressionist writing forced significant change on the literary culture of its time. A Sense of Shock will appeal to students and scholars of nineteenth- and twentieth-century literature, as well as the growing readership for books that explore problems of literary history and interdisciplinarity.