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In our wired world, visual images of military conflict and political strife are ubiquitous. Far less obvious, far more elusive, is how we see such images, how witnessing military violence and suffering affects us. Distant Wars Visible brings a new perspective to such enduring questions about conflict photography and other forms of visual advocacy, whether in support of U.S. military objectives or in critique of the nation at war. At the book’s center is what author Wendy Kozol calls an analytic of ambivalence—a critical approach to the tensions between spectacle and empathy provoked by gazing at military atrocities and trauma. Through this approach, Distant Wars Visible uses key concepts such as the politics of recoil, the notion of looking elsewhere, skeptical documents, and ethical spectatorship to examine multiple visual cultural practices depicting war, on and off the battlefield, from the 1999 NATO bombings in Kosovo to the present. Kozol’s analysis draws from collections of family photographs, human rights photography, independent film production, photojournalism, and other examples of war’s visual culture, as well as extensive visual evidence of the ways in which U.S. militarism operates to maintain geopolitical dominance—from Fallujah and Abu Ghraib to the most recent drone strikes in Pakistan. Throughout, Kozol reveals how factors such as gender, race, and sexuality construct competing visualizations of identity in a range of media from graphic narrative and film to conflict photography and battlefield souvenirs—and how contingencies and contradictions in visual culture shape the politics and ethics of witnessing.
Noted documentary photographer Robert Nickelsberg's photographs help bring into focus the day-to-day consequences of war, poverty, oppression, and political turmoil in Afghanistan. Since the attack on the World Trade Center, Afghanistan has evolved from a country few people thought twice about to a place that evokes our deepest emotions. TIME magazine photographer Robert Nickelsberg has been publishing his images of this distant yet all too familiar country since 1998, when he accompanied a group of Mujahideen across the border from Pakistan. This remarkable volume of photographs is accompanied by insightful texts from experts on Afghanistan and the Taliban. The images themselves are captioned with places, dates, and Nickelsberg's own extensive commentary. Timely and important, the book serves as a reminder that Afghanistan and the rest of the world remain inextricably linked, no matter how much we long to distance ourselves from its painful realities.
What does it mean to live during wartime away from the battle zone? What is it like for citizens to go about daily routines while their country sends soldiers to kill and be killed across the globe? Timely and thought-provoking, War at a Distance considers how those left on the home front register wars and wartime in their everyday lives, particularly when military conflict remains removed from immediate perception, available only through media forms. Looking back over two centuries, Mary Favret locates the origins of modern wartime in the Napoleonic era and describes how global military operations affected the British populace, as the nation's army and navy waged battles far from home for decades. She reveals that the literature and art produced in Britain during the late eighteenth and early nineteenth centuries obsessively cultivated means for feeling as much as understanding such wars, and established forms still relevant today. Favret examines wartime literature and art as varied as meditations on the Iliad, the history of meteorology, landscape painting in India, and popular poetry in newspapers and periodicals; she locates the embedded sense of war and dislocation in works ranging from Austen, Coleridge, and Wordsworth to Woolf, Stevens, and Sebald; and she contemplates how literature provides the public with methods for responding to violent calamities happening elsewhere. Bringing to light Romanticism's legacy in reflections on modern warfare, this book shows that war's absent presence affects home in deep and irrevocable ways.
In this book, NPR social media chief Andy Carvin - hailed by The Guardian as 'the man who tweets revolutions' - offers a first hand recap of the Arab Spring. Part memoir, part history, the book includes intimate stories of the revolutionaries who fought for freedom on the streets and across the internet - stories that might have never been told before the days of social media.
Drawing upon original sources and published material, A Distant War Comes Home is a fascinating survey of the many individual stories that linked Maine with the war hundreds of miles away.
A study of young war correspondents and the early Vietnam battles.
An Anthology of Modern War Poetry and Prose written by contributors (veterans, veterans families, and supporters) to the International War Veterans Poetry Archives (IWVPA). This book is dedicated to the Men and Women of the Armed Forces of the Free World who have been, are now, and will be placed in harm's way. For many of those who find it difficult to come to terms with personal war experiences, whether it is first hand or as a loved one or friend, writing is almost like a magical pill. Within the structured framework of the written word, emotions can be haltered and led to a point where the writer is enabled to manifest and relate to the gamut of emotions engendered by the experiences and consequences of war.
A “marvelous history”* of medieval Europe, from the bubonic plague and the Papal Schism to the Hundred Years’ War, by the Pulitzer Prize–winning author of The Guns of August *Lawrence Wright, author of The End of October, in The Wall Street Journal The fourteenth century reflects two contradictory images: on the one hand, a glittering age of crusades, cathedrals, and chivalry; on the other, a world plunged into chaos and spiritual agony. In this revelatory work, Barbara W. Tuchman examines not only the great rhythms of history but the grain and texture of domestic life: what childhood was like; what marriage meant; how money, taxes, and war dominated the lives of serf, noble, and clergy alike. Granting her subjects their loyalties, treacheries, and guilty passions, Tuchman re-creates the lives of proud cardinals, university scholars, grocers and clerks, saints and mystics, lawyers and mercenaries, and, dominating all, the knight—in all his valor and “furious follies,” a “terrible worm in an iron cocoon.” Praise for A Distant Mirror “Beautifully written, careful and thorough in its scholarship . . . What Ms. Tuchman does superbly is to tell how it was. . . . No one has ever done this better.”—The New York Review of Books “A beautiful, extraordinary book . . . Tuchman at the top of her powers . . . She has done nothing finer.”—The Wall Street Journal “Wise, witty, and wonderful . . . a great book, in a great historical tradition.”—Commentary
A vivid, engaging account of the artists and artworks that sought to make sense of America's first total war, Grand Illusions takes readers on a compelling journey through the major historical events leading up to and beyond US involvement in WWI to discover the vast and pervasive influence of the conflict on American visual culture. David M. Lubin presents a highly original examination of the era's fine arts and entertainment to show how they ranged from patriotic idealism to profound disillusionment. In stylishly written chapters, Lubin assesses the war's impact on two dozen painters, designers, photographers, and filmmakers from 1914 to 1933. He considers well-known figures such as Marcel Duchamp, John Singer Sargent, D. W. Griffith, and the African American outsider artist Horace Pippin while resurrecting forgotten artists such as the mask-maker Anna Coleman Ladd, the sculptor Gertrude Vanderbilt Whitney, and the combat artist Claggett Wilson. The book is liberally furnished with illustrations from epoch-defining posters, paintings, photographs, and films. Armed with rich cultural-historical details and an interdisciplinary narrative approach, David Lubin creatively upends traditional understandings of the Great War's effects on the visual arts in America.
The year is 1835 and Carolina Adams finds herself enchanted by an unlikely suitor...the railroad. Frustrated by society's expectations upon her gender, she longs to study more masculine subjects and is thrilled when her father grants her a tutor. James Baldwin arrives to serve as Carolina's teacher, but of more importance, he is to court Carolina's beautiful older sister, Virginia. Will expectations--and Virginia's southern charm--elicit the hoped-for proposal? Or will James and Carolina dare to acknowledge the mutual interests and feelings growing between them?