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"Paying particular attention to the twentieth century and prioritizing the writings of civilians, the works highlighted in this title offer an opportunity to challenge representations of well-known conflicts with a wide variety of pieces from the frontlines and beyond. The selections chosen from this anthology make real the unimaginable horrors of survival during wartime while showcasing unique interpretations that allow readers to ponder the mystery from another point of view. Includes selections from Tennessee Williams, Louis Simpson, Nina Bogin, Leo Tolstoy, Lara Prescott, Maxine Kumin, Benjamin Fondane, Maria Terrone, Brooke Allen, and more."--
The study of war in all periods of prehistory and recorded history has always commanded the attention of historians, dramatists, poets and artists. The study of peace has, however, not yet gained a comparable readership, and the subject is attracting an increasing amount of scholarly research. This volume presents the first work of academic research to tackle this imbalance head on. It looks at war and peace through the ages, from the Classical world through to the 18th century. It considers the nature and advocacy of war and peace both from an historical perspective but also a philosophical one, particularly looking at how universal peace, which began as a personal philosophy, became over the centuries a political philosophy that underpins much of modern society's attitudes towards warfare and militarism. Roger Manning begins his journey through history by looking at the Greek martial ethos and philosophical concepts of peace and war in the ancient world; moving through the Roman empire's military advances, he explores the concepts of war and peace in the medieval world and the Renaissance, with the writing of Machiavelli and Erasmus; finally, his account of the search for a science of peace in the 17th and 18th centuries brings the book to its conclusion.
Counterinsurgency, the violent suppression of armed insurrection, is among the dominant kinds of war in contemporary world politics. Often linked to protecting populations and reconstructing legitimate political orders, it has appeared in other times and places in very different forms – and has taken on a range of politics in doing so. How did it arrive at its present form, and what generated these others, along the way? Spanning several centuries and four detailed case studies, The Counterinsurgent Imagination unpacks and explores this intellectual history through counterinsurgency manuals. These military theoretical and instructional texts, and the practitioners who produced them, made counterinsurgency possible in practice. By interrogating these processes, this book explains how counter-insurrectionary war eventually took on its late twentieth and early twenty-first century forms. It shows how and why counterinsurgent ideas persist, despite recurring failures.
When watching the latest instalment of Batman, it is perfectly normal to say that we see Batman fighting Bane or that we see Bruce Wayne making love to Miranda Tate. We would not say that we see Christian Bale dressed up as Batman going through the motions of punching Tom Hardy dressed up us Bane. Nor do we say that we see Christian Bale pretending to be Bruce Wayne making love with Marion Cotillard, who is playacting the role Miranda Tate. But if we look at the history of cinema and consider contemporary reviews from the early days of the medium, we see that people thought precisely in this way about early film. They spoke of film as no more than documentary recordings of actors performing on set. In an innovative combination of philosophical aesthetics and new cinema history, Mario Slugan investigates how our default imaginative engagement with film changed over the first two decades of cinema. It addresses not only the importance of imagination for the understanding of early cinema but also contributes to our understanding of what it means for a representational medium to produce fictions. Specifically, Slugan argues that cinema provides a better model for understanding fiction than literature.
Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.
Through his use of Gnostic beliefs, Durrell destabilizes our notions of the "real" and suggests that the civilization to emerge out of the ruins of a devastated Europe will not be Christian, but Quincunxial. Durrell's aesthetic and thematic concerns establish him as a significant, indeed central, voice in twentieth-century British literature. His career, which spans over five decades, links the British High Modernists with the Postmodernists.
Although Churchill is a 1953 Nobel laureate in literature, his famous speeches have overshadowed his other writing. Winston Churchill's Imagination concentrates on key works in modes other than political rhetoric to show how Churchill engages readers with those words and ideas that are hallmarks of his imagination. Chapters take up his literary relationship with Lawrence of Arabia; Churchill's intense but little-known involvement with cinema in an essay on Charlie Chaplin and as a script writer and consultant in the 1930s for Alexander Korda's film studio; Churchill's evocation of paintings as templates for narrative in his first history and in his only novel; his imaginative engagement with science and science fiction; the depiction of time, duration, and alternative history in his biography of Marlborough; and Churchill's last testament in the realm of imagination, The Dream.
This important collection of essays offers a dynamic and provocative contribution to the study of religion and literature. Bringing together some of the leading voices in the field, the collection addresses a series of crucial questions concerning the writing of 'theology fiction' and the role of the religious imagination in literary criticism. Topics covered include aesthetics, technology, identity, eschatology and the Bible. The result is an ambitious book that maps out new directions for thought and makes clear the exciting possibilities of sacred wor(l)ds.
One of the foremost historians of Cuba analyzes the metaphorical and depictive motifs that have been used to describe Cuba and their political effectiveness as they have persisted and changed since the early nineteenth century.
Explores the possibility of a postmodern liberation rhetoric. Stull (English, Indiana U.-East) uses rhetoric to address the question of how humans can imagine better worlds when surrounded by unspeakable pain. Defines terms such as postmodern, pain, imagination, and religion, and discusses the theory and practice of four contemporary rhetoricians--postmoderns Kenneth Burke and Thomas Merton, and liberationists Paulo Freire of Brazil and Oscar Romero of El Salvador. Annotation copyright by Book News, Inc., Portland, OR