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"When is wartime? In common usage, it is a period of time in which a society is at war. But we now live in what President Obama has called 'an age without surrender ceremonies,' where the war on terror remains open-ended and presidents announce an end to conflict in Iraq, even as conflict on the ground persists. It is no longer easy to distinguish between wartime and peacetime. In this inventive meditation on war, time, and the law, Mary L. Dudziak argues that wartime is not a discrete or easily defined period of time. Indeed, America has been engaged in some form of ongoing overseas armed conflict for over a century. Yet policy makers and the American public continue to view wars as exceptional events that eventually give way to normal peace times--a conception that Dudziak believes has two significant consequences. First, because war is thought to be exceptional, 'wartime' remains a shorthand argument justifying extreme actions like torture and detention without trial. Second, ongoing warfare is enabled by the inattention of the American people. More disconnected than ever from the wars their nation is fighting, public disengagement leaves us without political restraints on the exercise of American war powers. Articulately exposing the disconnect between the way we imaging wartime and the practice of American wars, Dudziak illuminates the way the changing nature of American warfare undermines democratic accountability, yet makes democratic engagement all the more necessary."--Dust jacket.
"Political power," says Howard Zinn, "is controlled by the corporate elite, and the arts are the locale for a kind of guerilla warfare in the sense that guerillas look for apertures and opportunities where they can have an effect." In Artists in Times of War, Zinn looks at the possibilities to create such apertures through art, film, activism, publishing and through our everyday lives. In this collection of four essays, the author of A People's History of the United States writes about why "To criticize the government is the highest act of patriotism." Filled with quotes and examples from the likes of Bob Dylan, Mark Twain, e. e. cummings, Thomas Paine, Joseph Heller, and Emma Goldman, Zinn's essays discuss America's rich cultural counternarratives to war, so needed in these days of unchallenged U.S. militarism.
In times of crisis, we often turn to artists for truth-telling and memory-keeping. There is no greater crisis than war, and in this sumptuously illustrated volume, we find a comprehensive visual, cultural, and historical account of the ways in which armed conflict has been represented by artists. Covering the last two centuries, from the Crimean War to the present day, the book shows how the artistic portrayal of war has changed, from a celebration of heroic exploits to a more modern, troubled, and perhaps truthful depiction of warfare and its consequences. The book investigates broad patterns as well as specific genres and themes of war art, and features more than 400 color illustrations by artists including Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Marc Chagall, Francis Bacon, K the Kollwitz, Joseph Beuys, Yves Klein, Robert Rauschenberg, Dora Meeson, Otto Dix, and many others. The volume also highlights the work of often overlooked artists, including children, non-Europeans, and prisoners of war. A wide range of subjects, from front-line combat to behind-the-lines wartime experiences are represented in paintings, etchings, photography, film, digital art, comics, and graffiti. Edited and with an introduction by Joanna Bourke, War and Art features essays written by premier experts in the field. This extensive survey is a fitting and timely contribution to our understanding of art, memory, and commemoration of war.
With a unique prewar history as a snagboat and James B. Eads' noted catamaran salvage vessel, the Benton survived a tumultuous government acquisition process and conversion to become flagship of the Union's Civil War Western river navy. From Island No. 10 through the Vicksburg and Red River campaigns, the revolutionary ironclad participated in both combat and administrative activities, earning a prominent place in nautical legend and literature. This first book-length profile of the warship reveals little known details of both her prewar and wartime career and reviews her final disposal.
While the Monitor and Merrimack are the most famous of the Civil War ironclads, the Confederacy had another ship in its flotilla that carried high hopes and a metal hull. The makeshift CSS Arkansas, completed by Lt. Isaac Newton Brown and manned by a mixed crew of volunteers, gave the South a surge of confidence when it launched in 1862. For 28 days of summer, the ship engaged in five battles with Union warships, falling victim in the end only to her own primitive engines. The saga of the CSS Arkansas represents the last significant Rebel naval activity in the war's Western theater.
Continuing from Volume I, Volume II intersperses numerous soldiers’ letters with those from home. The issue of slavery from both the owners and individuals is brought forth. Did colored men really serve as Confederate soldiers? Did free black men? Union soldiers described southern women as defi ant, beautiful, crude, and pitiful. Read of women aboard blockade-runners, the fall of Wilmington, Sherman’s march, Stoneman’s western raiders, and the end of the war. Did any civilians die due to these raids? Did they idly sit by as their lives and homes were destroyed? The war did come to their doorstep during the second half of the confl ict. Both Volume I and II tell something from each of the state’s 87 counties. Perhaps you may fi nd information about your ancestor among these pages. Information from period newspapers, as well as mostly unpublished letters, tell their stories.
Presents the history, geography, people, politics and government, economy, social life and customs, state events and attractions, and notable people of Louisiana.
Slaveholders were preoccupied with presenting slavery as a benign, paternalistic institution in which the planter took care of his family and slaves were content with their fate. In this book, Eugene D. Genovese and Elizabeth Fox-Genovese discuss how slaveholders perpetuated and rationalized this romanticized version of life on the plantation. Slaveholders' paternalism had little to do with ostensible benevolence, kindness and good cheer. It grew out of the necessity to discipline and morally justify a system of exploitation. At the same time, this book also advocates the examination of masters' relations with white plantation laborers and servants - a largely unstudied subject. Southerners drew on the work of British and European socialists to conclude that all labor, white and black, suffered de facto slavery, and they championed the South's 'Christian slavery' as the most humane and compassionate of social systems, ancient and modern.