Bøker utgitt av Stanford University Press

"Among the most progressive of Zionist settlement movements, Hashomer Hatzair proclaimed a brotherly stance on Zionist-Palestinian relations. Until the tumultuous end of the British Mandate, movement settlers voiced support for a binational Jewish-Arab state and officially opposed mass displacement of Palestinians. But, Hashomer Hatzair colonies were also active participants in the process that ultimately transformed large portions of Palestine into sovereign Jewish territory. Areej Sabbagh-Khoury investigates this ostensible dissonance, tracing how three colonies gained control of land and their engagement with Palestinian inhabitants on the edges of the Jezreel Valley/Marj Ibn 'Amer. Based on extensive empirical research in local colony and national archives, Colonizing Palestine offers a microhistory of frontier interactions between Zionist settlers and indigenous Palestinians within the British imperial field. Even as left-wing kibbutzim of Hashomer Hatzair helped lay the groundwork for settler colonial Jewish sovereignty, its settlers did not conceal the prior existence of the Palestinian villages and their displacement, which became the subject of enduring debate in the kibbutzim. Juxtaposing history and memory, examining events in their actual time and as they were later remembered, Sabbagh-Khoury demonstrates that the dispossession and replacement of the Palestinians in 1948 was not a singular catastrophe, but rather a protracted process instituted over decades. Colonizing Palestine traces social and political mechanisms by which forms of hierarchy, violence, and supremacy that endure into the present were gradually created"--

An incisive demonstration of how Orwell's body of work was defined by the four major conflicts that punctuated his life: World War I, the Spanish Civil War, World War II, and the Cold War.Few English writers wielded a pen so sharply as George Orwell, the quintessential political writer of the twentieth century. His literary output at once responded to and sought to influence the tumultuous times in which he lived?decades during which Europe and eventually the entire world would be torn apart by war, while ideologies like fascism, socialism, and communism changed the stakes of global politics. In this study, Stanford historian and lifelong Orwell scholar Peter Stansky incisively demonstrates how Orwell's body of work was defined by the four major conflicts that punctuated his life: World War I, the Spanish Civil War, World War II, and the Cold War.Young Orwell came of age against the backdrop of the First World War, and published his final book, Nineteen Eighty-Four, nearly half a century later, at the outset of the Cold War. The intervening three decades of Orwell's life were marked by radical shifts in his personal politics: briefly a staunch pacifist, he was finally a fully committed socialist following his involvement in the Spanish Civil War. But just before the outbreak of World War II, he had adopted a strong anti-pacifist position, stating that to be a pacifist was equivalent to being pro-Fascist.By carefully combing through Orwell's published works, notably "My Country Right or Left," The Lion and the Unicorn, Animal Farm, and his most dystopian and prescient novel Nineteen Eighty-Four, Stansky teases apart Orwell's often paradoxical views on patriotism and socialism. The Socialist Patriot is ultimately an attempt to reconcile the apparent contradictions between Orwell's commitment to socialist ideals and his sharp critique of totalitarianism by demonstrating the centrality of his wartime experiences, giving twenty-first century readers greater insight into the inner world of one of the most influential writers of the modern age.

"The twenty-first century has witnessed a pervasive militarization of aesthetics with Western military institutions co-opting the creative worldmaking of art and merging it with the destructive forces of warfare. In Martial Aesthetics, Anders Engberg-Pedersen examines the origins of this unlikely merger, showing that today's creative warfare is merely the extension of a historical development that began long ago. Indeed, the emergence of martial aesthetics harkens back to a series of inventions, ideas, and debates in the eighteenth and early nineteenth century. Already then, military thinkers and inventors adopted ideas from the field of aesthetics about the nature, purpose, and force of art and retooled them into innovative military technologies and a new theory that conceptualized war not merely as a practical art, but as an aesthetic art form. This book shows how military discourses and early war media such as star charts, horoscopes, and the Prussian wargame were entangled with ideas of creativity, genius, and possible worlds in philosophy and aesthetic theory (by thinkers such as Leibniz, Baumgarten, Kant, and Schiller) in order to trace the emergence of martial aesthetics. Adopting an approach that is simultaneously historical and theoretical, Engberg-Pedersen presents a new frame for understanding war in the twenty-first century"--