"Recent years have witnessed a surge in interest the Pacific world as a hub for the global trade in art objects. Yet, the history of art and architecture has seldom reckoned with another profound aspect of the region's history: its exposure to global conflict. Art and War in the Pacific World provides a new view of the Pacific world, and of global artistic interaction, by exploring how the making, alteration, looting, and destruction of images, objects, buildings, and landscapes intersected with the exercise of force during the British and U.S. military incursions of the eighteenth and nineteenth centuries"--Provided by publisher.

A companion to World War II in Europe, Africa, and the Americas, this volume reevaluates the most enduring literature on basic aspects of the war in Asia and the Pacific. It also covers themes pertaining to societies at war, culture, the arts, and science and technology as well as international relations and the postwar world. Included are not only grand strategy, military and naval campaigns, and matters of diplomacy, but also resistance, collaboration, prisoners of war, and broad topics of the home front, including chapters on gender issues, film, literature, popular culture, and propaganda. This volume and its companion provide the first comprehensive historiographic reference work on the war. Each chapter describes the state of knowledge on the topic, relating each bibliographic reference to the chapter's themes and issues, and concludes with a bibliography. Recent original scholarship is included when it aids new understanding, and older works of enduring value also find a place. The essays in this volume will interest scholars and college teachers as well as advanced students and serious amateurs seeking insight into the history of the war and its literature.

​*** OVER 210,000 WEST POINT MILITARY HISTORY SERIES SETS IN PRINT ​*** Beginning with a look at the readiness of the Imperial Japanese Army and Navy and the United States armed forces, this book gives a detailed account of the Allies' brutal five-year struggle with Japan. It examines the interrelationship of land, sea, and air forces as they battled over the vast reaches of the Pacific Theater of War.

Fifty years since the signing of the Paris Peace Accords signaled the final withdrawal of U.S. troops from Vietnam, the war's mark on the Pacific world remains. The essays gathered here offer an essential, postcolonial interpretation of a struggle rooted not only in Indochinese history but also in the wider Asia Pacific region. Extending the Vietnam War's historiography away from a singular focus on American policies and experiences and toward fundamental regional dynamics, the book reveals a truly global struggle that made the Pacific world what it is today. Contributors include: David L. Anderson, Mattias Fibiger, Zach Fredman, Marc Jason Gilbert, Alice S. Kim, Mark Atwood Lawrence, Jason Lim, Jana K. Lipman, Greg Lockhart, S. R. Joey Long, Christopher Lovins, Mia Martin Hobbs, Boi Huyen Ngo, Wen-Qing Ngoei, Nathalie Huynh Chau Nguyen, Noriko Shiratori, Lisa Tran, A. Gabrielle Westcott

In Word Across the Water, Tom Smith brings the histories of Hawai'i and the Philippines together to argue that US imperial ambitions towards these Pacific archipelagos were deeply intertwined with the work of American Protestant missionaries. As self-styled interpreters of history, missionaries produced narratives to stoke interest in their cause, locating US imperial interventions and their own evangelistic projects within divinely ordained historical trajectories. As missionaries worked in the shadow of their nation's empire, however, their religiously inflected historical narratives came to serve an alternative purpose. They emerged as a way for missionaries to negotiate their own status between the imperial and the local and to come to terms with the diverse spaces, peoples, and traditions of historical narration that they encountered across different island groups. Word Across the Water encourages scholars of empire and religion alike to acknowledge both the pernicious nature of imperial claims over oceanic space underpinned by religious and historical arguments, and the fragility of those claims on the ground.

When the USS Maine mysteriously exploded in Havana’s harbor on February 15, 1898, the United States joined local rebel forces to avenge the Maine and “liberate” Cuba from the Spanish empire. “Remember the Maine! To Hell with Spain!” So went the popular slogan. Little did the Cubans know that the United States was not going to give them freedom—in less than a year the American flag replaced the Spanish flag over the various island colonies of Cuba, Guam, Puerto Rico, and the Philippines. Spurred by military successes and dreams of an island empire, the US annexed Hawai‘i that same year, even establishing island colonies throughout Micronesia and the Antilles. With the new governmental orders of creating new art, architecture, monuments, and infrastructure from the United States, the island cultures of the Caribbean and Pacific were now caught in a strategic scope of a growing imperial power. These spatial and visual objects created a visible confrontation between local indigenous, African, Asian, Spanish, and US imperial expressions. These material and visual histories often go unacknowledged, but serve as uncomplicated “proof” for the visible confrontation between the US and the new island territories. The essays in this volume contribute to an important art-historical, visual cultural, architectural, and materialist critique of a growing body of scholarship on the US Empire and the War of 1898. Imperial Islands seeks to reimagine the history and cultural politics of art, architecture, and visual experience in the US insular context. The authors of this volume propose a new direction of visual culture and spatial experience through nuanced terrains for writing, envisioning, and revising US-American, Caribbean, and Pacific histories. These original essays address the role of art and architecture in expressions of state power; racialized and gendered representations of the United States and its island colonies; and forms of resistance to US cultural presence. Featuring interdisciplinary approaches, Imperial Islands offers readers a new way of learning the ongoing significance of vision and experience in the US empire today, particularly for Caribbean, Latinx, Pilipinx, and Pacific Island communities.

When James Boswell famously lamented the irrationality of war in 1777, he noted the universality of conflict across history and across space – even reaching what he described as the gentle and benign southern ocean nations. This volume discusses archaeological evidence of conflict from those southern oceans, from Palau and Guam, to Australia, Vanuatu and Tonga, the Marquesas, Easter Island and New Zealand. The evidence for conflict and warfare encompasses defensive earthworks on Palau, fortifications on Tonga, and intricate pa sites in New Zealand. It reports evidence of reciprocal sacrifice to appease deities in several island nations, and skirmishes and smaller scale conflicts, including in Easter Island. This volume traces aspects of colonial-era conflict in Australia and frontier battles in Vanuatu, and discusses depictions of World War II materiel in the rock art of Arnhem Land. Among the causes and motives discussed in these papers are pressure on resources, the ebb and flow of significant climate events, and the significant association of conflict with culture contact. The volume, necessarily selective, eclectic and wide-ranging, includes an incisive introduction that situates the evidence persuasively in the broader scholarship addressing the history of human warfare.

A portrayal of how and why Japan waged war from 1931-1945 and what life was like for the Japanese people in a society engaged in total war.

Things change. Broken and restored, reused and remade, objects transcend their earliest functions, locations, and appearances. While every era witnesses change, the eighteenth century experienced artistic, economic, and demographic transformations that exerted unique pressures on material cultures around the world. Locating material objects at the heart of such phenomena, Material Cultures of the Global Eighteenth Century expands beyond Eurocentric perspectives to discover the mobile, transcultural nature of eighteenth-century art worlds. From porcelain to betel leaves, Chumash hats to natural history cabinets, this book examines how objects embody imperialism, knowledge, and resistance in various ways. By embracing things both elite and everyday, this volume investigates physical and technological manipulations of objects while attending to the human agents who shaped them in an era of accelerating global contact and conquest. Featuring ten essays, the volume foregrounds diverse scholarly approaches to chart new directions for art history and cultural history. Ranging from California to China, Bengal to Britain, Material Cultures of the Global Eighteenth Century illuminates the transformations within and between artistic media, follows natural and human-made things as they migrate across territories, and reveals how objects catalyzed change in the transoceanic worlds of the early modern period.

Architecture and Armed Conflict is the first multi-authored scholarly book to address this theme from a comparative, interdisciplinary perspective. By bringing together specialists from a range of relevant fields, and with knowledge of case studies across time and space, it provides the first synthetic body of research on the complex, multifaceted subject of architectural destruction in the context of conflict. The book addresses several specific research questions: How has the destruction of buildings and landscapes figured in recent historical conflicts, and how have people and states responded to it? How has the destruction of architecture been represented in different historical periods, and to what ends? What are the relationships between the destruction of architecture and the destruction of art, particularly iconoclasm? If architectural destruction is a salient feature of many armed conflicts, how does it feature in post-conflict environments? What are the relationships between architectural destruction and processes of restoration, recreation or replacement? Considering multiple conflicts, multiple time periods, and multiple locations allows this international cohort of authors to provide an essential primer for this crucial topic.