The history of literature about war is marked by a fundamental paradox: although war forms the subject of countless novels, dramas, poems, and films, it is often conceived as indescribable. Even as many writers strive towards an ideal of authenticity, they maintain that no representation can do justice to the terror and violence of war. Readings of Schiller, Kleist, Jünger, Remarque, Grass, Böll, Handke, and Jelinek reveal that stylistic and aesthetic features, gender discourses, and concepts of agency and victimization can all undermine a text's martial stance or its ostensible pacifist agenda. Spanning the period from the Revolutionary and Napoleonic Wars to the recent wars in Yugoslavia and Iraq, this book investigates the aesthetic, theoretical, and historical challenges that confront writers of war.

With the aid of over 300 photographs, complemented by full-colour maps, The Western Front 1917–1918 provides a detailed guide to the background and conduct of the conflict on the Western Front in the final years of World War I.

Germany, as Europe's most powerful state, has a political significance which underlines the importance of twentieth-century German political thought. Yet this tradition has been poorly represented in academic literature. This book offers: * an account of German political thought emphasising its diversity and contested nature * an overview of the subject that allows access to relatively unknown figures as well as the 'names' of the tradition (Weber, Schmitt, Arendt, Habermas) * a demonstration of the political significance of figures better known in other disciplines including law and sociology The book is organised chronologically, with a series of recurrent themes providing analytic unity: (i) the nature of politics (including political vocation and leadership, and definitions of politics), (ii) collective identity, (iii) the rule of law, (iv) the role of the state, (v) the role of political parties and the nature of parliamentary democracy, (vi) state intervention in society and the economy, and (vii) the international order. Pedagogical features include a glossary of German terms and a substantial set of biographical notes identifying the major theorists referred to in the text.

Art, Culture, and Media Under the Third Reich explores the ways in which the Nazis used art and media to portray their country as the champion of Kultur and civilization. Rather than focusing strictly on the role of the arts in state-supported propaganda, this volume contributes to Holocaust studies by revealing how multiple domains of cultural activity served to conceptually dehumanize Jews and other groups. Contributors address nearly every facet of the arts and mass media under the Third Reich—efforts to define degenerate music and art; the promotion of race hatred through film and public assemblies; views of the racially ideal garden and landscape; race as portrayed in popular literature; the reception of art and culture abroad; the treatment of exiled artists; and issues of territory, conquest, and appeasement. Familiar subjects such as the Munich Accord, Nuremberg Party Rally Grounds, and Lebensraum (Living Space) are considered from a new perspective. Anyone studying the history of Nazi Germany or the role of the arts in nationalist projects will benefit from this book. Contributors: Ruth Ben-Ghiat David Culbert Albrecht Dümling Richard A. Etlin Karen A. Fiss Keith Holz Kathleen James-Chakraborty Paul B. Jaskot Karen Koehler Mary-Elizabeth O'Brien Jonathan Petropoulos Robert Jan van Pelt Joachim Wolschke-Bulmahn and Gert Gröning

“This serious, compact survey of the war’s history stands out as the most well-informed, accessible work available.” (Los Angeles Times) Nearly a century has passed since the outbreak of World War I, yet as military historian Hew Strachan (winner of the 2016 Pritzker Literature Award) argues in this brilliant and authoritative new book, the legacy of the “war to end all wars” is with us still. The First World War was a truly global conflict from the start, with many of the most decisive battles fought in or directly affecting the Balkans, Africa, and the Ottoman Empire. Even more than World War II, the First World War continues to shape the politics and international relations of our world, especially in hot spots like the Middle East and the Balkans. Strachan has done a masterful job of reexamining the causes, the major campaigns, and the consequences of the First World War, compressing a lifetime of knowledge into a single definitive volume tailored for the general reader. Written in crisp, compelling prose and enlivened with extraordinarily vivid photographs and detailed maps, The First World War re-creates this world-altering conflict both on and off the battlefield—the clash of ideologies between the colonial powers at the center of the war, the social and economic unrest that swept Europe both before and after, the military strategies employed with stunning success and tragic failure in the various theaters of war, the terms of peace and why it didn’t last. Drawing on material culled from many countries, Strachan offers a fresh, clear-sighted perspective on how the war not only redrew the map of the world but also set in motion the most dangerous conflicts of today. Deeply learned, powerfully written, and soon to be released with a new introduction that commemorates the hundredth anniversary of the outbreak of the war, The First World War remains a landmark of contemporary history.

In this book, Kate Schick presents the core themes of Rose's work and locates her ideas within central debates in contemporary social theory (trauma and memory, exclusion and difference, tragedy and messianic utopia), engaging with the works of Benjamin, Honig, iek and Butler. She shows how Rose's speculative perspective brings a different gaze to bear on debates, eschewing well-worn liberal, critical theoretic and post-structural positions. Gillian Rose draws on idiosyncratic readings of thinkers such as Hegel, Adorno and Kierkegaard to underpin her philosophy, negotiating the 'broken middle' between the particular and the universal. While of the left, she is sharply critical of much left-wing thought, insisting that it shirks the work of coming to know and of taking political risk in pursuit of a 'good enough justice'.