TL;DR: Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" is generally taken to be an affirmation of mass culture and of the new technologies through which it is disseminated as discussed by the authors.
Abstract: Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction"' is generally taken to be an affirmation of mass culture and of the new technologies through which it is disseminated. And rightly so. Benjamin praises the cognitive, hence political, potential of technologically mediated cultural experience (film is particularly privileged).2 Yet the closing section of this 1936 essay reverses the optimistic tone. It sounds a warning. Fascism is a "violation of the technical apparatus" that parallels fascism's violent "attempt to organize the newly proletarianized masses"-not by giving them their due, but by "allowing them to express themselves."3 "The logical result of Fascism is the introduction of aesthetics into political life."4 Benjamin seldom makes sweeping condemnations, but here he states categorically: "All efforts to render politics aesthetic culminate in one thing: war."5 He is writing during the early period of fascist military adventurism-Italy's colonial war in Ethiopia, Germany's intervention in the Spanish Civil War. Yet Benjamin recognizes that the aesthetic justification of this policy was already in place at the century's start. It was the Futurists who, just before World War I,
TL;DR: In the decades preceding the outbreak of the Civil War, American theologians mastered the conceptual languages of republican political thought and commonsense moral reasoning as discussed by the authors, and they contributed profoundly to the new nation's self-definition and in turn, American ideologies exerted profound impact on religion.
Abstract: Outline: In this book, the author has provided a masterly account of this transition and what it signified for the meaning of Christian theology itself. In the decades preceding the outbreak of the Civil War, American theologians mastered the conceptual languages of republican political thought and commonsense moral reasoning. Because religious thinkers learned to speak these languages so well, Christian theology came to play an extraordinarily important role in American public life. Theology contributed profoundly to the new nation's self-definition and in turn, American ideologies exerted a profound impact on religion. Public thought and religious thought moved together, with a stress on individual freedom, a new confidence in intuitive reasoning capacity, and attention to the market realities of the opening American economy. By setting the era's leading religious figures in their broader political, intellectual, and social contexts, the author is able to offer fresh interpretations of the era's most significant clerical theologians like Jonathan Edwards, Nathaniel W. Taylor, William Ellery Channing, and Charles Hodge, as well as important lay religious thinkers like Thomas Jefferson, Harriet Beecher Stowe, Catherine Beecher, and Abraham Lincoln. The author's integrated narrative explains how religious revival in the 1740s, colonial war with France, the struggle for national independence, the tremendous growth of evangelical denominations in the early republic, and rising conflict between North and South all affected the outlook of such intellectual readers. While the nation's religious thinkers contributed powerfully to the construction of national culture by asserting a commonsense republicanism informed by Christian faith, this influence also had unintended consequences. In particular, the theologians' deep sense of religious purpose set the stage for the Civil War, as Christians both North and South avowed with great assurance that the Bible could be interpreted only to support their own side in the conflict. The triumph of Christian reasoning in early America was thus also its tragedy. The author has provided a definitive history of Christian theology from the time of Edwards through the presidency of Lincoln. It is not only a story of flexible and creative theological energy that helped forge a national ideology, but it is also a story of how that ideology worked its influence on American theology, as it continues to do even today.
TL;DR: Lu et al. as discussed by the authors examined cases of colonial war, genocide, forced sexual labor, forcible incorporation, and dispossession, and demonstrated that international practices of justice and reconciliation have historically suffered from, and continue to reflect, colonial, statist and other structural biases.
Abstract: Calls for justice and reconciliation in response to political catastrophes are widespread in contemporary world politics. What implications do these normative strivings have in relation to colonial injustice? Examining cases of colonial war, genocide, forced sexual labor, forcible incorporation, and dispossession, Lu demonstrates that international practices of justice and reconciliation have historically suffered from, and continue to reflect, colonial, statist and other structural biases. The continued reproduction of structural injustice and alienation in modern domestic, international and transnational orders generates contemporary duties of redress. How should we think about the responsibility of contemporary agents to address colonial structural injustices and what implications follow for the transformation of international and transnational orders? Redressing the structural injustices implicated in or produced by colonial politics requires strategies of decolonization, decentering, and disalienation that go beyond interactional practices of justice and reconciliation, beyond victims and perpetrators, and beyond a statist world order.
TL;DR: The authors examines the British public's predominantly loyal reponse to its government's actions in America and argues that the public accepted ill-conceived projects, such as the Stamp Act, because theirs was an "armchair" patriotism based on paying others to fight their battles for them.
Abstract: The American revolution was the longest colonial war in modern British history and Britain's most humiliating defeat as an Imperial power. This book examines the British public's predominantly loyal reponse to its government's actions in America. The author attributes support for George III's American policies to a combination of factors, including growing isolationism in regard to the European continent and a burgeoning sense of the colonies as intergal parts of a greater British nation. He argues that the public accepted ill-conceived projects, such as the Stamp Act, because theirs was an "armchair" patriotism based on paying others to fight their battles for them. Drawing on nearly 1000 political pamphlets, as well as broad sides, private memoirs and popular cartoons the book offers an insight into 18th-century British political culture and an account of what the revolution meant to people on both sides of the Atlantic.
TL;DR: Delusive seduction - pride, pomp, circumstance and military music, Robert Giddings "We carved our way to glory" - the British soldier in music hall song and sketch, circa 1880-1914, David Russell popular imperialism and the image of the army in juvenile literature, Jeffrey Richards heroic myths of empire, John M.MacKenzie war correspondents and colonial war, circa 1870-1900, Roger T.Stearn officer material - representations of leadership in late-19th-century British battle paintings, Paul Usherwood the world on fire - pyrodram
Abstract: Delusive seduction - pride, pomp, circumstance and military music, Robert Giddings "We carved our way to glory" - the British soldier in music hall song and sketch, circa 1880-1914, David Russell popular imperialism and the image of the army in juvenile literature, Jeffrey Richards heroic myths of empire, John M.MacKenzie war correspondents and colonial war, circa 1870-1900, Roger T.Stearn officer material - representations of leadership in late-19th-century British battle paintings, Paul Usherwood the world on fire - pyrodramas at Belle Vue Gardens, Manchester, circa 1850-1950, David Mayer the Hendon air pageant, 1920-1937, David Enrico Omissi.