The World the War Made: The "Disturbing Tendencies" of the Civil War and the New Map of Reconstruction

2012 ◽  
Vol 40 (1) ◽  
pp. 88-95
Author(s):  
Gregory P. Downs
Keyword(s):  
Civil War ◽  
The World

Panji Hitam Dari Arah Timur

2018 ◽  
Vol 1 (2) ◽  
pp. 1-30
Author(s):  
Dadi Herdiansah
Keyword(s):  
Civil War ◽  
Middle East ◽  
Conflict Area ◽  
Middle East Conflict ◽  
The World ◽  
Information Spread

One of the information spread about the arrival of the Mahdi priest was that he led the war troops by carrying a black banner from the east. This information comes from several histories in several hadith books. Pro contra has occurred in response to this history. The Muslim groups who believe in the truth of this black banner tradition have flocked from all corners of the world to the Middle East conflict area which is believed and believed there is a group of mujahids carrying black banner as mentioned by the hadith. Even in the conflict area there was mutual claim between the factions that their faction was mentioned by the hadith carrying its black banner, so that even from one another, civil war was not inevitable in some places. But what is the origin of the hadith? This note is the adoptive writer to criticize the hadith by issuing all of his paths with the takhrīj al-hadīth method, Jarh wa ta'dīl and ‘Ilalu al-hadīth.

Lucan’s Follies: Memory and Ruin in a Civil-War Landscape

2005 ◽  
Vol 52 (1) ◽  
pp. 46-69 ◽  
Author(s):  
Diana Spencer
Keyword(s):  
Civil War ◽  
The World ◽  
Old Roman

‘uilia sunt nobis quaecumque prioribus annis uidimus, et sordet quidquid spectauimus olim.’‘all the things which we saw in former years are worthless to us, and squalid - everything that in times past we gazed upon (esteemed/respected).’Calpurnius Siculus, Eclogue 7.45–6When Calpurnius’ old Roman tells Corydon, the country-boy fresh in town, that nothing that one has seen before can prepare one adequately for Nero's Roman spectacle (probably the games of 57 CE), it is almost impossible not to recall the magnificent loathing that Suetonius (Nero 12.1-2) and Tacitus (Annals 13.31) express for the new emperor's extravaganzas. Eleanor Leach comments that: ‘The builder of the amphitheatre [Nero] has combed the world for his marvels, creating a new cosmos within his gilded wooden oval.’ This spectacular new cosmos maps out a world in which pastoral can no longer exist because Nero has distorted the notion of rus in urbe to such an extent that Calpurnius’ only recourse is obituary. Here, Calpurnius’ eclogue functions not just as an elegy for pastoral, but as a poem which opens up a dialogue with Lucan's civil war landscape; in this world, metaphorical and real species of ruin take on an ever greater cultural urgency as means of interpreting the dramatic artifice of Rome's present.

Between the utopian imaginaries of literature and international law: The question of the insurgent child in international legal discourse and Kris Montañez’s Youth

2021 ◽  
pp. 1-20
Author(s):  
José Duke S. Bagulaya
Keyword(s):  
Civil War ◽  
International Law ◽  
Legal Discourse ◽  
The State ◽  
The Other ◽  
State Of Exception ◽  
Utopian Vision ◽  
The World ◽  
Realistic Representation ◽  
The One

Abstract This article argues that international law and the literature of civil war, specifically the narratives from the Philippine communist insurgency, present two visions of the child. On the one hand, international law constructs a child that is individual and vulnerable, a victim of violence trapped between the contending parties. Hence, the child is a person who needs to be insulated from the brutality of the civil war. On the other hand, the article reads Filipino writer Kris Montañez’s stories as revolutionary tales that present a rational child, a literary resolution of the dilemmas of a minor’s participation in the world’s longest-running communist insurgency. Indeed, the short narratives collected in Kabanbanuagan (Youth) reveal a tension between a minor’s right to resist in the context of the people’s war and the juridical right to be insulated from the violence. As their youthful bodies are thrown into the world of the state of exception, violence forces children to make the choice of active participation in the hostilities by symbolically and literally assuming the roles played by their elders in the narrative. The article concludes that while this narrative resolution appears to offer a realistic representation and closure, what it proffers is actually a utopian vision that is in tension with international law’s own utopian vision of children. Thus, international law and the stories of youth in Kabanbanuagan provide a powerful critique of each other’s utopian visions.

Pyrrhic Victories

2016 ◽  
Author(s):  
Jörg Baberowski
Keyword(s):  
Economic Policy ◽  
Civil War ◽  
Economic Reforms ◽  
Russian Empire ◽  
New Economic Policy ◽  
The World ◽  
Red Army ◽  
The Russian Empire ◽  
Military Victory ◽  
The Military

This chapter examines the aftermath of the Bolsheviks' victory over both the Whites, or counterrevolutionaries, and all rival socialists. The Bolsheviks broke the military resistance of the Whites, crushed the unrest and strikes of the peasants, and even restored the multiethnic empire, which, in the early months of revolution, had largely fallen apart. In spring 1921, when the Red Army marched into Georgia, the Civil War was officially over. For the Bolsheviks, however, military victory was not the end but rather the beginning of a mission, not simply to shake the world but to transform it. Although weapons may have decided the war in favor of the revolutionaries they had not settled the question of power. This chapter considers Vladimir Lenin's New Economic Policy (NEP) that would implement economic reforms, the Bolsheviks' failure to carry power into villages, and the dictatorship's lack of support from the proletariat. It also describes the nationalization of the Russian empire and Joseph Stalin's rise to power.

To 1750

2017 ◽  
Author(s):  
William H. McNeill
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Civil War ◽  
American History ◽  
East Coast ◽  
The United States ◽  
The World ◽  
The Future ◽  
Columbian Exposition ◽  
The Republic

IN THE LATTER part of the nineteenth century, east coast city dwellers in the United States had difficulty repressing a sense of their own persistent cultural inferiority vis-à-vis London and Paris. At the same time a great many old-stock Americans were dismayed by the stream of immigrants coming to these shores whose diversity called the future cohesion of the Republic into question almost as seriously as the issue of slavery had done in the decades before the Civil War. In such a climate of opinion, the unabashed provinciality of Frederick Jackson Turner's (1861-1932) paper "The Significance of the Frontier in American History," delivered at a meeting of the newly founded American Historical Association in connection with the World Columbian Exposition in Chicago (1892), began within less than a decade to resound like a trumpet call, though whether it signalled advance or retreat remained profoundly ambiguous....

Introduction

2018 ◽  
pp. 1-16
Keyword(s):  
Civil War ◽  
Military Experience ◽  
The World ◽  
The Military ◽  
Civil War Soldiers

This book seeks to reconstruct the totality of the military experience by pursuing three questions. What were the cultural and ideological boundaries that framed the world as Civil War soldiers imagine it? How did soldiers respond to those moments when they felt hemmed in by the sentimental expectations of society, the military’s need for discipline, and the pleas for help from home? How did soldiers intellectually and practically navigate moments of doubt, when the nature of knowledge and its relationship to truth was overturned by war?

Introduction

2020 ◽  
pp. 1-22
Author(s):  
Colin Foss
Keyword(s):  
Civil War ◽  
Cultural Production ◽  
Book Publishing ◽  
Limited Resources ◽  
French History ◽  
Personal Writing ◽  
Paris Commune ◽  
The World ◽  
Commune Of 1871 ◽  
Bear Witness

While scholarly interest is often drawn to the more tumultuous Paris Commune of 1871, insistence on this moment of revolution and civil war obscures the specific stakes of the Siege of Paris, which was not as much a revolution as a moment of suspension in French history. Cut off from the rest of the world, Parisians were left to their own devices during the Siege. What resulted was a literary industry with few established authors present, limited resources, and enormous demand. Despite the circumstances, Parisians turned to literature to alleviate their isolation and bear witness to the unspeakable tragedy that surrounded them. The relative anonymity of Parisian literary production during the Siege has erroneously led to the conclusion that culture came to a standstill during this period. However, a closer look at literary institutions, which weathered the storm of national defeat remarkably well, shows that literature does not disappear in times of war: it simply changes form. The introduction defines the four major sites of cultural production and the networks that existed within and among them: theaters, newspapers, personal writing, and book publishing.

The Blue and the Gray and the Red

2021 ◽  
pp. 180-216
Author(s):  
Matthew E. Stanley
Keyword(s):  
Civil War ◽  
Class Struggle ◽  
Red Scare ◽  
Industrial Workers ◽  
Political Repression ◽  
Absolute Property ◽  
The World ◽  
Christian Socialism ◽  
War Memories ◽  
Socialist Party Of America

This chapter analyzes how the Socialist Party of America invoked the “Second American Revolution” to advocate left nationalism, incremental reform, and Christian socialism, or to validate calls for revolution or international industrial emancipation. Pairing the class struggle with abolitionism tied socialism to domestic tradition and rendered the Civil War part of a revolutionary struggle. The Industrial Workers of the World, meanwhile, claimed one of the most contentious legacies of the abolitionists: the defiance of absolute property rights. However, the Red Scare helped undermine the socialist narrative of the war for the Union as a working-class war. Political repression reinforced the decline of revolutionary Civil War memories, which in turn yielded before rising strains of conservative industrial patriotism.

The Red Flag of Emancipation

2021 ◽  
pp. 95-118
Author(s):  
Matthew E. Stanley
Keyword(s):  
Civil War ◽  
Gilded Age ◽  
Late Nineteenth Century ◽  
Industrial Workers ◽  
War Memory ◽  
Civil War Memory ◽  
The World ◽  
Red Flag ◽  
Late Nineteenth ◽  
Socialist Party Of America

This chapter considers the production of Civil War memory among Gilded Age socialists and anarchists. These radicals and revolutionaries built on the redistributionist claims of abolitionists and freedpeople, and exceeded those of trade unionists, by challenging not only the legitimacy of slave property or plantations but also the mechanisms of production and property rights. Late nineteenth-century socialists came to see themselves as a postscript to abolitionism, and their “red memory” operated through anarchist networks, militias, and workers’ parties. Most sought an end to partisan debates over loyalty and section, which hindered working-class organization, and used Civil War memory to espouse internationalism, prefiguring the Socialist Party of America and the Industrial Workers of the World.

Flamenco and Modernism

2018 ◽  
Author(s):  
Bridget Cauthery
Keyword(s):  
Popular Culture ◽  
Civil War ◽  
Golden Age ◽  
Spanish Civil War ◽  
Hollywood Films ◽  
The World ◽  
Late Nineteenth

Though practitioners perceive Andalusia as the form’s spiritual and artistic home, flamenco is taught and performed in cities around the world. Modern flamenco evolved from the "Café Cantante" period or "Golden Age" of flamenco in the late nineteenth and early twentieth centuries, with its widespread introduction outside of Spain occurring as a result of the Spanish Civil War (1936–1939). Flamenco was absorbed into, and transmitted by, popular culture through its inclusion as an exotic divertissement in Hollywood films of the 1930s and 1940s, and the films of director Carlos Saura in the 1980s. These films and their associated imagery created an impression of flamenco as exotic, virtuosic, and gendered—with overt connections to bull-fighting, toreadors, and Romani culture.

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