The U.S. Navy in the Pacific: Past, Present, and Glimpses of the Future

1979 ◽  
Author(s):  
Robert G. Weinland
Keyword(s):  
2020 ◽  
pp. 79-92
Author(s):  
Burhanettin Duran

Due to the COVID-19 pandemic, the domestic and foreign policy agendas of all countries have been turned upside down. The pandemic has brought new problems and competition areas to states and to the international system. While the pandemic politically calls to mind the post-World War II era, it can also be compared with the 2008 crisis due to its economic effects such as unemployment and the disruption of global supply chains. A debate immediately began for a new international system; however, it seems that the current international system will be affected, but will not experience a radical change. That is, a new international order is not expected, while disorder is most likely in the post-pandemic period. In an atmosphere of global instability where debates on the U.S.-led international system have been worn for a while, in the post-pandemic period states will invest in self-sufficiency and redefine their strategic areas, especially in health security. The decline of U.S. leadership, the challenging policies of China, the effects of Chinese policies on the U.S.-China relations and the EU’s deepening crisis are going to be the main discussion topics that will determine the future of the international system.


2015 ◽  
Vol 60 (1) ◽  
pp. 17-38
Author(s):  
Michael J. Golec

In analysing Lester Beall's posters for the U.S. government between 1937-1941, Michael Golec demonstrates the twofold character of facts in art and design appearing even when they are applied to guarantee distinct messages. Commissioned by the governmental agencies to develop a series of posters to increase the electrification of rural farms, Beall introduces pictograms in his first series to represent electrification as “facts of the future.” Its simple forms facilitate the travelling of this facts without loss of their integrity. The same holds true for the use of photographic images for the second campaign of 1939. Following the revaluation of photography as a means for the documentation of social reality, as represented by the FSA photographers under the guidance of Roy Stryker, the medium served here as the authentication of facts. Golec holds, that Beall by reducing the complexity of the photographic images, to create a pictorial integrity of his posters, even despite of the use of a seemingly documentary medium, reinforces the ambivalent factual character of the pictures. So, paradoxically by heightening the communicative character of the design and hence stressing the idea of facts as integral realities outside of artworks, Beall's posters reveal the ambiguous character of pictorial facts creating their own specific qualities. Golec concludes, that facts in works of art and design have a twofold character resulting from their belonging to different spaces, which although meant to accomplish and address different facts, inevitably travel, overlap and bleed into each other. Thus oddly these facts refer or represent reality and simultaneously are a thing made (factum) that present and hold their own pictorial reality.


2012 ◽  
Author(s):  
David J. Kay ◽  
Terry J. Pudas ◽  
Brett Young
Keyword(s):  

Thesis Eleven ◽  
2018 ◽  
Vol 145 (1) ◽  
pp. 77-98 ◽  
Author(s):  
Jose Jowel Canuday

In popular imagery, the littorals of Sulu and Zamboanga conjure visions of pirates, terrorists, and bandits marauding its rough seas, open shores, and rugged mountains. These bleak accounts render the region nothing but a violent and peripheral southern Philippine backdoor inconspicuous to the sophisticated constituencies of the world’s metropolitan centres. Obscured from these imageries are the lasting cosmopolitan traits of openness, flexibility, and reception of local folk to trans-local cultural streams that marked Sulu and Zamboanga as a globalised space across the ages and oceans. The distinctive features of these cosmopolitan sensibilities are strikingly discernible in inter-generationally shared narratives, artefacts, and performances that were continually renewed from the days when Sulu and Zamboanga served as a borderless trading and cultural enclave nestled at the crossroads of the Pacific and the Indian Oceans. These enduring cosmopolitan sensibilities are embodied in the blending, among others, of the time-honoured dance of pangalay and the pop-musical dance genre celebrated on actual, analogue, and digitally-mediated spaces of the contemporary world. Furthermore, these embodied sensibilities are evident in song compositions that proclaim the humanistic themes of hope, peace, and prosperity to their place and the world in ways that exemplify the local people’s broader sense of connections beyond the narrow association of family, community, ethnicity, religion, and identity. This mixed bag of age-old and recent imaginaries and cultural traffic evoke a sociality that link the social spaces of the troubled but once and current globalised region to continuing acts of transcendence in history, memory, and visions of the future. In these marginalized places, we can see an unyielding tradition of cultural re-adaptation and creativity made up of myriad everyday acts that are down-to-earth, pragmatic, interstitial, and practical cosmopolitanism.


Orbis ◽  
2004 ◽  
Vol 48 (3) ◽  
pp. 465-478
Author(s):  
Michael Horowitz
Keyword(s):  

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