End Of History And The Last King

This book examines community identity in the post-exilic temple community in Ezra-Nehemiah, and explores the possible influences that the Achaemenids, the ruling Persian dynasty, might have had on its construction. In the book, David Janzen reads Ezra-Nehemiah in dialogue with the Achaemenids' Old Persian inscriptions, as well as with other media the dynasty used, such as reliefs, seals, coins, architecture, and imperial parks. In addition, he discusses the cultural and religious background of Achaemenid thought, especially its intersections with Zoroastrian beliefs. Ezra-Nehemiah, Janzen argues, accepts Achaemenid claims for the necessity and beneficence of their hegemony. The result is that Ezra-Nehemiah, like the imperial ideology it mimics, claims that divine and royal wills are entirely aligned. Ezra-Nehemiah reflects the Achaemenid assertion that the peoples they have colonized are incapable of living in peace and happiness without the Persian rule that God established to benefit humanity, and that the dynasty rewards the peoples who do what they desire, since that reflects divine desire. The final chapter of the book argues that Ezra-Nehemiah was produced by an elite group within the Persian-period temple assembly, and shows that Ezra-Nehemiah's pro-Achaemenid worldview was not widely accepted within that community.

The “End of History” is over. The idea that Western liberal democracy was the “final form of human government” has been exposed as bluster: the old order is crumbling before our eyes. Angry anti-politics have arisen to threaten political establishments across the world. Elites have fallen into hysteria, blaming voters, “populism”, Putin, Facebook… anyone but themselves. They are suffering from Neoliberal Order Breakdown Syndrome. Emerging from four years of interviews and debates on the popular global politics podcast Aufhebunga Bunga, The End of the End of History examines how the political consequences of the 2008 financial crisis have come home to roost. If Trump and Brexit shattered the liberal-democratic consensus in 2016, then the global pandemic of 2020 put a final end to the “End of History”. Politics is back, but it’s stranger than ever.

The Ends of History? considers how, despite the fact that events in the past 20 years have called Francis Fukuyama’s infamous announcement of the end of history into question, the issue of the end of history is now a matter of renewed interest and debate. Two decades ago we were confronted by the end of the Soviet Union and collapse of the geo-political divisions that had defined much of the twentieth century. From this particular end, the ‘end of history’ was proclaimed. But is it still possible to argue that liberal democracy and free market capitalism are the final form of law and mode of production in human history? Recent events have called this thesis into question: from 9/11 and the War on Terror, to the current global economic collapse and looming ecological crises, it seems that history if far from over. And yet, oddly enough, the question of ‘the end’ has returned. For example, in the often predicted, but still uncertain, establishment of either a new international American Empire or a new era of International Law, and the global resurgence of religion as a dominant source of political identification. On the other hand, perhaps the ‘end’ is still yet to come, slowly accumulating, mustering at the periphery of the geo-political landscape and outside the productive sphere. Responses taking up these questions range from a return to Universalism, political theology, Messianism, and even the old specter of communism. This volume assesses these responses, exploring what is at stake in proclaiming ‘the end’ in the current historical moment. Is it a matter of reading the writing on the wall? Or is the proclamation itself a political act? Furthermore is there a desire for the ‘end’? In addressing these questions, the contributors to The Ends of History? confront the various ‘ends’ that we now live, and in so doing they open new lines of sight into the future.

"This book examines community identity in the post-exilic temple community in Ezra-Nehemiah, and explores the possible influences that the Achaemenids, the ruling Persian dynasty, might have had on its construction. In the book, David Janzen reads Ezra-Nehemiah in dialogue with the Achaemenids' Old Persian inscriptions, as well as with other media the dynasty used, such as reliefs, seals, coins, architecture, and imperial parks. In addition, he discusses the cultural and religious background of Achaemenid thought, especially its intersections with Zoroastrian beliefs. Ezra-Nehemiah, Janzen argues, accepts Achaemenid claims for the necessity and beneficence of their hegemony. The result is that Ezra-Nehemiah, like the imperial ideology it mimics, claims that divine and royal wills are entirely aligned. Ezra-Nehemiah reflects the Achaemenid assertion that the peoples they have colonized are incapable of living in peace and happiness without the Persian rule that God established to benefit humanity, and that the dynasty rewards the peoples who do what they desire, since that reflects divine desire. The final chapter of the book argues that Ezra-Nehemiah was produced by an elite group within the Persian-period temple assembly, and shows that Ezra-Nehemiah's pro-Achaemenid worldview was not widely accepted within that community."--

A superb study of one of the most important, romantic and dynamic figures of European history. 'A fine book ... the web of political intrigue unfolds like an appetising detective novel' Scotsman The last king of Poland owed his throne largely to his youthful romance with the future Catherine the Great of Russia. But Stanislaw Augustus was nobody's pawn. He was an ambitious, highly intelligent and complex character, a dashing figure in the finest eighteenth-century tradition. A great believer in art and education, he spent fortunes on cultural projects, and finding that he was blocked politically by Catherine, he put his energies into a programme of social and artistic regeneration. He transformed the mood of his country and brought it to a new phase of reform and independence. Poland's neighbours, however, viewed this beacon of liberty in their midst with alarm, and as they invaded and partitioned it, Stanislaw saw the destruction of his life's work, and ultimately was forced to abdicate, a broken man, deceived and disillusioned.

The sixty-year reign of George III (1760–1820) witnessed and participated in some of the most critical events of modern world history: the ending of the Seven Years’ War with France, the American War of Independence, the French Revolutionary Wars, the campaign against Napoleon Bonaparte and battle of Waterloo in 1815, and Union with Ireland in 1801. Despite the pathos of the last years of the mad, blind, and neglected monarch, it is a life full of importance and interest. Jeremy Black’s biography deals comprehensively with the politics, the wars, and the domestic issues, and harnesses the richest range of unpublished sources in Britain, Germany, and the United States. But, using George III’s own prolific correspondence, it also interrogates the man himself, his strong religious faith, and his powerful sense of moral duty to his family and to his nation. Black considers the king’s scientific, cultural, and intellectual interests as no other biographer has done, and explores how he was viewed by his contemporaries. Identifying George as the last British ruler of the Thirteen Colonies, Black reveals his strong personal engagement in the struggle for America and argues that George himself, his intentions and policies, were key to the conflict.

Ever since its first publication in 1992, The End of History and the Last Man has provoked controversy and debate. Francis Fukuyama's prescient analysis of religious fundamentalism, politics, scientific progress, ethical codes, and war is as essential for a world fighting fundamentalist terrorists as it was for the end of the Cold War. Now updated with a new afterword, The End of History and the Last Man is a modern classic.