History Of The Art Of War Within The Framework Of Political History The Germans

Two thirds of a century after it first appeared, this last volume of Delbruck's fundamental work on military history has been translated into English. The work remains essential for the history of European warfare. Choice

An exploration of the interaction between art and politics in early modern Germany, this work focuses on art, political in content, produced by the Augsburg artist Jörg Breu the Elder during the second and third decodes of the sixteenth century. The book argues for the function of the art as fashioning political identities. The artist Jörg Breu is first introduced. His work for the city of Augsburg and for Habsburg and Wittelsbach rulers are examined. These works are placed within their historical context and analyzed according to how they articulate themes of warfare, ceremony, and history in order to construct political identity. The analysis of Breu's city chronicle and of the response of his art to political contest is particularly useful for historians of art and of politics.

From the ideas of Clausewitz to contemporary doctrines of containment and cold war, this is a definitive history of modern military thought. A one-volume collection of Azar Gat's acclaimed trilogy, it traces the quest for a general theory of war from its origins in the Enlightenment.Beginning with a provocative critique of Clausewitz's classic work On War, the author unravels the endemic difficulties in Clausewitz's work that have baffled scholars for so long, clearly explaining the development of his ideas against the background of the Napoleonic revolution in war and theRomantic critique of the Enlightenment. He continues the story through the strategic ideas of the Prussian-German military school during the nineteenth century, the factors that shaped the 'cult of the offensive' in the French Army before the First World War, and the competing doctrines whichdominated naval warfare during the ages of sail and steam. In the final part of the trilogy, he shows how theories of mechanized war emerged throughout the industrial world in the first decades of the twentieth century and explains why their leading exponents were associated with fascism.Drastically re-evaluating B.H. Liddell Hart's contribution to strategic theory, the author argues that in the wake of the trauma of the First World War, and in response to the Axis challenge, Liddell Hart developed the doctrine of containment and cold war long before the advent of nuclear weapons.He reveals Liddell Hart as a pioneer of the modern western liberal way in warfare which is still with us today.

In this scholarly and original study of military thought during the nineteenth century Azar Gat continues and expands the themes he explored in his previous book, The Origins of Military Thought from the Enlightenment to Clausewitz (Oxford Historical Monographs, 1989). The present volume spans the period from the aftermath of the Napoleonic era to the outbreak of the First World War. Encompassing Prussia/Germany, France, Great Britain, the United States of America and the Marxist theory later to gain sway in Russia, The Development of Military Thought focuses on the wider conceptions of war, strategy, and military theory which dominated the West in this period. Dr. Gat's penetrating analysis uncovers the intellectual assumptions and picture of the past which underlay military policy and practice.

Volume 4 of The Oxford History of Historical Writing offers essays by leading scholars on the writing of history globally from 1800 to 1945. Divided into four parts, it first covers the rise, consolidation, and crisis of European historical thought, and the professionalization and institutionalization of history. The chapters in Part II analyze how historical scholarship connected to various European national traditions. Part III considers the historical writing of Europe's 'Offspring': the United States, Canada, South Africa, Australia, New Zealand, Mexico, Brazil, and Spanish South America. The concluding part is devoted to histories of non-European cultural traditions: China, Japan, India, South East Asia, Turkey, the Arab world, and Sub-Saharan Africa. This is the fourth of five volumes in a series that explores representations of the past from the beginning of writing to the present day, and from all over the world. This volume aims at once to provide an authoritative survey of the field, and especially to provoke cross-cultural comparisons.