The Dream Of Civilized Warfare

In "The Dream of Civilized Warfare, Robertson presents the compelling, story of the creation of the first American air force--and how, through the propaganda of the flying ace, a vision of "clean" or civilized combat was sold to politicians and the public. She traces the long history of the American desire to exert the nation's will throughout the world without having to risk the lives of ground soldiers--a theme that continues to reverberate in public discussions, media portrayals, and policy decisions today.

The Great War: From Memory to History offers a new look at the multiple ways the Great War has been remembered and commemorated through the twentieth century and into the twenty-first. Drawing on contributions from history, cultural studies, film, and literary studies this collection offers fresh perspectives on the Great War and its legacy at the local, national, and international levels. More importantly, it showcases exciting new research on the experiences and memories of “forgotten” participants who have often been ignored in dominant narratives or national histories. Contributors to this international study highlight the transnational character of memory-making in the Great War’s aftermath. No single memory of the war has prevailed, but many symbols, rituals, and expressions of memory connect seemingly disparate communities and wartime experiences. With groundbreaking new research on the role of Aboriginal peoples, ethnic minorities, women, artists, historians, and writers in shaping these expressions of memory, this book will be of great interest to readers from a variety of national and academic backgrounds.

The idea of civilization recurs frequently in reflections on international politics. However, International Relations academic writings on civilization have failed to acknowledge the major 20th-century analysis that examined the processes through which Europeans came to regard themselves as uniquely civilized – Norbert Elias’s On the Process of Civilization. This book provides a comprehensive exploration of the significance of Elias’s reflections on civilization for International Relations. It explains the working principles of an Eliasian, or process-sociological, approach to civilization and the global order and demonstrates how the interdependencies between state-formation, colonialism and an emergent international society shaped the European 'civilizing process'.

“Starring human flies, daredevil aviators, bridge jumpers, and lion tamers, The Thrill Makers is a great read, as evocative as it is theoretically savvy, and convincingly argued. Culling telling details from a host of long-overlooked sources, Jacob Smith’s account of sensational, high-risk public performance from the Victorian age to the 1930s unearths and illuminates the interwoven histories of public spectacle, masculinity, the motion picture industry, new forms of celebrity, and the expanding American metropolis.”—Greg Waller, Department of Communication and Culture, Indiana University. “The Thrill Makers is an historical tour-de-force that illuminates the origins of risk-taking performance in American entertainment, and shows how its practitioners were gradually marginalized as invisible stunt doubles during the rise of the motion picture industry. Smith’s analysis of the lion tamer, the human fly, and the airplane wing-walker—as well as the many others who thrilled audiences before and during the advent of cinema—inspires us to reconsider the nature of media spectacle, masculinity, performance, celebrity, and labor at the turn of the last century. Impeccably researched, this book is a captivating read that re-frames the emergence of cinema in the context of its relationship to other forms of modern entertainment.”—Barbara Klinger, author of Beyond the Multiplex: Cinema, New Technologies, and the Home.

“It is impossible to reproduce the state of mind of the men who waged war in 1917 and 1918,” Edward Coffman wrote in The War to End All Wars. In Doughboys on the Great War the voices of thousands of servicemen say otherwise. The majority of soldiers from the American Expeditionary Forces returned from Europe in 1919. Where many were simply asked for basic data, veterans from four states—Utah, Minnesota, Connecticut, and Virginia—were given questionnaires soliciting additional information and “remarks.” Drawing on these questionnaires, completed while memories were still fresh, this book presents a chorus of soldiers’ voices speaking directly of the expectations, motivations, and experiences as infantrymen on the Western Front in World War I. What was it like to kill or maim German soldiers? To see friends killed or maimed by the enemy? To return home after experiencing such violence? Again and again, soldiers wrestle with questions like these, putting into words what only they can tell. They also reflect on why they volunteered, why they fought, what their training was, and how ill-prepared they were for what they found overseas. They describe how they interacted with the civilian populations in England and France, how they saw the rewards and frustrations of occupation duty when they desperately wanted to go home, and—perhaps most significantly—what it all added up to in the end. Together their responses create a vivid and nuanced group portrait of the soldiers who fought with the American Expeditionary Forces on the battlefields of Aisne-Marne, Argonne Forest, Belleau Wood, Chateau-Thierry, the Marne, Metz, Meuse-Argonne, St. Mihiel, Sedan, and Verdun during the First World War. The picture that emerges is often at odds with the popular notion of the disillusioned doughboy. Though hardened and harrowed by combat, the veteran heard here is for the most part proud of his service, service undertaken for duty, honor, and country. In short, a hundred years later, the doughboy once more speaks in his own true voice.

America is at an important turning point. Remote warfare is not just a mainstay of post–9/11 wars, it is a harbinger of what lies ahead—a future of high-tech, artificial intelligence–enabled, and autonomous weapons systems that raise a host of new ethical questions. Most fundamentally, is remote warfare moral? And if so, why? Joseph O. Chapa, with unique credentials as Air Force officer, Predator pilot, and doctorate in moral philosophy, serves as our guide to understanding this future, able to engage in both the language of military operations and the language of moral philosophy. Through gripping accounts of remote pilots making life-and-death decisions and analysis of high-profile cases such as the killing of Iranian high government official General Qasem Soleimani, Chapa examines remote warfare within the context of the just war tradition, virtue, moral psychology, and moral responsibility. He develops the principles we should use to evaluate its morality, especially as pilots apply human judgment in morally complex combat situations. Moving on to the bigger picture, he examines how the morality of human decisions in remote war is situated within the broader moral context of US foreign policy and the future of warfare.

In this seminal new work, Martin Shaw, a leading expert on the sociology of war, argues that the new Western way of war is in crisis. He charts the development of a new warfare, after Vietnam, through the Falklands, the Gulf, Kosovo and Afghanistan. He argues that in the Iraq (mis)adventure (of which he provides a detailed analysis) and the War on Terror, the US has consistently flouted the key rules that enabled Western states to fight these earlier wars successfully. The results are not only political failure and a disaster in Iraq, but also a loss of credibility for the very idea of Western warfare. For Shaw, the new way of war focuses on containing risks to the lives of Western soldiers in order to minimise political and electoral risk to governments. Risk is transferred to innocent civilians, whose killing is explained away as 'accidental'. Yet the idea of managing risk is fundamentally at odds with the brutal, unpredictable nature of war. Ultimately, attempts to manage, govern and rule over the risks of war produce greater risks for those in power. The New Western Way of War is a moral and political statement as well as a major contribution to sociology and international relations. It will make compelling reading not only for students and scholars of these disciplines, but for anyone concerned about Western political and military power, and the future for global justice.

German Ways of War deploys theories of space, mobility, and affect to investigate how war films realize their political projects. Analyzing films across the decades, from the 1910s to 2000s, German Ways of War addresses an important lacuna in media studies: while scholars have tended to focus on the similarities between cinematic looking and weaponized targeting -- between shooting a camera and discharging a gun – this book argues that war films negotiate spaces throughout that frame their violence in ways more revealing than their battle scenes. Beyond that well-known intersection of visuality and violence, German Ways of War explores how the genre frames violence within spatio-affective operations. The production of novel spaces and evocation of new affects transform war films, including the genre’s manipulation of mobility, landscape, territory, scales, and topological networks. Such effects amount to what author Jaimey Fisher terms the films’ “affective geographies” that interweave narrative-generated affects, spatial depictions, and political processes.