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Originally delivered as an address to the American Academy of Political and Social Science, this work addresses the impact of World War I on American democracy and society. Walter Lippmann argues that the war will fundamentally transform the role of the United States in world affairs and will require a new understanding of the responsibilities of citizenship. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This path-breaking anthology illuminates the lives of ten influential twentieth-century American women and looks at the challenges experienced by the women who have written about them. Exploring the frequently complicated dialogue between writer and subject, the contributors discuss tools appropriate to writing women's biography while their riveting accounts reveal how feminist scholarship led them to approach the study of women's lives in unconventional ways. "This wonderful collection demonstrates the significance of women's biography as a central part of feminist scholarship. The feminist biographer inserts a second life into a biography, her own, giving us yet another layer of depth and insight."--Ann J. Lane, author of To "Herland" and Beyond: The Life and Work of Charlotte Perkins Gilman

The aesthetics and concepts of modern art have influenced American television ever since its inception in the 1930s. In return, early television introduced the public to the latest trends in art and design. This engaging catalogue is the first book to comprehensively examine the way avant-garde art shaped the look and content of network television in its formative years, from the 1940s through the mid-1970s. -- Page [4] of cover.

The book description for the previously published "The American Law of Slavery, 1810-1860: Considerations of Humanity and Interest" is not yet available.

Years ago, the controlling view held that the response of the slaves in the United States to their bondage "was one of passivity and docility". That opinion, so decisive a part of the chauvinism afflicting the nation, is shown to be false in this book and in the material accumulated since its initial appearance has further substantiated this thesis; namely, that the African-American people, in slavery, forged a record of discontent and of resistance comparable to that marking the history of any other oppressed people.

"Movie-Made Jews focuses on a rich, usable American Jewish cinematic tradition. This tradition includes fiction and documentary films that make Jews through antisemitism, Holocaust indirection, and discontent with assimilation, as well as through the unapologetic assertion of Jewishness, queerness, and alliances across race and religion. By selectively revisiting canonical pre-1990 films and amply representing films of the new millennium, Movie-Made Jews illuminates an American Jewish film tradition that includes jazz singers, pawnbrokers, and serious men. It also features those who tremble before G-d, who commit crimes and misdemeanors, who declare Hineini, Here I Am, who do whatever works, who leave and then return to Delancey Street and Liberty Heights. In these pages, those who might be identified as "just Jews" reside alongside those who are traditionally-and sometimes untraditionally-observant. Helene Meyers shows that as we go to our local theater, attend a Jewish film festival, play a DVD, watch streaming videos, Jewishness becomes part of the multicultural mosaic rather than collapsing into a generic whiteness or being represented as a life apart. This engagingly-written book demonstrates that a Jewish movie is neither just a movie nor for Jews only. With incisive analysis of what appears onscreen as well as what happens behind the scenes during production and how audiences respond to what they view, Movie-Made Jews challenges the assumption that American Jewish cinema is a cinema of impoverishment and assimilation. While it's a truism that Jews make movies, this book brings into focus the diverse ways movies make Jews"--

The growth in recent years of Soviet political involvement and military presence in the Mediterranean/Middle East region poses a serious challenge to the security of NATO's southern flank. Among other aims, the Soviets hope to reduce Western, especially American, influence in the area; counter and/or neutralize the U.S. strategic posture; and bring to fruition the historic Russian drive for open access through the Turkish Straits. General Gurkan argues that Moscow's strategy is to shift pressure from the relatively stable central region of NATO to the flanks in a multiple pronged southern thrust.

More than three decades have passed since Robert Kennedy was assassinated seeking the Democratic nomination for the presidency. During that time, a powerful legend has grown around him, decreeing that he would have quickly ended the Vietnam War, violence in the cities, and racial and social injustice across the land. Millions of Americans continue to believe that legend. Drawing on his striking interpretation of RFK's character, award-winning historian Ronald Steel examines the life against the legend that Kennedy consciously helped create.

Sexmagazin

Book by Laski, Harold Joseph

"Ellen Schrecker shows how universities shaped the 1960s, and how the 1960s shaped them. Teach-ins and walkouts-in institutions large and small, across both the country and the political spectrum-were only the first actions that came to redefine universities as hotbeds of unrest for some and handmaidens of oppression for others. The tensions among speech, education, and institutional funding came into focus as never before-and the reverberations remain palpable today"--

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1915 edition. Excerpt: ... chapter ii the uses of A king The reason why we trust one man, rather than many, is because one man can negotiate and many men can't. Two masses of people have no way of dealing directly with each other. They have to deal through representatives. It is a pure fiction to speak of negotiations between the United States and Germany. For when you look around to find the "United States" you discover a hundred million people spread over vast territory, with certain common habits, ideas, and loyalties, but nowhere do you find anything called the "United States " which can strike a bargain with "Germany." The American people cannot all seize the same pen and indite a note to sixty-five million people living within the German Empire. They cannot say: We ask for this, but if you will grant that, we'll do so-and-so, and then we'll both be satisfied. Each man may know what he thinks (a tremendous assumption), but what "we the American people" think is one of the most difficult matters in the world to find out. We all try to find it out. The papers print editorial comment from different parts of the country, they interview leaders of opinion, publish letters from correspondents, take straw ballots, and ask questions in the smoking-room of the club, on the street car, and at the quick-lunch counter. They may throw some light on the general reaction to a particular event. But more accurate than this it is hardly possible to be. The "will" and "mind" and "voice" of a great people are not the same thing as the will and mind and voice of a single man. When an individual thinks out a course of action, he goes through a delicate mental operation, a good part of which is unconscious. But a whole people can no more think in unison than it can make love in...

" Americans and Europeans are divided by more than an ocean when it comes to designing and carrying out policies toward countries that repress human rights, develop weapons of mass destruction, and/or support terrorism and subversion. Accounting for this divide are distinct interests, domestic politics, and above all profound disagreements between Americans and their counterparts in European capitals and Brussels over what tools of foreign policy--sanctions, engagement, military force--to empty to change the behavior of problem countries. The result is that Americans and Europeans often work at cross purposes--and that disagreements over policy toward problem countries threaten both to undermine efforts that promote desired change and transatlantic cooperation in other areas, be it within Europe or in building an open world trading system. This book examines the ""problem"" countries of Cuba, Iran, Iraq, Libya, and Nigeria. The authors explain sources of American and European differences, consequences for policies designed to influence problem states, and prospects for bridging transatlantic policy rifts. A conclusion by Richard N. Haass places these differences in perspective and suggests what Europe and the United States need to do to ameliorate this tension--and what could transpire if they do not. "

In the most dramatic and intimate account of battle reporting since Michael Herr's classic Dispatches , NBC News's award-winning Middle East Bureau Chief, Richard Engel, offers an unvarnished and often emotional account of five years in Iraq. Engel is the longest serving broadcaster in Iraq and the only American television reporter to cover the country continuously before, during, and after the 2003 U.S. invasion. Fluent in Arabic, he has had unrivaled access to U.S. military commanders, Sunni insurgents, Shiite militias, Iraqi families, and even President George W. Bush, who called him to the White House for a private briefing. He has witnessed nearly every major milestone in this long war. War Journal describes what it was like to go into the hole where U.S. Special Operations Forces captured Saddam Hussein. Engel was there as the insurgency began and watched the spread of Iranian influence over Shiite religious cities and the Iraqi government. He watched as Iraqis voted in their first election. He was in the courtroom when Saddam was sentenced to death and interviewed General David Petraeus about the surge. In vivid, sometimes painful detail, Engel tracks the successes and setbacks of the war. He describes searching, with U.S troops, for a missing soldier in the dangerous Sunni city of Ramadi; surviving kidnapping attempts, IED attacks, hotel bombings, and ambushes; and even the smell of cakes in a bakery attacked by sectarian gangs and strewn with bodies of the executed. War Journal describes a sectarian war that American leaders were late to understand and struggled to contain. It is an account of the author's experiences, insights, bittersweet reflections, and moments from his private video diary -- itself the subject of a highly acclaimed documentary on MSNBC. War Journal is the story of the transformation of a young journalist who moved to the Middle East with $2,000 and a belief that the region would be " the story" of his generation into a seasoned reporter who has at times believed that he would die covering the war. It is about American soldiers, ordinary Iraqis, and especially a few brave individuals on his team who continually risked their lives to make his own daring reporting possible.

An entrancing avant-garde adventure at the dawn of the modern age In 1909, municipal authorities built an airfield in northern Italy and invited leading pilots to compete on it. The show attracted thousands of spectators--among them Giacomo Puccini and Gabriele d'Annunzio--and reporters, including, amazingly, Franz Kafka, Max Brod, and Luigi Barzini. Peter Demetz's sparkling new book tells the enchanting story of what happened in the air and on the ground before, during, and after this amazing moment. Kafka, it turns out, was a very precise observer of both the fragile new machines and the people who flocked to see them in action. Demetz shows us the spectacle as Kafka reported it, and also its unexpectedly melodramatic preparations, amazing dirigibles, and ace pilots--the American Glenn Curtiss, the Italian Mario Calderara, and the reigning king of the skies, Louis Blériot. But above all Demetz wants to know what flying really meant to these visionaries of the air: many political and imaginative issues were sent aloft at Brescia. With discerning affection, he elucidates Kafka's subtle ambiguities about the consequences of flight, d'Annunzio's lust for power in aviation, Puccini's enthusiasm for speedy escapes, and Curtiss's modest heroism. Illustrated with fascinating material from the show itself, this provocative work reveals a vital point where art and technology met in imagining the future.