What does it mean to be a spectator to war in an era when the boundaries between witnessing and perpetrating violence have become profoundly blurred? Arguing that the contemporary dynamics of military spectatorship took shape in Napoleonic Europe, Watching War explores the status of warfare as a spectacle unfolding before a mass audience. By showing that the battlefield was a virtual phenomenon long before the invention of photography, film, or the Internet, this book proposes that the unique character of modern conflicts has been a product of imaginary as much as material forces. Warfare first became total in the Napoleonic era, when battles became too large and violent to be observed firsthand and could only be grasped in the imagination. Thenceforth, fantasies of what war was or should be proved critical for how wars were fought and experienced. As war's reach came to be limited only by the creativity of the mind's eye, its campaigns gave rise to expectations that could not be fulfilled. As a result, war's modern audiences have often found themselves bored more than enthralled by their encounters with combat. Mieszkowski takes an interdisciplinary approach to this major ethical and political concern of our time, bringing literary and philosophical texts into dialogue with artworks, historical documents, and classics of photojournalism.
There are few forms in which so much authority has been invested with so little reflection as the sentence. Though a fundamental unit of discourse, it has rarely been an explicit object of inquiry, often taking a back seat to concepts such as the word, trope, line, or stanza. To understand what is at stake in thinking—or not thinking—about the sentence, Jan Mieszkowski looks at the difficulties confronting nineteenth- and twentieth-century authors when they try to explain what a sentence is and what it can do. From Romantic debates about the power of the stand-alone sentence, to the realist obsession with precision and revision, to modernist experiments with ungovernable forms, Mieszkowski explores the hidden allegiances behind our ever-changing stylistic ideals. By showing how an investment in superior writing has always been an ethical and a political as well as an aesthetic commitment, Crises of the Sentence offers a new perspective on our love-hate relationship with this fundamental compositional category.
Challenging various assumptions about the relationship between language and politics, this book offers an account of aesthetic and economic thought since the eighteenth century. Providing a contribution to contemporary debates about culture and ideology, it is suitable for scholars of literature, history, and political theory.
There are few forms in which so much authority has been invested with so little reflection as the sentence. Though a fundamental unit of discourse, it has rarely been an explicit object of inquiry, often taking a back seat to concepts such as the word, trope, line, or stanza. To understand what is at stake in thinking—or not thinking—about the sentence, Jan Mieszkowski looks at the difficulties confronting nineteenth- and twentieth-century authors when they try to explain what a sentence is and what it can do. From Romantic debates about the power of the stand-alone sentence, to the realist obsession with precision and revision, to modernist experiments with ungovernable forms, Mieszkowski explores the hidden allegiances behind our ever-changing stylistic ideals. By showing how an investment in superior writing has always been an ethical and a political as well as an aesthetic commitment, Crises of the Sentence offers a new perspective on our love-hate relationship with this fundamental compositional category.
What does it mean to be a spectator to war in an era when the boundaries between witnessing and perpetrating violence have become profoundly blurred? Arguing that the contemporary dynamics of military spectatorship took shape in Napoleonic Europe, Watching War explores the status of warfare as a spectacle unfolding before a mass audience. By showing that the battlefield was a virtual phenomenon long before the invention of photography, film, or the Internet, this book proposes that the unique character of modern conflicts has been a product of imaginary as much as material forces. Warfare first became total in the Napoleonic era, when battles became too large and violent to be observed firsthand and could only be grasped in the imagination. Thenceforth, fantasies of what war was or should be proved critical for how wars were fought and experienced. As war's reach came to be limited only by the creativity of the mind's eye, its campaigns gave rise to expectations that could not be fulfilled. As a result, war's modern audiences have often found themselves bored more than enthralled by their encounters with combat. Mieszkowski takes an interdisciplinary approach to this major ethical and political concern of our time, bringing literary and philosophical texts into dialogue with artworks, historical documents, and classics of photojournalism.
Challenging various assumptions about the relationship between language and politics, this book offers an account of aesthetic and economic thought since the eighteenth century. Providing a contribution to contemporary debates about culture and ideology, it is suitable for scholars of literature, history, and political theory.
A rigorous but nontechnical treatment of major topics in urban economics. Lectures on Urban Economics offers a rigorous but nontechnical treatment of major topics in urban economics. To make the book accessible to a broad range of readers, the analysis is diagrammatic rather than mathematical. Although nontechnical, the book relies on rigorous economic reasoning. In contrast to the cursory theoretical development often found in other textbooks, Lectures on Urban Economics offers thorough and exhaustive treatments of models relevant to each topic, with the goal of revealing the logic of economic reasoning while also teaching urban economics. Topics covered include reasons for the existence of cities, urban spatial structure, urban sprawl and land-use controls, freeway congestion, housing demand and tenure choice, housing policies, local public goods and services, pollution, crime, and quality of life. Footnotes throughout the book point to relevant exercises, which appear at the back of the book. These 22 extended exercises (containing 125 individual parts) develop numerical examples based on the models analyzed in the chapters. Lectures on Urban Economics is suitable for undergraduate use, as background reading for graduate students, or as a professional reference for economists and scholars interested in the urban economics perspective.
The bloody events of the Paris Commune in 1871 traumatized France. In this study of cultural memory, the author draws on a range of sources to understand the resonating questions about the terrible year.
In this era of ongoing globalization a coherent vision on Europe's changing geo-economy is more important than ever before. Drawing on the work of Schumpeter, Fourasti'e and Perroux, the book at hand offers a new and policy-oriented perspective on regional economic change in Europe. Conceptually, it develops a middle-range theory by extending Schumpeter's vision with a sectoral and spatial dimension. This neo-Schumpeterian framework is concretized by exploring fifty years of structural change in Sardinia, the Ruhrgebiet and the Öresund.
Learning How to Feel explores the ways in which children and adolescents learn not just how to express emotions that are thought to be pre-existing, but actually how to feel. The volume assumes that the embryonic ability to feel unfolds through a complex dialogue with the social and cultural environment and specifically through reading material. The fundamental formation takes place in childhood and youth. A multi-authored historical monograph, Learning How to Feel uses children's literature and advice manuals to access the training practices and learning processes for a wide range of emotions in the modern age, circa 1870-1970. The study takes an international approach, covering a broad array of social, cultural, and political milieus in Britain, Germany, India, Russia, France, Canada, and the United States. Learning How to Feel places multidirectional learning processes at the centre of the discussion, through the concept of practical knowledge. The book innovatively draws a framework for broad historical change during the course of the period. Emotional interaction between adult and child gave way to a focus on emotional interactions among children, while gender categories became less distinct. Children were increasingly taught to take responsibility for their own emotional development, to find 'authenticity' for themselves. In the context of changing social, political, cultural, and gender agendas, the building of nations, subjects and citizens, and the forging of moral and religious values, Learning How to Feel demonstrates how children were provided with emotional learning tools through their reading matter to navigate their emotional lives.
Bilateral Investment Treaties (BITs) are an important instrument for the protection of foreign direct investment (FDI). However, compared to international trade law, international investment law has so far received only little research attention from an economic point of view. By applying a law and economics approach, Jan Peter Sasse provides a systematic analysis of the way BITs function. He explains why BITs are more than just a signal, how they relate to institutional competition as well as to institutional quality and why transparency in international investment arbitration is hard to achieve and may even be detrimental.
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