At first glance, it may be difficult to accept that race and racism play a major role, whether conscious or subconscious, in policymaking. But leaders are products of their upbringing and era, and even some of America's best-educated presidents and secretaries of state have been slave owners, segregationists, or bigots. Some belong to America's distant past, but it was not so long ago that the civil rights movement began to correct America's troubled race relations. While race has rarely served as the primary motivating factor in America's foreign policies, Michael Krenn shows that it has functioned as both a powerful justification for U.S. actions abroad and a significant influence on their shape, direction, and intensity. Portraying nonwhite races as inferior allowed U.S. policymakers to rationalize territorial expansion at the expense of Native Americans and Mexico, to demonize the enemy in wars fought against Filipino insurgents and Japanese soldiers, and to justify intervention in developing nations. Racism made America's leaders soft on European colonialism, and U.S. racial segregation laws were an obstacle to winning hearts and minds in the developing world during the Cold War. Race plays a more subtle role in U.S. foreign relations today, but speeches about turning the war on terror into a crusade, the abuse of detainees in military prisons, and apathy toward genocide in Darfur can be explained, in part, by prejudice. The Color of Empire challenges readers to recognize that American perceptions and prejudices about race have influenced the conduct of U.S. foreign relations from the colonial era to the present. This concise survey is an excellent introduction to the topic for both students and general readers.
This text covers integration of the State Department after 1945 and the subsequent appointments of Black ambassadors to Third World and African nations. Other topics include: the setbacks during the Eisenhower years and the gains achieved during the Kennedy and Johnson administrations.
This work examines the development of the ideas behind the theory of interdependent economic, political and military relations with the nations of Central America. It considers how policy-makers defined interdependence and how they went about accomplishing their goals.
This work examines the development of the ideas behind the theory of interdependent economic, political and military relations with the nations of Central America. It considers how policy-makers defined interdependence and how they went about accomplishing their goals.
In the wake of 9/11, the United States government rediscovered the value of culture in international relations, sending cultural ambassadors around the world to promote the American way of life. This is the most recent effort to use American culture as a means to convince others that the United States is a land of freedom, equality, opportunity, and scientific and cultural achievements to match its material wealth and military prowess. In The History of United States Cultural Diplomacy Michael Krenn charts the history of the cultural diplomacy efforts from Benjamin Franklin's service as commissioner to France in the 1770s through to the present day. He explores how these efforts were sometimes inspiring, often disastrous, and nearly always controversial attempts to tell the 'truth' about America. This is the first comprehensive study of America's efforts in the field of cultural diplomacy. It reveals a dynamic conflict between those who view U.S. culture as a means to establish meaningful dialogues with the rest of the world and those who consider American art, music, theater as additional propaganda weapons.
During the Cold War, culture became another weapon in America's battle against communism. Part of that effort in cultural diplomacy included a program to arrange the exhibition of hundreds of American paintings overseas. Michael L. Krenn studies the successes, failures, contradictions, and controversies that arose when the U.S. government and the American art world sought to work together to make an international art program a reality between the 1940s and the 1970s. The Department of State, then the United States Information Agency, and eventually the Smithsonian Institution directed this effort, relying heavily on the assistance of major American art organizations, museums, curators, and artists. What the government hoped to accomplish and what the art community had in mind, however, were often at odds. Intense domestic controversies resulted, particularly when the effort involved modern or abstract expressionist art. Ultimately, the exhibition of American art overseas was one of the most controversial Cold War initiatives undertaken by the United States. Krenn's investigation deepens our understanding of the cultural dimensions of America's postwar diplomacy and explores how unexpected elements of the Cold War led to a redefinition of what is, and is not, "American.
A fascinating look at a previously ignored piece of our nation's history, Black Diplomacy covers integration of the State Department after 1945 and the subsequent appointments of Black ambassadors to Third World and African nations. In seven illuminating chapters, Krenn covers the efforts to integrate the State Department; the setbacks during the Eisenhower years; and the gains achieved during the administrations of JFK and LBJ. Not content with simply using traditional sources (federal and other governmental agency records), he gained fresh insights from the papers of the NAACP, African American newspapers, and journals of the period. He also conducted original interviews with Edward Dudley (America's first black ambassador), Richard Fox, Horace Dawson, Ronald Palmer, and Terrence Todman (never before interviewed--ambassador to six nations beginning in 1952, and an assistant secretary of state). This unique look at the period will be of interest to anyone attempting to understand both the history of the civil rights movement in the U.S. and America's Cold War relations with underdeveloped nations during the quarter century after World War II.
This biography traces the career of Frenchman Jacques Coeur, royal official, merchant, and financier, amidst war and exploration in fifteenth-century Europe and invites readers to consider Coeur's career against a broad historical context.
At the start of the 1960s, revolution challenged the established world order. In every corner of the underdeveloped world, discontent with the status quo fueled attempts to revoke colonialism and the strangleholds on power maintained by entrenched local oligarchies. This book examines the causes of revolution in the sixties and the various responses crafted to stop it, in particular, the Alliance for Progress, a program which represented the best products of American developmental and counterinsurgency theory. Equally important, however, is an examination of the independent policies implemented by Latin Americans themselves, often in direct opposition to those pursued by the U.S. For the United States the period represented a challenge to both its sovereignty and its leadership in the so-called Free World. Perhaps more importantly, the disruptions blanketing the globe also pointed out the dramatic weaknesses of an American policy dominated by preparations for thermonuclear war with the Soviet Union. For Latin America, revolution challenged national stability and, in the cases of the regimes it was directed against, their very survival.
In the wake of 9/11, the United States government rediscovered the value of culture in international relations, sending cultural ambassadors around the world to promote the American way of life. This is the most recent effort to use American culture as a means to convince others that the United States is a land of freedom, equality, opportunity, and scientific and cultural achievements to match its material wealth and military prowess. In The History of United States Cultural Diplomacy Michael Krenn charts the history of the cultural diplomacy efforts from Benjamin Franklin's service as commissioner to France in the 1770s through to the present day. He explores how these efforts were sometimes inspiring, often disastrous, and nearly always controversial attempts to tell the 'truth' about America. This is the first comprehensive study of America's efforts in the field of cultural diplomacy. It reveals a dynamic conflict between those who view U.S. culture as a means to establish meaningful dialogues with the rest of the world and those who consider American art, music, theater as additional propaganda weapons.
During the Cold War, culture became another weapon in America's battle against communism. Part of that effort in cultural diplomacy included a program to arrange the exhibition of hundreds of American paintings overseas. Michael L. Krenn studies the successes, failures, contradictions, and controversies that arose when the U.S. government and the American art world sought to work together to make an international art program a reality between the 1940s and the 1970s. The Department of State, then the United States Information Agency, and eventually the Smithsonian Institution directed this effort, relying heavily on the assistance of major American art organizations, museums, curators, and artists. What the government hoped to accomplish and what the art community had in mind, however, were often at odds. Intense domestic controversies resulted, particularly when the effort involved modern or abstract expressionist art. Ultimately, the exhibition of American art overseas was one of the most controversial Cold War initiatives undertaken by the United States. Krenn's investigation deepens our understanding of the cultural dimensions of America's postwar diplomacy and explores how unexpected elements of the Cold War led to a redefinition of what is, and is not, "American.
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