The Alien films are perceived to be a fractured franchise, each one loosely related to the others. They are nonlinear, complicated, convoluted: a collection of genre movies ranging from horror to war to farce. But on closer examination, the threads that bind together these films are strong and undeniable. The series is a model of Catherine Keller’s cosmology as a cycle of order out of chaos, an illustration of her concept of evil as discreation. When viewed through the lens of Keller’s Face of the Deep, the Alien films resolve into a cohesive whole. The series becomes six views of the idea of evil-as-exploitation, its origins, and its consequences. Each film expands on the concept of evil set forth by its predecessors, complicating that conception, and retroactively enriching readings of the films that came before.
Since the early 1990s, refugee crises in the Balkans, Central Africa, the Middle East, and West Africa have led to the international spread of civil war. In Central Africa alone, more than three million people have died in wars fueled, at least in part, by internationally supported refugee populations. The recurring pattern of violent refugee crises prompts the following questions: Under what conditions do refugee crises lead to the spread of civil war across borders? How can refugee relief organizations respond when militants use humanitarian assistance as a tool of war? What government actions can prevent or reduce conflict? To understand the role of refugees in the spread of conflict, Sarah Kenyon Lischer systematically compares violent and nonviolent crises involving Afghan, Bosnian, and Rwandan refugees. Lischer argues against the conventional socioeconomic explanations for refugee-related violence—abysmal living conditions, proximity to the homeland, and the presence of large numbers of bored young men. Lischer instead focuses on the often-ignored political context of the refugee crisis. She suggests that three factors are crucial: the level of the refugees' political cohesion before exile, the ability and willingness of the host state to prevent military activity, and the contribution, by aid agencies and outside parties, of resources that exacerbate conflict. Lischer's political explanation leads to policy prescriptions that are sure to be controversial: using private security forces in refugee camps or closing certain camps altogether. With no end in sight to the brutal wars that create refugee crises, Dangerous Sanctuaries is vital reading for anyone concerned with how refugee flows affect the dynamics of conflicts around the world.
Based on recently declassified documents, this book provides the first examination of the Truman Administration’s decision to employ covert operations in the Cold War. Although covert operations were an integral part of America’s arsenal during the late 1940s and early 1950s, the majority of these operations were ill conceived, unrealistic and ultimately doomed to failure. In this volume, the author looks at three central questions: Why were these types of operations adopted? Why were they conducted in such a haphazard manner? And, why, once it became clear that they were not working, did the administration fail to abandon them? The book argues that the Truman Administration was unable to reconcile policy, strategy and operations successfully, and to agree on a consistent course of action for waging the Cold War. This ensured that they wasted time and effort, money and manpower on covert operations designed to challenge Soviet hegemony, which had little or no real chance of success. US Covert Operations and Cold War Strategy will be of great interest to students of US foreign policy, Cold War history, intelligence and international history in general.
Soviet foreign policy changed dramatically in the 1980s. The shift, bitterly resisted by the country's foreign policy traditionalists, ultimately contributed to the collapse of the Soviet Union and the end of the Cold War. In Changing Course, Sarah Mendelson demonstrates that interpretations that stress the impact of the international system, and particularly of U.S. foreign policy, or that focus on the role of ideas or politics alone, fail to explain the contingent process of change. Mendelson tells a story of internal battles where "misfit" ideas--ones that severely challenged the status quo--were turned into policies. She draws on firsthand interviews with those who ran Soviet foreign policy and the war in Afghanistan and on recently declassified material from Soviet archives to show that both ideas and political strategies were needed to make reform happen. Focusing on the Soviet decision to withdraw from Afghanistan, Mendelson details the strategies used by the Gorbachev coalition to shift the internal balance of power in favor of constituencies pushing new ideas--mutual security, for example--while undermining the power of old constituencies resistant to change. The interactive dynamic between ideas and politics that she identifies in the case of the Soviet withdrawal from Afghanistan is fundamental to understanding other shifts in Soviet foreign policy and the end of the Cold War. Her exclusive interviews with the foreign policy elite also offer a unique glimpse of the inner workings of the former Soviet power structure. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Alien films are perceived to be a fractured franchise, each one loosely related to the others. They are nonlinear, complicated, convoluted: a collection of genre movies ranging from horror to war to farce. But on closer examination, the threads that bind together these films are strong and undeniable. The series is a model of Catherine Keller’s cosmology as a cycle of order out of chaos, an illustration of her concept of evil as discreation. When viewed through the lens of Keller’s Face of the Deep, the Alien films resolve into a cohesive whole. The series becomes six views of the idea of evil-as-exploitation, its origins, and its consequences. Each film expands on the concept of evil set forth by its predecessors, complicating that conception, and retroactively enriching readings of the films that came before.
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