Take a journey through the amazing worlds of master artist Wayne Reynolds with Visions of WAR, a retrospective of more than 10 years of work from today's leading fantasy illustrator! Packed with full-color covers, interior art, and card art from award-winning work on brands like the Pathfinder Roleplaying Game, Dungeons & Dragons, World of Warcraft, Magic: The Gathering, and more, this exciting overview includes behind-the-scenes stories about some of fantasy's most exciting images, as well as gorgeous paintings you've never seen before! With an introduction from Paizo Publisher Erik Mona and notes from the artist himself, Visions of WAR provides an unparalleled look at the work of fantasy gaming's champion illustrator. Wayne Reynolds is a leading fantasy gaming artist, with fans from virtually every major hobby gaming brand.
Lynda Van Devanter--author of the backlist classic Home Before Morning, which inspired the TV show "China Beach"--edited this powerful collection of poems reminiscent of Dear America: Letters Home from Vietnam. All author proceeds from the book will go to the Vietnam Women's Memorial Project. 6 photographs.
The civil war that has intermittently raged in the Sudan since independence in 1956 is, according to Francis Deng, a conflict of contrasting and seemingly incompatible identities in the Northern and Southern parts of the country. Identity is seen as a function of how people identify themselves and are identified in racial, ethnic, cultural, linguistic, and religious terms. The identity question related to how such concepts determine or influence participation and distribution in the political, economic, social, and cultural life of the country. War of Visions aims at shedding light on the anomalies of the identity conflict. The competing models in the Sudan are the Arab-Islamic mold of the North, representing two-thirds of the country in territory and population, and the remaining Southern third, which is indigenously African in race, ethnicity, culture, and religion, with an educated Christianized elite. But although the North is popularly defined as racially Arab, the people are a hybrid of Arab and African elements, with the African physical characteristics predominating in most tribal groups. This configuration is the result of a historical process that stratified races, cultures, and religions, and fostered a "passing" into the Arab-Islamic mold that discriminated against the African race and cultures. The outcome of this process is a polarization that is based more on myth than on the realities of the situation. The identity crisis has been further complicated by the fact that Northerners want to fashion the country on the basis of their Arab- Islamic identity, while the South is decidedly resistant. Francis Deng presents three alternative approaches to the identity crisis. First, he argues that by bringing to the surface the realities of the African elements of identity in the North-- thereby revealing characteristics shared by all Sudanese--a new basis for the creation of a common identity could be established that fosters equitable
How perceptual technologies have shaped the history of war from the Renaissance to the present From ubiquitous surveillance to drone strikes that put “warheads onto foreheads,” we live in a world of globalized, individualized targeting. The perils are great. In The Eye of War, Antoine Bousquet provides both a sweeping historical overview of military perception technologies and a disquieting lens on a world that is, increasingly, one in which anything or anyone that can be perceived can be destroyed—in which to see is to destroy. Arguing that modern-day global targeting is dissolving the conventionally bounded spaces of armed conflict, Bousquet shows that over several centuries, a logistical order of militarized perception has come into ascendancy, bringing perception and annihilation into ever-closer alignment. The efforts deployed to evade this deadly visibility have correspondingly intensified, yielding practices of radical concealment that presage a wholesale disappearance of the customary space of the battlefield. Beginning with the Renaissance’s fateful discovery of linear perspective, The Eye of War discloses the entanglement of the sciences and techniques of perception, representation, and localization in the modern era amid the perpetual quest for military superiority. In a survey that ranges from the telescope, aerial photograph, and gridded map to radar, digital imaging, and the geographic information system, Bousquet shows how successive technological systems have profoundly shaped the history of warfare and the experience of soldiering. A work of grand historical sweep and remarkable analytical power, The Eye of War explores the implications of militarized perception for the character of war in the twenty-first century and the place of human subjects within its increasingly technical armature.
Visions of Glory brings together twenty-two images and twenty-two brisk essays, each essay connecting an image to the events that unfolded during a particular year of the Civil War. The book focuses on a diverse set of images that include a depiction of former slaves whipping their erstwhile overseer distributed by an African American publisher, a census graph published in the New York Times, and a cutout of a child's hand sent by a southern mother to her husband at the front. The essays in this collection reveal how wartime women and men created both written accounts and a visual register to make sense of this pivotal period. The collection proceeds chronologically, providing a nuanced history by highlighting the multiple meanings an assorted group of writers and readers discerned from the same set of circumstances. In so doing, this volume assembles contingent and fractured visions of the Civil War, but its differing perspectives also reveal a set of overlapping concerns. A number of essays focus in particular on African American engagements with visual culture. The collection also emphasizes the role that women played in making, disseminating, or interpreting wartime images. While every essay explores the relationship between image and word, several contributions focus on the ways in which Civil War images complicate an understanding of canonical writers such as Emerson, Melville, and Whitman.
Once in a great while, a book is written that substantially changes the way people think about a particular subject. Will War Ever End? is such a book. Written as a “manifesto for waging peace” by an active duty captain in the US Army, Will War Ever End? challenges readers to think about peace, war and violence in radically new ways. “Are human beings naturally violent?” “What is hatred?” “How can love overcome the power of hatred?” “How does nonviolence overcome the power of violence?” “How can we prove that unconditional love makes us psychologically healthy and that hatred, just like an illness, occurs when something has gone wrong?” “How does violence against the natural world relate to violence between human beings?” These are all questions that Captain Paul K. Chappell leads us to consider in a strikingly new way. In Will War Ever End?, Chappell demonstrates that human beings are naturally peaceful and that world peace can become more than a cliché. He lays out a practical framework for transforming the way we think about war and violence, enabling us to begin the real work we must do in order to achieve true peace for mankind. Will War Ever End? is a deeply personal story of a soldier’s search for human understanding that will lead to universal transformation. Its message is one of hope, offering practical solutions to help us build a better world. We can all make change. Now is the time to begin.
Visions of Victory, first published in 2005, explores the views of eight leaders of the major powers of World War II - Hitler, Mussolini, Tojo, Chiang Kai-shek, Stalin, Churchill, de Gaulle, and Roosevelt. He compares their visions of the future in the event of victory. While the leaders primarily focused on fighting and winning the war, their decisions were often shaped by their aspirations for the future. What emerges is a startling picture of postwar worlds. After exterminating the Jews, Hitler intended for all Slavs to die so Germans could inhabit Eastern Europe. Mussolini and Hitler wanted extensive colonies in Africa. Churchill hoped for the re-emergence of British and French empires. De Gaulle wanted to annex the northwest corner of Italy. Stalin wanted to control Eastern Europe. Roosevelt's vision included establishing the United Nations. Weinberg's comparison of the individual portraits of the war-time leaders is a highly original and compelling study of history that might have been.
A study of how artists and photographers shaped imperial visions of war and peace in the Victorian period In an era that saw the birth of photography (c. 1839) and the rise of the illustrated press (c. 1842), the British experience of their empire became increasingly defined by the processes and products of image-making. Examining moments of military and diplomatic crisis, this book considers how artists and photographers operating "in the field" helped to define British visions of war and peace. The Victorians increasingly turned to visual spectacle to help them compose imperial sovereignty. The British Empire was thus rendered into a spectacle of "peace," from world's fairs to staged diplomatic rituals. Yet this occurred against a backdrop of incessant colonial war--campaigns which, far from being ignored, were in fact unprecedentedly visible within the cultural forms of Victorian society. Visual media thus shaped the contours of imperial statecraft and established many of the aesthetic and ethical frames within which the colonial violence was confronted.
Given the destruction and suffering caused by more than four years of industrialised warfare and economic hardship, scholars have tended to focus on the nationalism and hatred in the belligerent countries, holding that it led to a fundamental rupture of any sense of European commonality and unity. It is the central aim of this volume to correct this view and to highlight that many observers saw the conflict as a 'European civil war', and to discuss what this meant for discourses about Europe. Bringing together a remarkable range of compelling and highly original topics, this collection explores notions, images, and ideas of Europe in the midst of catastrophe.
This book explores and analyzes the 13,000-year legacy of pictures of war from various cultures over the centuries, from Stone Age cave paintings to the instantaneous images of the Gulf War. 41 illustrations.
