This volume studies the architecture and urbanism of modern-era Italian colonialism (1869-1943) as it sought to build colonies in North and East Africa and the eastern Mediterranean. Mia Fuller follows, not only the design of the physical architecture, but also the development of colonial design theory, based on the assumptions made about the colonized, and also the application of modernist theory to both Italian architecture and that of its colonies. Moderns Abroad is the first book to present an overview of Italian colonial architecture and city planning. In chronicling Italian architects' attempts to define a distinctly Italian colonial architecture that would set Italy apart from Britain and France, it provides a uniquely comparative study of Italian colonialism and architecture that will be of interest to specialists in modern architecture, colonial studies, and Italian studies alike.
A broad-ranging and ambitious study of the changing relationships between countries and their nationals abroad, and the impact that mass migration played in shaping modern international law and politics.
A masterly treatment of the epic 3 day Gettysburg Campaign. Complete with detailed maps, Stars in their Courses brilliantly recreates this great battle of the Civil War.
In postwar Europe and the Middle East, Hilton hotels were quite literally "little Americas." For American businessmen and tourists, a Hilton Hotel—with the comfortable familiarity of an English-speaking staff, a restaurant that served cheeseburgers and milkshakes, trans-Atlantic telephone lines, and, most important, air-conditioned modernity—offered a respite from the disturbingly alien. For impoverished local populations, these same features lent the Hilton a utopian aura. The Hilton was a space of luxury and desire, a space that realized, permanently and prominently, the new and powerful presence of the United States. Building the Cold War examines the architectural means by which the Hilton was written into the urban topographies of the major cities of Europe and the Middle East as an effective representation of the United States. Between 1953 and 1966, Hilton International built sixteen luxury hotels abroad. Often the Hilton was the first significant modern structure in the host city, as well as its finest hotel. The Hiltons introduced a striking visual contrast to the traditional architectural forms of such cities as Istanbul, Cairo, Athens, and Jerusalem, where the impact of its new architecture was amplified by the hotel's unprecedented siting and scale. Even in cities familiar with the Modern, the new Hilton often dominated the urban landscape with its height, changing the look of the city. The London Hilton on Park Lane, for example, was the first structure in London that was higher than St. Paul's cathedral. In his autobiography, Conrad N. Hilton claimed that these hotels were constructed for profit and for political impact: "an integral part of my dream was to show the countries most exposed to Communism the other side of the coin—the fruits of the free world." Exploring everything the carefully drafted contracts for the buildings to the remarkable visual and social impact on their host cities, Wharton offers a theoretically sophisticated critique of one of the Cold War's first international businesses and demonstrates that the Hilton's role in the struggle against Communism was, as Conrad Hilton declared, significant, though in ways that he could not have imagined. Many of these postwar Hiltons still flourish. Those who stay in them will learn a great deal about their experience from this new assessment of hotel space.
In The Moderns, we meet the men and women who invented and shaped Midcentury Modern graphic design in America. The book is made up of generously illustrated profiles, many based on interviews, of more than 60 designers whose magazine, book, and record covers; advertisements and package designs; posters; and other projects created the visual aesthetics of postwar modernity. Some were émigrés from Europe; others were homegrown—all were intoxicated by elemental typography, primary colors, photography, and geometric or biomorphic forms. Some are well-known, others are honored in this volume for the first time, and together they comprised a movement that changed our design world.
This introduction to living abroad should enlighten all those heading off to work overseas, whether they are teachers, professionals, volunteers or diplomats.
This study is based on the following questions: Which jurisdiction can and should be exercised for the prosecution of individuals responsible for gross and serious violations of human rights? And especially, in this regard, what is the role of universal jurisdiction? In explaining the modern jurisdictional regime, this study illuminates the historical phenomenon of the expansion of jurisdiction in Chapter II, and conducts in-depth research particularly into universal jurisdiction in Chapter III and IV. This study explicates the notion of universal jurisdiction in history and in theory, categorizing its nature by two aspects (permissive or obligatory, and supplemental or primary), and underscores the differences between ordinary universal jurisdiction and universal jurisdiction in absentia. Having made an analysis on the legality of jurisdiction, this study has proceeded to examine the appropriateness of exercising jurisdiction. Noting the danger of conflicts of jurisdiction, Chapter V attempts to compile some guiding rules that can be utilised in determining the appropriateness of jurisdiction, thus answering the question of Which jurisdiction should be exercised'. Chapter VI then applies these guiding rules to non-territorial jurisdiction, namely universal jurisdiction. The observations deduced from the application of the guiding rules demonstrates, together with the analysis of the legality of universal jurisdiction in Chapter IV, the role of universal jurisdiction within the modern jurisdictional regime.
