Military Landscapes


Book Description

Military Landscapes seeks to develop a nuanced definition of military landscapes under the framework of landscape theory. It moves beyond discussions of infrastructure and battlefields, shifting the focus instead to often overlooked factors, highlighting the historical character of militarized environments as inherently gendered and racialized.




Collateral Values


Book Description

This book explores the unanticipated benefits that may arise after wars and conflicts, showing how the preservation of battlefields and the establishment of borderlands can create natural capital in the former landscapes of war. The editors call this Collateral Value, in contrast to the collateral damage that war inflicts upon infrastructure, natural capital, and human capital. The book includes case studies recounting successes and failures, opportunities and risks, and ambitious proposals. The book is organized in two sections. The first visits U.S., English, and French battlefield sites dating from medieval England to World War I. The second explores borderlands located on several continents, established to end or prevent conflict. Both of these can create value beyond their original purpose, by preserving natural areas and restoring biodiversity. Among the topics covered are: · Registering English Battlefields · Old forts and new amenities in the Southern Plains of the U.S. · Verdun, France, and the conservation of WWI cultural and natural heritage · Conservation lessons learned in the Cordillera del Condor Corridor of the Andes mountains · Korea’s DMZ and its nature preserve · Wakhan National Park, a mountainous buffer area between Afghanistan and Pakistan The book examines state-of-the-art applications of landscape ecology, including methods for change detection, connectivity analysis, and the quantification of ecosystem services. Also included is a chapter on a creative proposal for “Guantánamo 2.0,” which would transform the Gitmo detention facility into a peace park and ecological research center. A concluding chapter appraises the past, present, and future of Collateral Values. Collateral Values: The Natural Capital Created by Landscapes of War benefits a broad audience of advanced undergraduate and graduate students, researchers, and practicing professionals.




War Upon the Land


Book Description

In this first book-length environmental history of the American Civil War, Lisa M. Brady argues that ideas about nature and the environment were central to the development and success of Union military strategy. From the start of the war, both sides had to contend with forces of nature, even as they battled one another. Northern soldiers encountered unfamiliar landscapes in the South that suggested, to them, an uncivilized society's failure to control nature. Under the leadership of Ulysses S. Grant, William Tecumseh Sherman, and Philip Sheridan, the Union army increasingly targeted southern environments as the war dragged on. Whether digging canals, shooting livestock, or dramatically attempting to divert the Mississippi River, the Union aimed to assert mastery over nature by attacking the most potent aspect of southern identity and power--agriculture. Brady focuses on the siege of Vicksburg, the 1864 Shenandoah Valley campaign, marches through Georgia and the Carolinas, and events along the Mississippi River to examine this strategy and its devastating physical and psychological impact. Before the war, many Americans believed in the idea that nature must be conquered and subdued. Brady shows how this perception changed during the war, leading to a wider acceptance of wilderness. Connecting environmental trauma with the onset of American preservation, Brady pays particular attention to how these new ideas of wilderness can be seen in the creation of national battlefield memorial parks as unaltered spaces. Deftly combining environmental and military history with cultural studies, War upon the Land elucidates an intriguing, largely unexplored side of the nation's greatest conflict.




Landscapes of War


Book Description

From the earliest evidence of human aggression to the mordern era of sophisticated warfare, this book covers the archaeological aspects of war in the landscape using a multi-period thematic approach incorporating worldwide material. The book discusses the evidence for warfare from Ancient Sumeria to the fall of the Roman Empire in the west and then concentrates on the form and types of defences adopted by different cultures and communities from the level of family projection up to that of national defence, using the archaeology of Britain as a major source of vidence. Drawing on a wide variety of research including excavated evidence, historical sources and in some cases oral testimony, the authors analyse the importance of archaeology as a tool for interpretation and take a close look at the influence of terrain in some specially chosen military campaigns across the globe. The patterns of warfare which repeat themselves in the forms of arms races and technological advances from prehistory to the present are examined in terms of the cycles of aggressive and defensive measures, and case studies are used to exemplify how and why territorial frontiers were held or lost in different eriods. AUTHOR: Both authors have been involved in teaching historical and archaeological material at the University of Surrey on a Continuing Education degree course as well as undertaking their own research in the field. Paul Hill, formerly curator at Kingston Museum in Surrey, has a background of Anglo-Saxon weapongs and warfare and Julie Wileman has been researching into prehistoric warfare at UCL and has worked as Assistant Director and Finds Officer at a number of archaeological sites in Surrey.




Landscapes of the Jihad


Book Description

What are the motives behind Osama bin Laden's and Al-Qaeda's jihad against America and the West? Innumerable attempts have been made in recent years to explain that mysterious worldview. In Landscapes of the Jihad, Faisal Devji focuses on the ethical content of this jihad as opposed to its purported political intent. Al-Qaeda differs radically from such groups as Egypt's Muslim Brotherhood and Indonesia's Jemaah Islamiyah, which aim to establish fundamentalist Islamic states. In fact, Devji contends, Al-Qaeda, with its decentralized structure and emphasis on moral rather than political action, actually has more in common with multinational corporations, antiglobalization activists, and environmentalist and social justice organizations. Bin Laden and his lieutenants view their cause as a response to the oppressive conditions faced by the Muslim world rather than an Islamist attempt to build states.Al-Qaeda culls diverse symbols and fragments from Islam's past in order to legitimize its global war against the "metaphysical evil" emanating from the West. The most salient example of this assemblage, Devji argues, is the concept of jihad itself, which Al-Qaeda defines as an "individual duty" incumbent on all Muslims, like prayer. Although medieval Islamic thought provides precedent for this interpretation, Al-Qaeda has deftly separated the stipulation from its institutional moorings and turned jihad into a weapon of spiritual conflict. Al-Qaeda and its jihad, Devji suggests, are only the most visible manifestations of wider changes in the Muslim world. Such changes include the fragmentation of traditional as well as fundamentalist forms of authority. In the author's view, Al-Qaeda represents a new way of organizing Muslim belief and practice within a global landscape and does not require ideological or institutional unity.Offering a compelling explanation for the central purpose of Al-Qaeda's jihad against the West, the meaning of its strategies and tactics, and its moral and aesthetic dimensions, Landscapes of the Jihad is at once a sophisticated work of historical and cultural analysis and an invaluable guide to the world's most prominent terrorist movement.




Devour the Land


Book Description

Tracing the impacts of militarism on the American landscape, through the lens of art, environmental studies, and politics Devour the Land considers how contemporary photographers have responded to the US military's impact on the domestic environment since the 1970s, a dynamic period for environmental activism as well as for photography. This catalogue presents a lively range of voices at the intersection of art, environmentalism, militarism, photography, and politics. Alongside interviews with prominent contemporary artists working in the landscape photography tradition, the images speak to photographers' varied motivations, personal experiences, and artistic approaches. The result is a surprising picture of the ways violence and warfare surround us. Although most modern combat has taken place abroad, the US domestic landscape bears the footprint of armed conflict--much of the environmental damage we live with today was caused by our own military and the expansive network of industries supporting its work. Designed to evoke a field book and to nod toward ephemera produced by earlier artists and activists, the catalogue features works by dozens of photographers, including Ansel Adams, Robert Adams, Dorothy Marder, Alex Webb, Terry Evans, and many more.




Landscapes of Silence


Book Description

Hugh Brody is renowned for his work with indigenous peoples. In the 80s he was engaged in a lawsuit brought by the Inuit people of the Arctic against the Canadian government. Brody lived with the Inuit, learned their language, recorded all their stories, which were then used as evidence in the court case - which the Inuit won. In his new book, he returns to the Arctic and is confronted by the deterioration of the situation there. The Inuit now possess the land, but the government has pressured them into living in settlements rather than out on the land. Their children are forced to go to school where they learn to speak English, losing their own language, which is the element that ties them to their land. Sexual abuse by the treachers intimidates the children into a silence that results in widespread suicide among the young. This silence ties in with Brody's own story - a mother hounded out of her home in Vienna by the Nazis, causing her to retreat into the same kind of silence that Tom Stoppard experienced from his mother, who also fled from the Nazis. As a writer and anthropologist, Brody's concern has always been with the human condition, arguing for the need to safeguard the most vulnerable from the depredations of the modern word.




Reconstructing Minds and Landscapes


Book Description

Mental and material reconstruction was an ongoing process after World War II, and it still is. This volume combines a detailed treatment of post-war cultural reconstruction in Finnish Lapland – a region on the geographical and historical margins of its nation-state – with comparative case studies of silent post-war memory from other European countries The contributors shed light on key aspects of cultural reconstruction generally: disruptions of national narratives, difficulties of post-war cultural demobilisation, sites of memory, visual narratives of post-war reconstruction, and manifestations of trans-generational experiences of cultural reconstruction. Exploration of the less conspicuous aspects of mental reconstruction reveals various forms of post-war silence and silencing which have halted or hindered different groups of people in their mental return to peace. Rather than focusing on the “executive level” of material reconstruction, the volume turns its gaze towards those who experienced the return to peace in the mental, societal, and historical margins: members of ethnic, religious, and cultural minorities, women, and children. The chapters draw on archival and other original sources, personal memories, autobiographical interpretations, and academic debate. The volume is relevant for scholars and advanced students in the fields of cultural history, art history, and cultural studies.




Militarized Landscapes


Book Description

The black smoke billowing from burning oil wells during the Gulf War of 1990-91 directed media and public attention towards war's devastating environmental impact. Yet even before the first bomb is dropped, preparation for warfare materially and imaginatively reshapes rural landscapes and environments. This volume is the first to explore the comparative histories and geographies of militarized landscapes. Moving beyond the narrow definition of militarized landscapes as theatres of war, it treats them as simultaneously material and cultural sites that have been partially or fully mobilized to achieve military aims. Ranging from the Korean DMZ to nuclear testing sites in the American West, and from Gettysburg to Salisbury Plain, Militarized Landscapes focuses on these often secretive, hidden, dangerous and invariably controversial sites that occupy huge swathes of national territories.




Graham Sutherland


Book Description

This important book revisits a major figure from a now somewhat neglected generation who dominated the British art scene in the 1930s and 1940s. Focusing on the period from the mid 1930s, when Sutherland established his identity as a modern painter to the 1950s, when his influence began to wane, it portrays the types of work that gave rise to a widespread consensus amongst fellow artists and critics that Sutherland was the most exciting and compelling voice in contemporary British painting. Two particular strands of his imagery are discussed: the landscapes of Pembrokeshire and the South of France, before and after the Second World War; and the scenes of devastation produced for the War Artists scheme run by Sutherland's great friend Kenneth Clark. The dramatic colour and lighting and the metamorphosis of observed form in his pictures of bombed buildings, tin mines and factory interiors, struck a powerful emotional chord in such traumatic times. The book also includes sections on the early 1920s etchings, which introduced certain fundamentals of his art, and on the initial emergence of his portraiture with the creation of Somerset Maugham in 1949. There are also carefully selected works by other artists, past and present, in whom Sutherland took an interest: such as Blake, Palmer, Nash and Masson. Published to accompany the major exhibition at Dulwich Picture Gallery in June 2005, this long overdue and much requested book, (there has not been a substantial Sutherland show in London since 1982), comprises eighty oils and works on paper drawn from public and private collections throughout the UK and offers a selective interpretation of his painting rather than the usual career retrospective. The exhibition opens at Dulwich Picture Gallery on 16th June to 25th September 2005 and will travel to the Djanogly Gallery in Nottingham in the autumn. 904009490X