Podcasts about imagining war

Top Gun Wins Over Chinese Regime ‘Money Power;' Imagining War with the CCP—Feat. Elliot Ackerman

Intimidating warplane “exercises” around Taiwan, saying that Australia could become its nuclear target, nearly ramming a U.S. warship; and now, flying dangerously close to Canadian Air Force jets—are these signals the Chinese regime is bracing to launch a real attack? Elliot Ackerman is a decorated, former U.S. Marine Corps officer who served five tours in Iraq and Afghanistan. He offers his insights into what would happen if the U.S. defended Taiwan from Chinese regime invasion. “Top Gun: Maverick,” and “Doctor Strange 2” are breaking box office records. On a battlefield of a different kind, they're showing that resisting Chinese regime film censorship, can be potentially more lucrative than submitting to it. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Intimidating warplane “exercises” around Taiwan; saying that Australia could become its nuclear target; nearly ramming a U.S. warship; and now, flying dangerously close to Canadian Air Force jets—are these signals the Chinese regime is bracing to launch a real attack? Elliot Ackerman is a decorated, former U.S. Marine Corps officer who served five tours in […]

Session 1: Imagining War. A scholar lecture by Dr. Richard Etulain. Dr Etulain provides an overview of Civil War history and literature for a discussion of "March," by Geraldine Brooks and part one of the "America's War" anthology.  Recorded live at Central Library: March 25, 2012

A half-day workshop in conjunction with Jay Winter's 2012 Humanitas Visiting Professorship in War Studies at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH). Mr Paul Cornish : Exhibiting War. A New First World War Gallery for the Imperial War Museum. Senior Curator and Historian, Imperial War Museum, London Dr Dacia Viejo-Rose : Cultural and Symbolic Violence: The case of Spain, 1936-2006 British Academy Post-doctoral Fellow, Macdonald Institute for Archaeological Research, University of Cambridge Dr Khadija Carroll La: If you fight the dragon long, the dragon you become: Comments on Monuments in the Balkan Newton Fellow, Museum of Archaeology and Anthropology, University of Cambridge Building on Professor Jay Winter’s series of lectures on Writing War, Figuring War, and Filming War, as well as a concluding symposium on Imagining War in the 20th Century and After, this workshop will provide an opportunity to further explore the general topic of 'imagining war' by linking it with some of the concerns of the Between Civilisation and Militarisation Faculty Research Group, particularly the murky and manipulable imagined line between 'civil' and 'military' spheres of action and influence. We will focus on the interrelations among the following conceptual triad: conflict + culture + witnessing. In this triad, ‘culture’ will be understood to encompass forms of creative expression and exhibition, as well as definitions of the term that stem from anthropology and political science, in particular the idea of ‘cultural violence’. Questions about practices of ‘witnessing’ and offering ‘testimony’ will be applied not only to the arts, social sciences and humanities as intellectual institutions, but also to the roles and responsibilities that various actors in conflict situations might perform, from military soldiers and museum archivists, to civilians living in war torn spaces, and even to the spaces themselves. Some of the questions raised during the workshop include: What kinds of politics of memory and recognition emerge from war? How do artistic expressions and exhibitions serve various actors in war situations in presenting testimonies of experiences? How have artists been drawn to war themes from ‘outside’ as witnesses to ‘internal’ conflicts? How do artistic and historical memorials offer more and less satisfying testimony to the destruction and loss occasioned by war?

A half-day workshop in conjunction with Jay Winter's 2012 Humanitas Visiting Professorship in War Studies at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH). Prof Alex Danchev : The Images of Abu Ghraib Professor of International Relations, University of Nottingham Dr Beatrice Jauregui : American Communion: Vietnam War Veterans Reunions Research Fellow in Social Anthropology, Emmanuel College, University of Cambridge Ms Jananne Al-Ani : The Aesthetics of Disappearance: A Land without People Award-winning Artist, London Building on Professor Jay Winter’s series of lectures on Writing War, Figuring War, and Filming War, as well as a concluding symposium on Imagining War in the 20th Century and After, this workshop will provide an opportunity to further explore the general topic of 'imagining war' by linking it with some of the concerns of the Between Civilisation and Militarisation Faculty Research Group, particularly the murky and manipulable imagined line between 'civil' and 'military' spheres of action and influence. We will focus on the interrelations among the following conceptual triad: conflict + culture + witnessing. In this triad, ‘culture’ will be understood to encompass forms of creative expression and exhibition, as well as definitions of the term that stem from anthropology and political science, in particular the idea of ‘cultural violence’. Questions about practices of ‘witnessing’ and offering ‘testimony’ will be applied not only to the arts, social sciences and humanities as intellectual institutions, but also to the roles and responsibilities that various actors in conflict situations might perform, from military soldiers and museum archivists, to civilians living in war torn spaces, and even to the spaces themselves. Some of the questions raised during the workshop include: What kinds of politics of memory and recognition emerge from war? How do artistic expressions and exhibitions serve various actors in war situations in presenting testimonies of experiences? How have artists been drawn to war themes from ‘outside’ as witnesses to ‘internal’ conflicts? How do artistic and historical memorials offer more and less satisfying testimony to the destruction and loss occasioned by war?

Professor Jay Winter: Imagining the Great War: The Historial de la grande guerre, Péronne, Somme Charles J. Still Professor of History, Yale University and CRASSH Visiting Humanitas Professor, University of Cambridge Building on Professor Jay Winter’s series of lectures on Writing War, Figuring War, and Filming War, as well as a concluding symposium on Imagining War in the 20th Century and After, this workshop will provide an opportunity to further explore the general topic of 'imagining war' by linking it with some of the concerns of the Between Civilisation and Militarisation Faculty Research Group, particularly the murky and manipulable imagined line between 'civil' and 'military' spheres of action and influence. We will focus on the interrelations among the following conceptual triad: conflict + culture + witnessing. In this triad, ‘culture’ will be understood to encompass forms of creative expression and exhibition, as well as definitions of the term that stem from anthropology and political science, in particular the idea of ‘cultural violence’. Questions about practices of ‘witnessing’ and offering ‘testimony’ will be applied not only to the arts, social sciences and humanities as intellectual institutions, but also to the roles and responsibilities that various actors in conflict situations might perform, from military soldiers and museum archivists, to civilians living in war torn spaces, and even to the spaces themselves. Some of the questions raised during the workshop include: What kinds of politics of memory and recognition emerge from war? How do artistic expressions and exhibitions serve various actors in war situations in presenting testimonies of experiences? How have artists been drawn to war themes from ‘outside’ as witnesses to ‘internal’ conflicts? How do artistic and historical memorials offer more and less satisfying testimony to the destruction and loss occasioned by war?

Humanitas Visiting Professor in War Studies 2012 The Humanitas Chair in War Studies has been made possible by the generous support of Sir Ronald Grierson. Professor Jay Winter Professor Jay Winter (Charles J Stille Professor of History, Yale University) will give a series of three public lectures and a concluding symposium on Imagining War in the 20th Century and After. The lectures explore mediating languages and symbolic forms which writers, artists, and filmmakers have used to represent war since 1900. This attention to language in cultural history is at the core of this interpretation. What we know of war is always mediated knowledge and feeling. The event itself, what Walt Whitman called the red thing, the actual killing, is beyond us. We need lenses to filter out some of its blinding, terrifying light in order to see it at all. The lectures want to draw attention to these lenses as the elements which make understanding war possible at the same time as they limit what we see. The third and final lecture addresses a central problem in the framing of war in film. That problem is to determine how filmmakers have chosen between the spectacular and the indirect approach to making war films. Both have been mainstays of the industry since its foundation, just in the nick of time for the arrival of industrialized, assembly-line violence in 1914. The claim is that the genre of war films has a history, a shift in approach over time, which always runs up against the immovable limit condition of the art: which is, that every attempt to film war fails.

Humanitas Visiting Professor in War Studies 2012 The Humanitas Chair in War Studies has been made possible by the generous support of Sir Ronald Grierson. Professor Jay Winter Professor Jay Winter (Charles J Stille Professor of History, Yale University) will give a series of three public lectures and a concluding symposium on Imagining War in the 20th Century and After. The lectures explore mediating languages and symbolic forms which writers, artists, and filmmakers have used to represent war since 1900. This attention to language in cultural history is at the core of this interpretation. What we know of war is always mediated knowledge and feeling. The event itself, what Walt Whitman called the red thing, the actual killing, is beyond us. We need lenses to filter out some of its blinding, terrifying light in order to see it at all. The lectures want to draw attention to these lenses as the elements which make understanding war possible at the same time as they limit what we see. The second lecture addresses painting and sculpture in an effort to show that figuring war has the capacity to reduce and at times to leap over some of these language barriers. Putting a face on war has a history, and it has been one primarily of progressive effacement since 1900.

Humanitas Visiting Professor in War Studies 2012 The Humanitas Chair in War Studies has been made possible by the generous support of Sir Ronald Grierson. Professor Jay Winter Professor Jay Winter (Charles J Stille Professor of History, Yale University) will give a series of three public lectures and a concluding symposium on Imagining War in the 20th Century and After. The lectures explore mediating languages and symbolic forms which writers, artists, and filmmakers have used to represent war since 1900. This attention to language in cultural history is at the core of this interpretation. What we know of war is always mediated knowledge and feeling. The event itself, what Walt Whitman called the red thing, the actual killing, is beyond us. We need lenses to filter out some of its blinding, terrifying light in order to see it at all. The lectures want to draw attention to these lenses as the elements which make understanding war possible at the same time as they limit what we see. One such element is linguistic in a straightforward sense. The first lecture will make the claim that in whatever language we utter, we speak differently of war. English and French will be taken as points of reference, but those learned in other languages can test this hypothesis easily enough. The claim is that we have as many languages of war as we have languages through which we speak to each other. They are neither interchangeable nor are they transparently equivalent. Each brings its history, its music, its memory of the past with it. We have many languages of war, and once we realize that, we can register the uncomfortable fact that the mountain of literature we have about war is the real tower of Babel of our time.