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Wartime travel to southern Africa, race and the discourse of opportunity
Jean P. Smith

) . 57 J.M. Tinley, South African Food and Agriculture in World War II (Stanford: Stanford University Press, 1954) , pp. 3–4, 116; Lizzie Collingham, The Taste of War: World War Two and the Battle for Food (London: Allen Lane, 2011) , pp. 8, 66–7; David Edgerton, Britain’s War Machine: Weapons, Resources and Experts in the Second World War (London: Allen Lane, 2011) , pp. 158, 160, 172. 58 South African fruit was well known in Britain, in part as a result of the

in Settlers at the end of empire
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Andy Birtwistle

by Cage, Ellitt and Varèse fifty years earlier, the composers’ ideas are perhaps more fully realised in sonic terms by those video scratchers who worked without a continuous music track, simply using the sound of the appropriated footage as a form of musique concrete. In the Duvet Brothers’ 1984 tape War Machine, looped sounds of heavy artillery create the basis of a powerful, unrelenting sonic accompaniment to

in Cinesonica
Torbjørn L. Knutsen

World War II, personified political evil. The atrocities of his war machine have represented an image of naked power politics. The Nazi ideology, with its mix of biology and politics and its lack of any universal notions of ethics, has become a representation of ideas and theories that are barbaric and beyond the pale of acceptable political discourse. After World War II the study of International Relations has been affected by two fearful memories from World War II: one is the Nazi death camps; the other is the atomic bombs over Hiroshima and Nagasaki. Both

in A history of International Relations theory (third edition)
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Pathologising security through Lacanian desire
Charlotte Heath-Kelly

professionals and the bombers themselves. The knowledge that our own actions play a role in provoking terrorist violence is refused, so that the game of terror and counterterror may continue. Furthermore, the knowledge that military intervention and airstrikes never succeed in resolving militant struggles is also deliberately forgotten. Instead, the war machine displays a repeated compulsion to adopt airstrikes

in Death and security
Fabian Graham

roads, railways, schools, sewerage and hospitals were built, it is unlikely that either Taiwan’s post-war economic miracle and the new belief circles that emerged from it, could have proceeded at such a rapid pace without these Japanese contributions. The ‘Japanisation Movement’ that emerged in the late 1930s sought to transform the residents of Taiwan into Japanese citizens, and many local residents adopted Japanese names, while in return Taiwan produced food supplies to support Japan’s war machine. Due to the thirty-eight years of martial law under the KMT which

in Voices from the Underworld
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Scott Wilson

, expelled or repelled by the machine. But, at the same time, it is in such repellent detritus that the newest, most desirable products might be found. Symptomatic of violent refusals of Western capitalism elsewhere, the authenticity associated with trauma and violence also returns to the war machine precisely at the point where the pleasure principle of American popular cultural hegemony reaches its limit. All is war According to Rolling Stone, rap and metal are far and away the most popular musical forms of US soldiers participating in the occupation of Iraq. In a poll

in Great Satan’s rage
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Scott Wilson

provides not just the sound track of a war machine, but its very modality in form, speed and intensity. The ‘themes of chaos, death, violence, and destruction’ (102) enhance the death metal machine to the point of it becoming the double of war in a heightened form. So much so that Christopher Coker claims that such music is used to compensate for the absence of intensity in contemporary warfare. For fighter pilots, wired into a cockpit linked to a network of computers, remote from the effect of their actions, war has become cerebral rather than visceral. ‘In the Gulf War

in Great Satan’s rage
Lindsey Dodd

flying v 174 v Explaining bombing to the public fortresses have bombed the submarine base at Lorient very heavily’.50 The intention was to emphasise the target: the base, not the town. It was part of a campaign against ‘the entire German war machine’.51 Workers learnt that the materiel they produced was being sent to the Wehrmacht on the Eastern Front so bombing French factories was also helping their hard-pressed Russian comrades.52 The clandestine press, however, not privy to the Allies’ plans, and deprived of accurate information, gave less contextualisation

in French children under the Allied bombs, 1940–45
Tortured Souls and Mister B. Gone’s new myths of the flesh
Xavier Aldana Reyes

war machines and torture instruments, p. 109. 45 Ibid . p. 98. 46 This exorcism is also metaphorical and related to guilt: Mister B. sees writing things, ‘setting [them] down in pages’, as a way of ‘purging all

in Clive Barker
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Alison Phipps

enemy. This politics also creates risks of violence: for instance, for sex workers dealing with the effects of 107 PHIPPS 9781526147172 PRINT.indd 107 14/01/2020 13:18 Me, not you criminalisation, and trans women made to use men’s bathrooms or incarcerated in men’s prisons. Melissa Gira Grant has called this feminism’s own ‘war on women’, where some women are subjected to poverty, violence and prison in the name of defending other women’s rights.36 In the next two chapters, I will examine this ‘war machine’ of white feminism in more detail. 108 PHIPPS

in Me, not you