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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
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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
Open Access (free)
Aesthetics, fragmentation and community
Simon Malpas

’s gesture of setting art free from the search for truth, it ‘returns’ to haunt philosophical modernity, sucked back into the vortex of speculation by the force of the movement of dialectical negation. What Lacoue-Labarthe calls Hegel’s ‘gigantic “war machine” directed against aesthetics in general’ fails both to eliminate art and to exclude it from systematic thought.16 When Hegel returns to the problem of the ‘end of art’ later in the Aesthetics, he seems to recognise as much, and the meaning given to art’s ‘pointing beyond itself ’ changes significantly: in this self

in The new aestheticism
Open Access (free)
Christine E. Hallett

women; and here they differ from male narratives. While the writings of men tell of being led up to the war front and held there either to survive or to be dragged into and destroyed by the war machine, for those female writers not attached to ‘official’ services, flight was possible and could occur at almost any time. Memoirs such as Violetta Thurstan’s Field Hospital and Flying Column have this tone. They are about freedom, not captivity. Nurses who avoided ‘official’ enlistment, and offered their services, instead, to ‘freelance’ hospital units or to Red Cross

in Nurse Writers of the Great War
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Pascale Drouet

denial and social debasement. Her purpose here is to save not her son but Rome (and herself) from her son’s ‘war machine’. As if she could not consciously acknowledge that, in the end, her city might matter more than her son, she seems to face a dilemma: ‘Alack, or we must lose / The country, our dear nurse, or else thy person, / Our comfort in the country’ (110–12). But at the same time she challenges her

in Shakespeare and the denial of territory
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Death by a thousand cuts?
Ashley Lavelle

upswing (in reality achieved only when the war machine was set in motion in the US and the world at large; see Kolko, 1976: 155). All in all, there was a comparatively small presence by the state in the economy of the 1930s. Debunking other myths, Callaghan makes the point that an overstatement of social democratic strength during the post-war boom serves to render a false novelty to the apparent impotence of social democracy in negotiating politics and economics in the age of so-called ‘globalisation’. What is commonly referred to as the golden era of social democracy

in European social democracy during the global economic crisis
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