After 1898 the United States not only solidified its position as an economic colossus, but by annexing Puerto Rico and the Philippines it had also added for the first time semi-permanent, heavily populated colonies unlikely ever to attain statehood. In short order followed a formal protectorate over Cuba, the "taking" of Panama to build a canal, and the announcement of a new Corollary to the Monroe Doctrine, proclaiming an American duty to "police" the hemisphere. Empire had been an American practice since the nation's founding, but the new policies were understood as departures from traditional methods of territorial expansion. How to match these actions with traditional non-entanglement constituted the central preoccupation of U.S. foreign relations in the early twentieth century. International lawyers proposed instead that the United States become an impartial judge. By becoming a force for law in the world, America could reconcile its republican ideological tradition with a desire to rank with the Great Powers. Lawyers' message scaled new heights of popularity in the first decade and a half of the twentieth century as a true profession of international law emerged. The American Society of International Law (ASIL) and other groups, backed by the wealth of the Carnegie Endowment for International Peace, held annual meetings and published journals. They called for the creation of an international court, the holding of regular conferences to codify the rules of law, and the education of public opinion as to the proper rights and duties of states. To an extent unmatched before or since, the U.S. government-the executive branch if not always the U.S. Senate-embraced this project. Washington called for peace conferences and pushed for the creation of a "true " international court. It proposed legal institutions to preserve order in its hemisphere. Meanwhile lawyers advised presidents and made policy. The ASIL counted among its first members every living secretary of state (but one) who held office between 1892 and 1920. Growing numbers of international lawyers populated the State Department and represented U.S. corporations with business overseas. International lawyers were not isolated idealists operating from the sidelines. Well-connected, well-respected, and well-compensated, they formed an integral part of the foreign policy establishment that built and policed an expanding empire.

Red Bird, Red Power tells the story of one of the most influential - and controversial - American Indian activists of the twentieth century. Zitkala-Sa (1876-1938), also known as Gertrude Simmons Bonnin, was a highly gifted writer, editor, and musician who dedicated her life to achieving justice for Native peoples. Here, Tadeusz Lewandowski offers the first full-scale biography of the woman whose passionate commitment to improving the lives of her people propelled her to the forefront of Progressive-era reform movements. Lewandowski draws on a vast array of sources, including previously unpublished letters and diaries, to recount Zitkala-Sa's unique life journey. Her story begins on the Dakota plains, where she was born to a Yankton Sioux mother and a white father. Zitkala-Sa, whose name translates as ""Red Bird"" in English, left home at age eight to attend a Quaker boarding school, eventually working as a teacher at Carlisle Indian Industrial School. By her early twenties, she was the toast of East Coast literary society. Her short stories for the Atlantic Monthly (1900) are, to this day, the focus of scholarly analysis and debate. In collaboration with William F. Hanson, she wrote the libretto and songs for the innovative Sun Dance Opera (1913). And yet, as Lewandowski demonstrates, Zitkala-Sa's successes could not fill the void of her lost cultural heritage, nor dampen her fury toward the Euro-American establishment that had robbed her people of their land. In 1926, she founded the National Council of American Indians with the aim of redressing American Indian grievances. Zitkala-Sa's complex identity has made her an intriguing - if elusive - subject for scholars. In Lewandowski's sensitive interpretation, she emerges as a multifaceted human being whose work entailed constant negotiation. In the end, Lewandowski argues, Zitkala-Sa's achievements distinguish her as a forerunner of the Red Power movement and an important agent of change.

This intriguing study examines the truth behind the myths and misconceptions that defined the Roaring Twenties, as portrayed through the popular literary works of the time. This one-stop reference to the "Jazz Age"-the period that began after the First World War and ended with the stock market crash of 1929-digs into the cultural, historical, and literary contexts of the era. Author Linda De Roche examines the writing of the time to look beyond the common conceptions of the Roaring Twenties and instead reflect on the era's complexities and contradictions, including how gender and race influenced social mores. The book profiles key American literature of the time, including F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's The Sun Also Rises, Sinclair Lewis's Babbit, Anita Loos's Gentlemen Prefer Blondes, and Nella Larsen's Passing. Filled with essays that offer historical explorations of each work as well as suggested learning activities, chapters also feature study questions, primary source documents, and chronologies. Support materials include activities, lesson plans, discussion questions, topics for further research, and suggested readings. Outlines key events and developments and provides context for the historical period and work Aligns with Common Core standards in English language arts and social studies Discusses five major writers of the Jazz Age Provides numerous suggestions for class activities and further individual exploration Supplies educators with ready reference work that aligns with Common Core Standards in English Language Arts (ELA) in Social Studies Gives readers insight into how literature and other art forms reflect the social conditions and are inspired by events of the time

In this book, Judy Kutulas complicates the common view that the 1970s were a time of counterrevolution against the radical activities and attitudes of the previous decade. Instead, Kutulas argues that the experiences and attitudes that were radical in the 1960s were becoming part of mainstream culture in the 1970s, as sexual freedom, gender equality, and more complex notions of identity, work, and family were normalized through popular culture--television, movies, music, political causes, and the emergence of new communities. Seemingly mundane things like watching The Mary Tyler Moore Show, listening to Carole King songs, donning Birkenstock sandals, or reading Roots were actually critical in shaping Americans' perceptions of themselves, their families, and their relation to authority. Even as these cultural shifts eventually gave way to a backlash of political and economic conservatism, Kutulas shows that what critics perceive as the narcissism of the 1970s was actually the next logical step in a longer process of assimilating 1960s values like individuality and diversity into everyday life. Exploring such issues as feminism, sexuality, and race, Kutulas demonstrates how popular culture helped many Americans make sense of key transformations in U.S. economics, society, politics, and culture in the late twentieth century.

The year is 1932. In Rome, the Fascist leader Benito Mussolini unveils a giant obelisk of white marble, bearing the Latin inscription MVSSOLINI DVX. Invisible to the cheering crowds, a metal box lies immured in the obelisk's base. It contains a few gold coins and, written on a piece of parchment, a Latin text: the Codex fori Mussolini. What does this text say? Why was it buried there? And why was it written in Latin? The Codex, composed by the classical scholar Aurelio Giuseppe Amatucci (1867-1960), presents a carefully constructed account of the rise of Italian Fascism and its leader, Benito Mussolini. Though written in the language of Roman antiquity, the Codex was supposed to reach audiences in the distant future. Placed under the obelisk with future excavation and rediscovery in mind, the Latin text was an attempt at directing the future reception of Italian Fascism. This book renders the Codex accessible to scholars and students of different disciplines, offering a thorough and wide-ranging introduction, a clear translation, and a commentary elucidating the text's rhetorical strategies, historical background, and specifics of phrasing and reference. As the first detailed study of a Fascist Latin text, it also throws new light on the important role of the Latin language in Italian Fascist culture.

The Rarefied Air of the Modern examines technology, modern identity, and history-making in Peru by telling the story of the surprising success of Peruvian pilots in European aviation competitions in 1910, and how their achievements generated great optimism that this new technology could lift the country out of its self-perceived backwardness. Though poor infrastructure, economic woes, a dearth of technical expertise, and a ghastly number of pilot deaths slowed the project after the first flights over Lima in 1911, the image of intrepid Peruvian pilots inspired a new sense of national possibility. Airplanes seemed to embody not just technological progress but enlightened rationality, capitalist enterprise, and nation-state aggrandizement. By 1928, three commercial lines were transporting passengers, mail, and merchandise from Lima to other parts of the country and South America. This exploration of the fitful development of Peruvian aviation illuminates how a Eurocentric modernizing vision has served as a powerful organizing force in regions with ambivalent relationships to the West. More broadly, it underscores the important role that technology plays in larger, complex historical processes. Even as politicians, businessmen, military officials, journalists, and ruling oligarchs felt a special kinship with Peru's aviation project, diverse socioeconomic groups engaged aviation to challenge power asymmetries and historical silences rooted in Peru's postcolonial past. Most observers at the time considered airplanes a "universal" technology that performed the same function in Europe, the United States, and Peru. In reality, how Peruvians mobilized and understood airplanes reflected culturally specific values and historical concerns.

In this revised edition of A Short History of the Spanish Civil War, Julian Casanova tells the gripping story of the Spanish Civil War. Written in elegant and accessible prose, the book charts the most significant events and battles alongside the main players in the tragedy. Casanova provides answers to some of the pressing questions (such as the roots and extent of anticlerical violence) that have been asked in the 70 years that have passed since the painful defeat of the Second Republic. Now with a revised introduction, Casanova offers an overview of recent historiographical shifts; not least the wielding of the conflict to political ends in certain strands of contemporary historiography towards an alarming neo- Francoist revisionism. It is the ideal introduction to the Spanish Civil War.

Vladimir Burtsev and the Struggle for a Free Russia examines the life of the journalist, historian and revolutionary, Vladimir Burtsev. The book analyses his struggle to help liberate the Russian people from tsarist oppression in the latter half of the 19th century before going on to discuss his opposition to Bolshevism following the Russian Revolution of 1917. Robert Henderson traces Burtsev's political development during this time and explores his movements in Paris and London at different stages in an absorbing account of an extraordinary life. At all times Vladimir Burtsev and the Struggle for Free Russia sets Burtsev's life in the wider context of Russian and European history of the period. It uses Burtsev as a means to discuss topics such as European police collaboration, European prison systems, international diplomatic relations of the time and Russia's relationship with Europe specifically. Extensive original archival research and previously untranslated Russian source material is also incorporated throughout the text. This is an important study for all historians of modern Russia and the Russian Revolution.

The disastrous Buffalo Creek Treaty of 1838 called for the Senecas' removal to Kansas (then part of the Indian Territory). From this low point, the Seneca Nation of Indians, which today occupies three reservations in western New York, sought to rebound. Beginning with events leading to the Seneca Revolution in 1848, which transformed the nation's government from a council of chiefs to an elected system, Laurence M. Hauptman traces Seneca history through the New Deal. Based on the author's nearly fifty years of archival research, interviews, and applied work, Coming Full Circle shows that Seneca leaders in these years learned valuable lessons and adapted to change, thereby preparing the nation to meet the challenges it would face in the post-World War II era, including major land loss and threats of termination. Instead of emphasizing American Indian decline, Hauptman stresses that the Senecas were actors in their own history and demonstrated cultural and political resilience. Both Native belief, in the form of the Good Message of Handsome Lake, and Christianity were major forces in Seneca life; women continued to play important social and economic roles despite the demise of clan matrons' right to nominate the chiefs; and Senecas became involved in national and international competition in long-distance running and in lacrosse. The Seneca Nation also achieved noteworthy political successes in this period. The Senecas resisted allotment, and thus saved their reservations from breakup and sale. They recruited powerful allies, including attorneys, congressmen, journalists, and religious leaders. They saved their Oil Spring Reservation, winning a U.S. Supreme Court case against New York State on the issue of taxation and won remuneration in their Kansas Claims case. These efforts laid the groundwork for the Senecas' postwar endeavor to seek compensation before the Indian Claims Commission and pursuit of a series of land claims and tax lawsuits against New York State.

From the early phases of modern missions, Christian missionaries supported many humanitarian activities, mostly framed as subservient to the preaching of Christianity. This anthology contributes to a historically grounded understanding of the complex relationship between Christian missions and the roots of humanitarianism and its contemporary uses in a Middle Eastern context. Contributions focus on ideologies, rhetoric, and practices of missionaries and their apostolates towards humanitarianism, from the mid-19th century Middle East crises, examining different missionaries, their society's worldview and their networks in various areas of the Middle East. In the early 20th century Christian missions increasingly paid more attention to organisation and bureaucratisation ('rationalisation'), and media became more important to their work. The volume analyses how non-missionaries took over, to a certain extent, the aims and organisations of the missionaries as to humanitarianism. It seeks to discover and retrace such 'entangled histories' for the first time in an integral perspective. Contributors include: Beth Baron, Philippe Bourmaud, Seija Jalagin, Nazan Maksudyan, Michael Marten, Heleen (L.) Murre-van den Berg, Inger Marie Okkenhaug, Idir Ouahes, Maria Chiara Rioli, Karene Sanchez Summerer, Bertrand Taithe, and Chantal Verdeil

This book explores the diverse ways in which Holocaust representations have influenced and structured how other genocides are understood and represented in the West. Rebecca Jinks focuses in particular on the canonical 20th century cases of genocide: Armenia, Cambodia, Bosnia, and Rwanda. Using literature, film, photography, and memorialisation, she demonstrates that we can only understand the Holocaust's status as a 'benchmark' for other genocides if we look at the deeper, structural resonances which subtly shape many representations of genocide. Representing Genocide pursues five thematic areas in turn: how genocides are recognised as such by western publics; the representation of the origins and perpetrators of genocide; how western witnesses represent genocide; representations of the aftermath of genocide; and western responses to genocide. Throughout, the book distinguishes between 'mainstream' and other, more nuanced and engaged, representations of genocide. It shows how these mainstream representations - the majority - largely replicate the representational framework of the Holocaust, including the way in which mainstream Holocaust representations resist recognising the rationality, instrumentality and normality of genocide, preferring instead to present it as an aberrant, exceptional event in human society. By contrast, the more engaged representations - often, but not always, originating from those who experienced genocide - tend to revolve around precisely genocide's ordinariness, and the structures and situations common to human society which contribute to and become involved in the violence.

This book discusses WWI-era music in a historical context, explaining music's importance at home and abroad during WWI as well as examining what music was being sung, played, and danced to during the years prior to America's involvement in the Great War. Why was music so important to soldiers abroad during World War I? What role did music-ranging from classical to theater music, rags, and early jazz-play on the American homefront? Music of the First World War explores the tremendous importance of music during the years of the Great War-when communication technologies were extremely limited and music often took the place of connecting directly with loved ones or reminiscing via recorded images. The book's chapters cover music's contribution to the war effort; the variety of war-related songs, popular hits, and top recording artists of the war years; the music of Broadway shows and other theater productions; and important composers and lyricists. The author also explores the development of the fledgling recording industry at this time. Provides an excellent resource for students investigating music during the First World War as well as for adults interested in WWI-era history or music of the pre-twenties Documents the variety of reasons songs were sung by soldiers in wartime-to cheer themselves up, boost courage, poke fun at or stimulate hatred of their enemies, or express grievances or protest against the war or against authority Covers stage music of the WWI era, including music hall (British), vaudeville, revues, operettas, and musicals