The twenty-first century has witnessed a pervasive militarization of aesthetics with Western military institutions co-opting the creative worldmaking of art and merging it with the destructive forces of warfare. In Martial Aesthetics, Anders Engberg-Pedersen examines the origins of this unlikely merger, showing that today's creative warfare is merely the extension of a historical development that began long ago. Indeed, the emergence of martial aesthetics harkens back to a series of inventions, ideas, and debates in the eighteenth and early nineteenth century. Already then, military thinkers and inventors adopted ideas from the field of aesthetics about the nature, purpose, and force of art and retooled them into innovative military technologies and a new theory that conceptualized war not merely as a practical art, but as an aesthetic art form. This book shows how military discourses and early war media such as star charts, horoscopes, and the Prussian wargame were entangled with ideas of creativity, genius, and possible worlds in philosophy and aesthetic theory (by thinkers such as Leibniz, Baumgarten, Kant, and Schiller) in order to trace the emergence of martial aesthetics. Adopting an approach that is simultaneously historical and theoretical, Engberg-Pedersen presents a new frame for understanding war in the twenty-first century.

Ending War: A Dialogue across Disciplines examines how wars end from a multidisciplinary perspective and includes enquiries into the politics of war, the laws of war, and the military and intellectual history of war. In recent years, the changes in the character of contemporary warfare have created uncertainties across different disciplines about how to identify and conceptualise the end of war. A whole constellation of questions arises from such uncertainties: How do philosophers define ethical responsibilities in bello and post bellum if the boundary between war and peace is ever so blurred? How do strategists define their objectives if the teleology of action becomes uncertain? How do historians bracket the known endings of war and delve into the arguments that preceded them? Which answers can international law provide for the ending of wars – and which challenges remain or have recently arisen? This volume addresses these questions and enables both an understanding of how ‘the end’ as a concept informs the understanding of war in international relations, in international law, and in history, as well as a reconsideration of the nature of scientific method in the field of war studies as such. The chapters in this book were originally published as a special issue of The Journal of Strategic Studies.

Ending War: A Dialogue across Disciplines examines how wars end from a multidisciplinary perspective and includes enquiries into the politics of war, the laws of war, and the military and intellectual history of war. In recent years, the changes in the character of contemporary warfare have created uncertainties across different disciplines about how to identify and conceptualise the end of war. A whole constellation of questions arises from such uncertainties: How do philosophers define ethical responsibilities in bello and post bellum if the boundary between war and peace is ever so blurred? How do strategists define their objectives if the teleology of action becomes uncertain? How do historians bracket the known endings of war and delve into the arguments that preceded them? Which answers can international law provide for the ending of wars - and which challenges remain or have recently arisen? This volume addresses these questions and enables both an understanding of how 'the end' as a concept informs the understanding of war in international relations, in international law, and in history, as well as a reconsideration of the nature of scientific method in the field of war studies as such. The chapters in this book were originally published as a special issue of The Journal of Strategic Studies.

War and Literary Studies poses two main questions: First, how has war shaped the field of literary studies? And second, when scholars today study the literature of war what are the key concepts in play? Seeking to complement the extant scholarship, this volume adopts a wider and more systematic approach as it directs our attention to the relation between warfare and literary studies as a field of knowledge. What are the key characteristics of the language of war? Of gender in war? Which questions are central to the way we engage with war and trauma or war and sensation? In which ways were prominent 20th century theories such as critical theory, French postwar theory, postcolonial theory shaped by war? How might emergent concepts such as 'revolution,' 'the anthropocene' or 'capitalism' inflect the study of war and literature?

Wars have always been connected to images. From the representation of war on maps, panoramas, and paintings to the modern visual media of photography, film, and digital screens, images have played a central role in representing combat, military strategy, soldiers, and victims. Such images evoke a whole range of often unexpected emotions from ironic distance to boredom and disappointment. Why is that? This book examines the emotional language of war images, how they entwine with various visual technologies, and how they can build emotional communities. The book engages in a cross-disciplinary dialogue between visual studies, literary studies, and media studies by discussing the links between images, emotions, technology, and community. From these different perspectives, the book provides a comprehensive overview of the nature and workings of war images from 1800 until today, and it offers a frame for thinking about the meaning of the images in contemporary wars.

Wars have always been connected to images. From the representation of war on maps, panoramas, and paintings to the modern visual media of photography, film, and digital screens, images have played a central role in representing combat, military strategy, soldiers, and victims. Such images evoke a whole range of often unexpected emotions from ironic distance to boredom and disappointment. Why is that? This book examines the emotional language of war images, how they entwine with various visual technologies, and how they can build emotional communities. The book engages in a cross-disciplinary dialogue between visual studies, literary studies, and media studies by discussing the links between images, emotions, technology, and community. From these different perspectives, the book provides a comprehensive overview of the nature and workings of war images from 1800 until today, and it offers a frame for thinking about the meaning of the images in contemporary wars.

Napoleon's campaigns were the most complex military undertakings in history before the nineteenth century. But the defining battles of Austerlitz, Borodino, and Waterloo changed more than the nature of warfare. Concepts of chance, contingency, and probability became permanent fixtures in the West's understanding of how the world works. Empire of Chance examines anew the place of war in the history of Western thought, showing how the Napoleonic Wars inspired a new discourse on knowledge. Soldiers returning from the battlefields were forced to reconsider basic questions about what it is possible to know and how decisions are made in a fog of imperfect knowledge. Artists and intellectuals came to see war as embodying modernity itself. The theory of war espoused in Carl von Clausewitz's classic treatise responded to contemporary developments in mathematics and philosophy, and the tools for solving military problems-maps, games, and simulations-became models for how to manage chance. On the other hand, the realist novels of Balzac, Stendhal, and Tolstoy questioned whether chance and contingency could ever be described or controlled. As Anders Engberg-Pedersen makes clear, after Napoleon the state of war no longer appeared exceptional but normative. It became a prism that revealed the underlying operative logic determining the way society is ordered and unfolds.

The relationship of texts and maps, and the mappability of literature, examined from Homer to Houellebecq. Literary authors have frequently called on elements of cartography to ground fictional space, to visualize sites, and to help readers get their bearings in the imaginative world of the text. Today, the convergence of digital mapping and globalization has spurred a cartographic turn in literature. This book gathers leading scholars to consider the relationship of literature and cartography. Generously illustrated with full-color maps and visualizations, it offers the first systematic overview of an emerging approach to the study of literature. The literary map is not merely an illustrative guide but represents a set of relations and tensions that raise questions about representation, fiction, and space. Is literature even mappable? In exploring the cartographic components of literature, the contributors have not only brought literary theory to bear on the map but have also enriched the vocabulary and perspectives of literary studies with cartographic terms. After establishing the theoretical and methodological terrain, they trace important developments in the history of literary cartography, considering topics that include Homer and Joyce, Goethe and the representation of nature, and African cartographies. Finally, they consider cartographic genres that reveal the broader connections between texts and maps, discussing literary map genres in American literature and the coexistence of image and text in early maps. When cartographic aspirations outstripped factual knowledge, mapmakers turned to textual fictions. Contributors Jean-Marc Besse, Bruno Bosteels, Patrick M. Bray, Martin Bruckner, Tom Conley, Joerg Dunne, Anders Engberg-Pedersen, John K. Noyes, Ricardo Padron, Barbara Piatti, Simone Pinet, Clara Rowland, Oliver Simons, Robert Stockhammer, Dominic Thomas, Burkhardt Wolf