The man who designed the future

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V.K. Triandafillov

This edition of V.K. Triandafillov's classic contribution to Soviet military theory makes accessible to Western military historians and analysts one of the most important works from the interwar period. Triandafillov was an outstanding commander who helped to shape the military art, theory and doctrine of the Red Army as it sought to come to grips with the problem of future war. A conscript who rose through the ranks to become an officer in the Tsarist Army, Triandafillov saw combat in both the First World War and the Russian Civil War. As one of that first generation of young Red Commanders taught by some of the finest military specialists, he sought to link the theory and practice of war, to use past experience to comprehend future conflict. Triandafillov's contribution to the theories of deep battle, successive operations and deep operations, and to the study of 'future war', is historically significant and his methodology still merits serious reflection and study. First published in 1929, his book offers key insights into the professional military's assessment of the need for the industrialization and militarization of the Soviet economy and society in the light of the prevailing assumptions about probable opponents in a future war.

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Caleb Carr

In The Lessons of Terror, novelist and military historian Caleb Carr examines terrorism throughout history and the roots of our present crisis and reaches a provocative set of conclusions: the practice of targeting enemy civilians is as old as warfare itself; it has always failed as a military and political tactic; and despite the dramatic increases in its scope and range of weapons, it will continue to fail in the future.International terrorism--the victimization of unarmed civilians in an attempt to affect their support for the government that leads them--is a phrase with which Americans have become all too familiar recently. Yet while at first glance terrorism seems a relatively modern phenomenon, Carr illustrates that it has been a constant of military history. In ancient times, warring armies raped and slaughtered civilians and gratuitously destroyed property, homes, and cities; in the Middle Ages, evangelical Muslims and Christian crusaders spread their faiths by the sword; and in the early modern era, such celebrated kings as Louis XIV revealed a taste for victimizing noncombatants for political purposes.It was during the Civil War that Americans themselves first engaged in "total war," the most egregious of the many euphemisms for the tactics of terror. Under the leadership of such generals as Stonewall Jackson, the forces of the South tried to systematize this horrifying practice; but it fell to a Union general, William Tecumseh Sherman, to achieve that dubious goal. Carr recounts Sherman's declaration of war on every man, woman, and child in the South--a policy that he himself knew was badly flawed, had nothing to do with his military successes (indeed, it hampered them), and brought long-term unrest to the American South by giving birth to the Ku Klux Klan.Carr's exploration of terror reveals its consistently self-defeating nature. Far from prompting submission, Carr argues, terrorism stiffens enemy resolve: for this reason above all, terrorism has never achieved--nor will it ever achieve--long-term success, however physically destructive and psychologically debilitating it may become. With commanding authority and the storyteller's gift for which he is renowned, Caleb Carr provides a critical historical context for understanding terrorist acts today, arguing that terrorism will be eradicated only when it is perceived as a tactic that brings nothing save defeat to its agents.

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Jean Kennedy

"Although modern African literature and music have become well known in the West, through the contributions of such famous authors as Chinua Achebe and Bessie Head and such popular musicians as King Sunny Ade and Ladysmith Black Mambazo, the continent's vast body of modern visual arts has been little explored." "In New Currents, Ancient Rivers Jean Kennedy surveys African art of the last fifty years, offering an expansive perspective on the visual arts of the continent. Just as ancient rivers flow through the modern African landscape, so too do the rituals and traditions of the past run deeply through modern African art. The past is able to coexist in vibrant synthesis with the present largely because of a critical constant in African culture, the acceptance of change." "The culmination of twenty years' research, New Currents, Ancient Rivers is the largest survey of contemporary African art, presenting nearly 150 artists of sub-Saharan Africa, primarily from Nigeria, Senegal, Ethiopia, Sudan, Zimbabwe, and South Africa--painters, sculptors, fiber artists, printmakers, and filmmakers. As Kennedy examines their artistic development, she shows the many ways the artists meld elements from modern life, the legacy of colonialism, foreign technology, the natural world, and the past to create art that may be divorced from the original purposes of ritual but that still embraces traditional rhythms. The author also briefly discusses the influence of the oral and literary traditions on the visual arts." "New Currents, Ancient Rivers is a tribute to the vitality and diversity of a continent and its peoples. This progressive book recognizes individual artists, many of whom are virtually unknown in Europe and the United States."--Jacket.

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K. Robert Schwarz

Minimalism is arguably the most popular style of concert music that the late-twentieth century has produced, appealing to the widest possible audience - fans of rock, jazz and classical music. But the minimalist aesthetic has not been lacking in controversy. To its detractors, it is maddeningly repetitive and single-minded, no better than pop music masquerading as art. To its adherents, it is ecstatic and vibrant, combining classical, popular and non-Western elements to create a style that restores the severed link between composer and audience. The two best-known minimalist composers, Americans Philip Glass and Steve Reich, are world-famous figures. But they can only properly be understood in the context of their predecessors (La Mome Young and Terry Riley) and their successors (John Adams, Meredith Monk, and Europeans such as Michael Nyman, Louis Andriessen, and Arvo Part). This book, the first overview of minimalism aimed at a general public, traces the lives of the minimalist composers, discusses their most significant works, and examines the artistic milieu from which they emerged.