While Sputnik immediately shocked the world, its long-term impact was even greater, for it profoundly changed the shape of the twentieth Century.Washington journalist Paul Dickson chronicles the dramatic events and developments leading up to and emanating from the Sputnik's launch a story that can only now be fully told with the recent release of previously classified documents. Sputnik offers a fascinating profile of the early American and Soviet space programs and a strikingly revised picture of the politics and personalities behind the facade of American's fledgling efforts to get into space.Although Sputnik was unmanned, its story is intensely human. Sputnik owed its success to many people, from the earlier visionary Konstantin Tsiolkovsky, whose rocket theories were ahead of their time, to the Soviet spokesmen strategically positioned around the world on the day the satellite was launched, who created one of the greatest public-relations events of all time. It’s chief designer, however the brillant Sergei Korolev remained a Soviet state secret until after his death.Equally hidden from view was the political intrigue dominating America's early space program, as the military services jockeyed for control and identity in a peacetime world. For years, former Nazi Wernher von Braun, who ran the U.S. Army's missile program, lobbied for his rocket team to be handed responsibility for the first Earth-orbiting satellite. He was outraged that Sputnik beat him and America into space. President Eisenhower, though, was secretly pleased that the Russians had launched first, because by orbiting over the United States, Sputnik established the principle of “freedom of space” that could justify the spy satellites he thought essential to monitor Soviet missile buildup. As Dickson reveals, Eisenhower was, in fact, much more a master of the Sputnik crisis than he appeared to be at the time and in subsequent accounts.

    Naked power can be grabbed and held temporarily, but it never suffices in the long term. A tyrant who can compel his own people to acclaim him will last longer. The paradox of the modern dictator is that he must create the illusion of popular support. Throughout the twentieth century, hundreds of millions of people were condemned to enthusiasm, obliged to hail their leaders even as they were herded down the road to serfdom.In How to Be a Dictator, Frank Dikötter returns to eight of the most chillingly effective personality cults of the twentieth century. From carefully choreographed parades to the deliberate cultivation of a shroud of mystery through iron censorship, these dictators ceaselessly worked on their own image and encouraged the population at large to glorify them. At a time when democracy is in retreat, are we seeing a revival of the same techniques among some of today’s world leaders?This timely study, told with great narrative verve, examines how a cult takes hold, grows, and sustains itself. It places the cult of personality where it belongs, at the very heart of tyranny.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    These nearly unknown, larger-than-life, and sometimes eccentric personalities--such as GE's zealous, silver-tongued Lemuel Ricketts Boulware and the self-described "revolutionary" Jasper Crane of DuPont--make for a fascinating, behind-the-scenes view of American history.The winner of a prestigious academic award for her original research on this book, Kim Phillips-Fein is already being heralded as an important new young American historian. Her meticulous research and narrative gifts reveal the dramatic story of a pragmatic, step-by-step, check-by-check campaign to promote an ideological revolution--one that ultimately helped propel conservative ideas to electoral triumph.

    It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

    In this widely acclaimed work, Benedict Anderson examines the creation and global spread of the 'imagined communities' of nationality.Anderson explores the processes that created these communities: the territorialization of religious faiths, the decline of antique kingship, the interaction between capitalism and print, the development of vernacular languages-of-state, and changing conceptions of time. He shows how an originary nationalism born in the Americas was modularly adopted by popular movements in Europe, by the imperialist powers, and by the anti-imperialist resistances in Asia and Africa.This revised edition includes two new chapters, one of which discusses the complex role of the colonialist state's mindset in the develpment of Third World nationalism, while the other analyses the processes by which, all over the world, nations came to imagine themselves as old.

    Demonstrates how the colonies developed into the first nation created under the influences of nationalism, modern capitalism and Protestantism.

    . . Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on paraphilosophical modes of discourse. The sections on Céline, for example, are indispensable reading for those interested in this writer and place him within a context that is both illuminating and of general interest." -Paul de Man

    The texts the author examines are viewed not as works of art embodying enduring themes, but as attempts to redefine the social order.

    Arrest quotas and high-tech surveillance techniques criminalize entire blocks, and transform the very associations that should stabilize young lives—family, relationships, jobs—into liabilities, as the police use such relationships to track down suspects, demand information, and threaten consequences. Alice Goffman spent six years living in one such neighborhood in Philadelphia, and her close observations and often harrowing stories reveal the pernicious effects of this pervasive policing. Goffman introduces us to an unforgettable cast of young African American men who are caught up in this web of warrants and surveillance—some of them small-time drug dealers, others just ordinary guys dealing with limited choices. All find the web of presumed criminality, built as it is on the very associations and friendships that make up a life, nearly impossible to escape. We watch as the pleasures of summer-evening stoop-sitting are shattered by the arrival of a carful of cops looking to serve a warrant; we watch—and can’t help but be shocked—as teenagers teach their younger siblings and cousins how to run from the police (and, crucially, to keep away from friends and family so they can stay hidden); and we see, over and over, the relentless toll that the presumption of criminality takes on families—and futures. While not denying the problems of the drug trade, and the violence that often accompanies it, through her gripping accounts of daily life in the forgotten neighborhoods of America's cities, Goffman makes it impossible for us to ignore the very real human costs of our failed response—the blighting of entire neighborhoods, and the needless sacrifice of whole generations.

    TO THE FINLAND STATION is a work of history on a grand scale, at once sweeping, detailed, closely reasoned & passionately argued, that succeeds in painting an unforgettable picture--alive with conspirators, philosophers, utopians & nihilists--of the making of the modern world. 'The 1st thing that strikes us about To the Finland Station is the vastness of its scope...It is easily, equally at home in the philosopher's study, in the prisoner's cell, on the steppes, in the streets, melancholy in great country houses, choking in fetid industrial slums...It can remind us that our history is alive & open & rich with excitement & promise'--NY Times Book Review

    Why do well-intentioned plans for improving the human condition go tragically awry?In this wide-ranging and original book, James C. Scott analyzes failed cases of large-scale authoritarian plans in a variety of fields. Centrally managed social plans misfire, Scott argues, when they impose schematic visions that do violence to complex interdependencies that are not—and cannot—be fully understood. Further, the success of designs for social organization depends upon the recognition that local, practical knowledge is as important as formal, epistemic knowledge. The author builds a persuasive case against "development theory" and imperialistic state planning that disregards the values, desires, and objections of its subjects. He identifies and discusses four conditions common to all planning disasters: administrative ordering of nature and society by the state; a "high-modernist ideology" that places confidence in the ability of science to improve every aspect of human life; a willingness to use authoritarian state power to effect large- scale interventions; and a prostrate civil society that cannot effectively resist such plans.

    Included in the text is commentary on Reagan's deal with Iran in 1980, Bush's deal with Iraq up to the invasion of Kuwait, the Middle East peace talks and the collapse of Soviet Union.

    The great themes woven through this spirited narrative are inseparable from the author's own intellectual preoccupations: the fading of liberalism, the rise of populism and nationalism, the achievements and dangers of technology, and the continuing democratization of the globe.The historical twentieth century began with the First World War in 1914 and ended seventy-five years later with the collapse of the Soviet Empire in 1989. The short century saw the end of European dominance and the rise of American power and influence throughout the world. The twentieth century was an American century--perhaps the American century. Lukacs explores in detail the phenomenon of national socialism (national socialist parties, he reminds us, have outlived the century), Hitler's sole responsibility for the Second World War, and the crucial roles played by his determined opponents Churchill and Roosevelt. Between 1939 and 1942 Germany came closer to winning than many people suppose.Lukacs casts a hard eye at the consequences of the Second World War--the often misunderstood Soviet-American cold war--and at the shifting social and political developments in the Far and Middle East and elsewhere. In an eloquent closing meditation on the passing of the twentieth century, he reflects on the advance of democracy throughout the world and the limitations of human knowledge.

    She guides us through the ruins and construction sites of post-communist cities--St. Petersburg, Moscow, Berlin, and Prague--and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym unravels the threads of this global epidemic of longing and its antidotes.