After the Pre-Raphaelites
Manchester University Press
Published on 19. August 1999
Book
Paperback/Softback
288 pages
978-0-7190-5406-8 (ISBN)
Description
In this lucid and timely new book, Jeremy Pressman demonstrates that the default use of military force on both sides of the Arab-Israeli conflict has prevented its peaceful resolution.
Whether called deterrence or war, armed struggle or terrorism, the history of the conflict reveals that violence has been counterproductive. Drawing on historical evidence from the 1950s to the present, The sword is not enough pushes back against the dominant belief that military force leads to triumph while negotiations and concessions lead to defeat and further unwelcome challenges. Violence weakens the security situation, bolsters adversaries, and, especially in the case of Palestine, has sabotaged political aims.
Studiously impartial and accessibly written, this book shows us that diplomacy is the only answer. -- .
Whether called deterrence or war, armed struggle or terrorism, the history of the conflict reveals that violence has been counterproductive. Drawing on historical evidence from the 1950s to the present, The sword is not enough pushes back against the dominant belief that military force leads to triumph while negotiations and concessions lead to defeat and further unwelcome challenges. Violence weakens the security situation, bolsters adversaries, and, especially in the case of Palestine, has sabotaged political aims.
Studiously impartial and accessibly written, this book shows us that diplomacy is the only answer. -- .
More details
Series
Language
English
Place of publication
Manchester
United Kingdom
Target group
College/higher education
Professional and scholarly
Dimensions
Height: 240 mm
Width: 170 mm
ISBN-13
978-0-7190-5406-8 (9780719054068)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Content
Art: Rossetti and the scandal of art for art's sake in the early 1860s, Alistair Grieve; Walter Pater and aesthetic painting, Elizabeth Prettejohn; whistler, Swinburne, and art for art's sake, Robin Spencer; the "artists" have come out and the "British" remain - the Whistler faction at the Society of British Artists, Anne Koval. Science: nature and abstraction in the aesthetic development of Albert Moore, Robyn Asleson; Poynter and the arty, Caroline Arscott; Burne-Jones's "The mirror of venus" - surface and subjectivity in the art criticism of the 1870s, Kate Flint. Morality: versions of the annunciation - Wilde's aestheticism and the message of beauty, Colin Cruise; the image in the middle - John Addington Symonds and homoerotic art criticism, Whitney Davis; the "British matron" and the body beautiful - the nude debate of 1885, Alison Smith; physical culture - the male nude and sculpture in late-Victorian Britain, Michael Hatt.