About this product: Since its first publication in 1985, Modern Architecture Since 1900 has become established as a contemporary classic. Worldwide in scope, the book combines a clear historical outline with masterly analysis and interpretation. Throughout the book, the author's focus is on the individual architect, and on the qualities that give outstanding buildings their lasting value. The third edition incorporates much new knowledge and a fresh appreciation of regional identity and variety. c.650 illustrations, 300 in color.
About this product: Despite its status as the world's lone superpower, the United States confronts a variety of serious challenges in the world today: ongoing wars in Iraq and Afghanistan, nuclear tensions involving Iran and North Korea, and strained American relations with allies in the European Union and the United Nations. In updating their book, authors Hook and Spanier find that these new developments are in keeping with the overarching theme of their classic text--that there is an American "style" of foreign policy imbued with a distinct sense of national exceptionalism. Through a thorough understanding of the United States' past actions, students can then fully grasp the functions and frequent dysfunctions of the nation's foreign-policy process.
Providing a lively and concise review of the conduct of American foreign policy since World War II, early chapters are strengthened by new historical findings, while recent developments since 9/11 receive thorough treatment and analysis. A stand-alone chapter on the Iraq War provides essential historical context as well as a detailed assessment of recent events across the Middle East. The book's presentation and usefulness are enhanced by new tables and figures, updated photos and maps, and annotated web resources.
About this product: This comprehensive and authoritative book illustrates art from the 1940's and stresses the individuality of the artists in relation to their political, social, and cultural contexts. The book focuses on the meaning of the major works and innovations. It features nearly 600 illustrations (approximately half in color) representing art since 1940, both in Europe and America. It explores the full range of periods, artists, and movements: New York in the Forties; Calder, Hofmann, Gorky, Motherwell, De Kooning; Existentialism (Pollock, Newman, Rothko, David Smith); The New European Masters of the Late Forties (Dubuffet, Giacometti, Bacon), plus so much more. For anyone interested in Postwar Art.
About this product: The Oxford History of the United States is the most respected multi-volume history of our nation in print. The series includes three Pulitzer Prize-winners, a New York Times bestseller, and winners of the prestigious Bancroft and Parkman Prizes. From Colony to Superpower is the only thematic volume commissioned for the series. Here, George C. Herring uses foreign relations as the lens through which to tell the story of America's dramatic rise from thirteen disparate colonies huddled along the Atlantic coast to the world's greatest superpower. A sweeping account of United States foreign relations and diplomacy, this magisterial volume documents America's interaction with other peoples and nations of the world. Herring tells a story of stunning successes and sometimes tragic failures, captured in a fast-paced narrative that illuminates the central importance of foreign relations to the existence and survival of the nation, and highlights its ongoing impact on the lives of ordinary citizens. He shows how policymakers defined American interests broadly to include territorial expansion, access to growing markets, and the spread of an "American way" of life. Herring does all this in a story rich in human drama and filled with epic events. Statesmen such as Benjamin Franklin, Woodrow Wilson, Harry Truman, and Dean Acheson played key roles in America's rise to world power. But America's expansion as a nation also owes much to the adventurers and explorers, the sea captains, merchants and captains of industry, the missionaries and diplomats, who discovered or charted new lands, developed new avenues of commerce, and established and defended the nation's interests abroad. From the American Revolution to the fifty-year struggle with communism and conflicts in Afghanistan and Iraq, From Colony to Superpower tells the dramatic story of America's emergence as superpower--its birth in revolution, its troubled present, and its uncertain future.
Read an Amazon Exclusive interview with author George C. Herring and David M. Kennedy, editor of the Oxford History of the United States series.
Questions for George C. Herring
Kennedy: Your book covers the entire span of the history of the United States. What was the biggest challenge of writing a book of this scope for the Oxford History of the United States series?
Herring: Managing such a large subject and such a vast quantity of source material was daunting, indeed, at times, downright intimidating. Somewhat to my surprise, I also found it more difficult to write those chapters dealing with subjects I knew the most about, the Vietnam War era, for example. The great joys of doing the book, on the other hand, were to have the opportunity to pull together in some meaningful fashion what I had been teaching and writing about for forty years and especially to find myself learning new things each day.
Kennedy: Do you accept the conventional notion that the United States was isolationist for much of its history?
Herring: The idea of an isolationist America, still included in some textbooks, is one of the great myths of United States history. For good reasons, the nation for its first century and a half did pursue a unilateralist foreign policy, avoiding alliances that would restrict its freedom of action or entangle it in wars. But it was never strictly isolationist. Especially in the realm of economics, Americans sought full engagement with the world. The one time when the United States can accurately be said to have been isolationist is the era of the Great Depression, the 1930s.
Kennedy: What period did you find yourself most surprised by as you wrote this book?
Herring: I’m not sure that surprise is the right word, but I especially enjoyed doing the chapter covering the period 1837-1861. I got to know wonderful characters such as naval officers Charles Wilkes and Matthew Perry, merchant/diplomats Caleb Cushing and Edmund Roberts, filibusterer William Walker, and statesmen Henry Clay, James K. Polk, and Daniel Webster. More than I had appreciated, Americans were engaged in a great variety of activities and running up against different people all over the world. Through the Oregon treaty and the war with Mexico, the United States added a vast expanse of territory. There was so much energy, so much happening.
Kennedy: In what ways has religion shaped American foreign policy?
Herring: From the founding to the present, religion has played a subtle but often very important role in shaping U.S. foreign policy. Americans have seen themselves as a chosen people, “God’s American Israel,” the Puritans called it, uniquely virtuous and benevolent. In the nineteenth century, they believed it their Manifest Destiny to spread across the North American continent and later to uplift lesser peoples in overseas territories. The influence of religion has especially been felt through individuals such as Woodrow Wilson, a minister’s son, whose sense of America’s destiny and his own had powerful religious undertones, and the born-again Christians Jimmy Carter and George W. Bush.
Kennedy: How did the current interventions in Iraq and Afghanistan shape your writing of these events as history? Was it a challenge to write about them in a non-partisan way?
Herring: It was of course difficult to treat these events as history since at the time I was writing the outcome in each case was very much in doubt. I had strongly opposed the war against Iraq, and I would be less than honest if I said that my opposition to that war did not influence my writing about it. I do believe that I was able to put the two wars in the larger framework of post Cold War and 9/11 U.S. foreign policies. These wars also caused me to look more closely at earlier interventions–of which, going back to 1775, there have been many–and to conclude that while Americans generally have viewed themselves as liberators the principal result in most cases has been to spur nationalism on the part of the people invaded.
Kennedy: With all of the foreign policy issues facing the U.S. right now, what will readers take away from reading about the deep history of America’s relationship with the world?
Herring: I hope, first, that readers will enjoy reading as much as I enjoyed writing about the exciting events and colorful personalities described in these pages. I also hope that they will take away from the book a fuller and more balanced appreciation of America’s dealings with other nations. The United States has been a “force for good in the world,” as the mantra of this year’s election campaign goes, but that is only part of the story, and I hope by gaining a fuller and more complex view they will better understand who we are as a nation and how others see us. I would also hope that readers might gain a better comprehension of the complexity of diplomacy and the reasons why it works or fails to work. Finally, by seeing where we as a nation have been, I hope that readers might have a better sense of where we are and where we need to go.
American Foreign Policy in Images
Take a look at paintings, an engraving and an photograph that depict pivotal moments in war and diplomacy. Click any detail below for the full image and explanatory text by George C. Herring.
About this product: Designed to encourage critical thinking about history, the Major Problems in American History series introduces students to both primary sources and analytical essays on important topics in U.S. history. This reader serves as the primary anthology for the introductory survey course, covering the subject's entire chronological span. Comprehensive topical coverage includes the Cold War, the cultural and political movements of the 60s, the return of conservatism, life in the new information age, and race and ethnicity.In the Third Edition, greater emphasis is placed on social and cultural history, and a new chapter focuses on 9/11, the war on terror, and the war in Iraq. Key pedagogical elements of the Major Problems format have been retained: 14-15 chapters per volume, chapter introductions, headnotes, and suggested readings.
About this product: World War II may have ended in 1945, but according to historian Tony Judt, the conflict's epilogue lasted for nearly the rest of the century. Calling 1945-1989 "an interim age," Judt examines what happened on each side of the Iron Curtain, with the West nervously inching forward while the East endured the "peace of the prison yard" until the fall of Communism in 1989 signaled their chance to progress. Though he proposes no grand, overarching theory of the postwar period, Judt's massive work covers the broad strokes as well as the fine details of the years 1945 to 2005. No one book (even at nearly a thousand pages) could fully encompass this complex period, but Postwar comes close, and is impressive for its scope, synthesis, clarity, and narrative cohesion.
Judt treats the entire continent as a whole, providing equal coverage of social changes, economic forces, and cultural shifts in western and eastern Europe. He offers a county-by-county analysis of how each Eastern nation shed Communism and traces the rise of the European Union, looking at what it represents both economically and ideologically. Along with the dealings between European nations, he also covers Europe's conflicted relationship with the United States, which learned much different lessons from World War II than did Europe. In particular, he studies the success of the Marshall Plan and the way the West both appreciated and resented the help, for acceptance of it reminded them of their diminished place in the world. No impartial observer, Judt offers his judgments and opinions throughout the book in an attempt to instruct as well as inform. If a moral lesson is to come from World War II, Judt writes, "then it will have to be taught afresh with each passing generation. 'European Union' may be an answer to history, but it can never be a substitute." This book would be an excellent place to start that lesson. --Shawn Carkonen
On a quiet autumn afternoon in 1944, nine-year-old Morris Bird III decides to visit a friend who lives on the other side of town. So he grabs the handle of his red wagon and, with his little sister in tow, begins an incredible pilgrimage across Cleveland . . . and out of childhood forever.
Set against the backdrop of one of the worst industrial disasters in American history, Don Robertson's enduring, beloved masterwork is a remarkable story of destiny, bravery, and responsibility, as fresh and relevant as when it first appeared in print.
About this product: A landmark in art history and the most anticipated art publishing event of the new millennium.
In this groundbreaking and original work of scholarship, four of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth century, an age when artists in the United States, Europe, and elsewhere sought to overturn the traditions of the past and expectations of the present in order to invent new practices and forms.
Adopting a unique year-by-year approach, Foster, Krauss, Bois, and Buchloh present more than 100 short essays, each focusing on a crucial event—the creation of a seminal work, the publication of an artistic manifesto, the opening of a major exhibition—to tell the story of the dazzling diversity of practice and interpretation that characterizes the art of the period. All the turning points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' texts are more than 600 of the most important works of the century, many reproduced in full color.
The book's flexible structure and extensive cross-referencing allow readers to follow any one of the many narratives that unfold, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. Boxes give further background information on the important figures and issues.
In their insightful introductions, the four authors explain the different methods of art history at work in the book, providing the reader with the conceptual tools for further study. Two roundtable discussions —one at midcentury, the other at the close of the book—consider the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume. 600 illustrations, 400 in color. This college edition also includes the Art 20 CD-ROM.
About this product: Here's an exceptional rarity: a large, sweeping art history text book so well-done it almost makes the reader wish she or he were back in school. It's rather amazing that it took so long for a book like Art Since 1900: Modernism, Antimodernism, and Postmodernism to exist: a balanced, seven hundred page historical tome written with multiple perspectives in mind. As any undergrad knows, H.W. Janson's ubiquitous History of Art was written as if art history were some sort of race to colonize ideas and imagery; you'll likely not miss Janson's fetish for pointing out who did what first. Penned by a nimble crew who all teach at Ivy League universities, Art Since 1900, which mirrors the development of psychoanalysis and the creation of a huge international art scene, is on a smaller scale a history of contemporary theory and the art world almost as much as it is the art itself. Attention is paid throughout to important exhibits and texts, pointing out the rippling effect throughout the art community of these mirrors and portals. The book is arranged so that there are one or two essays per year. In such a novel format, often undervalued movements are given as much respect as Cubism and Minimalism. There are entire chapters here on Fluxus, feminist art, the Assemblage movement, Lettrism, the Independent Group, Gutai, Kineticism, the Harlem Renaissance, Aktionism, earthworks, video art, and the aesthetics of ACT UP. As with any history, there are personalities whose works are emphasized over that of others; the scant attention given to Jean-Michel Basquiat, for instance, is a rather large question mark. Quibbles aside, it's a very important, and nearly immaculate, work. --Mike McGonigal
About this product: Frederick Cooper's latest book on the history of decolonization and independence in Africa helps students understand the historical process from which Africa's current position in the world has emerged. Bridging the divide between colonial and post-colonial history, it shows what political independence did and did not signify and how men and women, peasants and workers, religious leaders and local leaders sought to refashion the way they lived, worked, and interacted with each other.
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Kennedy: Your book covers the entire span of the history of the United States. What was the biggest challenge of writing a book of this scope for the Oxford History of the United States series?
