The history of a lesson: Versailles, Munich and the social construction of the past

2003 ◽  
Vol 29 (4) ◽  
pp. 499-519 ◽  
Author(s):  
Mikkel Vedby Rasmussen

The article investigates the concept of lessons in IR. By means of a constructivist critique of the ‘lessons literature’, the article analyses one of the most important of IR lessons: that of Munich. Examining how the Munich lesson came about, the article shows the praxeological nature of lessons and emphasises the need to study the history of lessons rather than the lessons of history. This approach shows that Munich is the end point of a constitutive history that begins in the failure of the Versailles treaty to create a durable European order following the First World War. The Munich lesson is thus one element of the lesson of Versailles, which is a praxeology that defines how the West is to make peace, and against whom peace must be defended. The lesson of Versailles has been, at least in part, constitutive of the outbreak of the Cold War, and it continues to define the Western conception of what defines peace and security even in the ‘war against terrorism’.

2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.


Author(s):  
Robert Rakove

For almost a century and a half, successive American governments adopted a general policy of neutrality on the world stage, eschewing involvement in European conflicts and, after the Quasi War with France, alliances with European powers. Neutrality, enshrined as a core principle of American foreign relations by the outgoing President George Washington in 1796, remained such for more than a century. Finally, in the 20th century, the United States emerged as a world power and a belligerent in the two world wars and the Cold War. This article explores the modern conflict between traditional American attitudes toward neutrality and the global agenda embraced by successive U.S. governments, beginning with entry in the First World War. With the United States immersed in these titanic struggles, the traditional U.S. support for neutrality eroded considerably. During the First World War, the United States showed some sympathy for the predicaments of the remaining neutral powers. In the Second World War it applied considerable pressure to those states still trading with Germany. During the Cold War, the United States was sometimes impatient with the choices of states to remain uncommitted in the global struggle, while at times it showed understanding for neutrality and pursued constructive relations with neutral states. The wide varieties of neutrality in each of these conflicts complicated the choices of U.S. policy makers. Americans remained torn between memory of their own long history of neutrality and a capacity to understand its potential value, on one hand, and a predilection to approach conflicts as moral struggles, on the other.


Author(s):  
Eugene Rogan

The First World War proved a crucial turning point in the modern history of the Middle East and North Africa. Under conditions of total warfare, conscripts and civilians suffered greater losses and depredations than in any other conflict in the region before or since. The Great War also led to the breakup of the Ottoman Empire after four centuries of rule over the Arab lands, to be replaced by a modern state system actively negotiated between the Entente Powers in the course of the war. While the borders of Middle Eastern states have proven remarkably enduring over the past century, so too have the problems engendered by the wartime partition diplomacy.


Author(s):  
Christopher Houston

Abstract: Despite the ceaseless efforts of what its supporters name the “Atatürk Cumhuriyeti” (Atatürk Republic), Kemalism is seen by many as a discredited ideology and an oppressive political practice. This chapter explores the social history of Kemalism since 1923 and the background to its now decades-long crisis of legitimacy. It compares the orthodox narrative concerning the Kemalist project with its various deconstructive accounts, many of which zero in on the years after the First World War and the 1920s and 1930s as foundational in present-day conflicts. These orthodox and heterodox histories, allied to the interests of different groups, do politics by another means. The chapter then traces how the power struggle over Kemalism’s futures is developing. Rather than pontificate about what the state or civil society should do, it concludes by drawing attention to emerging lineaments of change in existing civil society and social conditions.


1999 ◽  
Vol 46 (1) ◽  
pp. 42-77 ◽  
Author(s):  
Edith Hall

Euripides' Medea has penetrated to parts of modernity most mythical figures have not reached. Since she first rolled off the printing presses half a millennium ago, she has inspired hundreds of performances, plays, paintings, and operas. Medea has murdered her way into a privileged place in the history of the imagination of the West, and can today command huge audiences in the commercial theatre. Yet in Britain, at least, her popularity on the stage is a relatively recent phenomenon. Medea has transcended history partly because she enacts a primal terror universal to human beings: that the motherfigure shouldintentionallydestroy her own children. Yet this dimension of the ancient tragedy was until the twentieth century found so disturbing as largely to prevent unadapted performances. On the British stage it was not until 1907 that Euripides'Medeawas performed, without alteration, in English translation.


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