Imperialism as we knew it may be no more, but Empire is alive and well. It is, as Michael Hardt and Antonio Negri demonstrate in this bold work, the new political order of globalization. It is easy to recognize the contemporary economic, cultural, and legal transformations taking place across the globe but difficult to understand them. Hardt and Negri contend that they should be seen in line with our historical understanding of Empire as a universal order that accepts no boundaries or limits. T! heir book shows how this emerging Empire is fundamentally different from the imperialism of European dominance and capitalist expansion in previous eras. Rather, today's Empire draws on elements of U.S. constitutionalism, with its tradition of hybrid identities and expanding frontiers.
Empire identifies a radical shift in concepts that form the philosophical basis of modern politics, concepts such as sovereignty, nation, and people. Hardt and Negri link this philosophical transformation to cultural and economic changes in postmodern society--to new forms of racism, new conceptions of identity and difference, new networks of communication and control, and new paths of migration. They also show how the power of transnational corporations and the increasing predominance of postindustrial forms of labor and production help to define the new imperial global order.
More than analysis, Empire is also an unabashedly utopian work of political philos! ophy, a new Communist Manifesto. Looking beyond the reg! imes of exploitation and control that characterize today's world order, it seeks an alternative political paradigm--the basis for a truly democratic global society.
(20010723)Empire is a sweeping book with a big-picture vision. Michael Hardt and Antonio Negri argue that while classical imperialism has largely disappeared, a new empire is emerging in a diffuse blend of technology, economics, and globalization. The book brings together unlikely bedfellows: Hardt, associate professor in Duke University's literature program, and Negri, among other things a writer and inmate at Rebibbia Prison in Rome. Empire aspires to the same scale of grand political philosophy as Locke or Marx or Fukuyama, but whether Hardt and Negri accomplish this daunting task is debatable. It is, however, an exciting book that is especially timely following the emergence of terrorism as a geopolitical force.Hardt and Negri maintain that empire--traditionally understood as military or ca! pitalist might--has embarked upon a new stage of historical development and is now better understood as a complex web of sociopolitical forces. They argue, with a neo-Marxist bent, that "the multitude" will transcend and defeat the new empire on its own terms. The authors address everything from the works of Deleuze to Jefferson's constitutional democracy to the Chiapas revolution in a far-ranging analysis of our contemporary situation. Unfortunately, their penchant for references and academese sometimes renders the prose unwieldy. But if Hardt and Negri's vision of the world materializes, they will undoubtedly be remembered as prophetic. --Eric de Place In the tradition of Bury My Heart at Wounded Knee, a stunningly vivid historical account of the forty-year battle between Comanche Indians and white settlers for control of the American West, centering on Quanah, the greatest Comanche chief of them all.
S. C. Gwynne’s Empire of th! e Summer Moon spans two astonishing stor! ies. The first traces the rise and fall of the Comanches, the most powerful Indian tribe in American history. The second entails one of the most remarkable narratives ever to come out of the Old West: the epic saga of the pioneer woman Cynthia Ann Parker and her mixed-blood son Quanah, who became the last and greatest chief of the Comanches.
Although readers may be more familiar with the tribal names Apache and Sioux, it was in fact the legendary fighting ability of the Comanches that determined just how and when the American West opened up. Comanche boys became adept bareback riders by age six; full Comanche braves were considered the best horsemen who ever rode. They were so masterful at war and so skillful with their arrows and lances that they stopped the northern drive of colonial Spain from Mexico and halted the French expansion westward from Louisiana. White settlers arriving in Texas from the eastern United States were surprised to find the frontier being rolled ! backward by Comanches incensed by the invasion of their tribal lands. So effective were the Comanches that they forced the creation of the Texas Rangers and account for the advent of the new weapon specifically designed to fight them: the six-gun.
The war with the Comanches lasted four decades, in effect holding up the development of the new American nation. Gwynne’s exhilarating account delivers a sweeping narrative that encompasses Spanish colonialism, the Civil War, the destruction of the buffalo herds, and the arrival of the railroadsâ€"a historical feast for anyone interested in how the United States came into being.
Against this backdrop Gwynne presents the compelling drama of Cynthia Ann Parker, a lovely nine-year-old girl with cornflower-blue eyes who was kidnapped by Comanches from the far Texas frontier in 1836. She grew to love her captors and became infamous as the "White Squaw" who refused to return until her tragic capture by Texas Range! rs in 1860. More famous still was her son Quanah, a warrior wh! o was ne ver defeated and whose guerrilla wars in the Texas Panhandle made him a legend.
S. C. Gwynne’s account of these events is meticulously researched, intellectually provocative, and, above all, thrillingly told. Empire of the Summer Moon announces him as a major new writer of American history.
This powerful, gripping action-thriller features John Leguizamo in a riveting performance the Los Angeles Times hails as "superb." "One of the best performances of the year!" The gritty streets of the South Bronx meet the white-collar world of Wall Street in Empire, a hard-hitting story about the pursuit of fast money and the high price of greed. Featuring Denise Richards, Isabella Rossellini and rap superstars Fat Joe and Treach, Empire is a high-intensity, urban thrill-ride!John Leguizamo is, in his own words, "young, Latin, and good looking" as the ambitious minimogul of the South Bronx drug trade in Franc Reyes' Latino twist on the urban crime saga. Reigning in! his hyperactive energy, Leguizamo is like a coiled spring as the street-smart player who tries to leave the violence of his trade behind in an upwardly mobile odyssey, and Peter Sarsgaard brings a discomforting confidence to the smooth-talking investment banker trusted with his millions. Few of the other characters even register in the familiar underworld tale (though Denise Richards has fun as a bubbly, skin-deep seductress) and Reyes's flashy style is as distracting as it is energizing. It's the smoldering presence of Leguizamo that keeps the film centered through the betrayals, the bullet-riddled battles, and the slow realization that this cunning shark has just become bait in the deep seas of high finance. --Sean AxmakerObserving that "th! e diffic ulty with the achievements of empire is that they are much more likely to be taken for granted than the sins of empire," Ferguson stresses that the British did do much good for humanity in their quest for domination: promotion of the free movement of goods, capital, and labor and a common rule of law and governance chief among them. "The question is not whether British imperialism was without blemish. It was not. The question is whether there could have been a less bloody path to modernity," he writes. The challenge for the U.S., he argues, is for it to use its undisputed power as a force for positive change in the world and not to fall into some of the same traps as the British before them.
Covering a wide range of topics, including the rise of consumerism (initially fueled by a desire for coffee, tea, tobacco, and sugar), the biggest mass migration in history (20 million emigrants between the early 1600s and the 1950s), the impact of missionaries, the triumph of cap! italism, the spread of the English language, and globalization, this is a brilliant synthesis of various topics and an extremely entertaining read. --Shawn Carkonen
In the tradition of Bury My Heart at Wounded Knee, a stunningly vivid historical account of the forty-year battle between Comanche Indians and white settlers for control of the American West, centering on Quanah, the greatest Comanche chief of them all.
S. C. Gwynne’s Empire of the Summer Moon spans two astonishing stories. The first traces the rise and fall of the Comanches, the most powerful Indian tribe in American history. The second entails one of the most remarkable narratives ever to come out of the Old West: the epic saga of the pioneer woman Cynthia Ann Parker and her mixed-blood son Quanah, who became the last and greatest chief of the Comanches.
Although readers may be more familiar with the tribal names Apache and Sioux, it was in fact the legendary fightin! g ability of the Comanches that determined just how and when t! he Ameri can West opened up. Comanche boys became adept bareback riders by age six; full Comanche braves were considered the best horsemen who ever rode. They were so masterful at war and so skillful with their arrows and lances that they stopped the northern drive of colonial Spain from Mexico and halted the French expansion westward from Louisiana. White settlers arriving in Texas from the eastern United States were surprised to find the frontier being rolled backward by Comanches incensed by the invasion of their tribal lands. So effective were the Comanches that they forced the creation of the Texas Rangers and account for the advent of the new weapon specifically designed to fight them: the six-gun.
The war with the Comanches lasted four decades, in effect holding up the development of the new American nation. Gwynne’s exhilarating account delivers a sweeping narrative that encompasses Spanish colonialism, the Civil War, the destruction of the buffalo herds, and the ! arrival of the railroadsâ€"a historical feast for anyone interested in how the United States came into being.
Against this backdrop Gwynne presents the compelling drama of Cynthia Ann Parker, a lovely nine-year-old girl with cornflower-blue eyes who was kidnapped by Comanches from the far Texas frontier in 1836. She grew to love her captors and became infamous as the "White Squaw" who refused to return until her tragic capture by Texas Rangers in 1860. More famous still was her son Quanah, a warrior who was never defeated and whose guerrilla wars in the Texas Panhandle made him a legend.
S. C. Gwynne’s account of these events is meticulously researched, intellectually provocative, and, above all, thrillingly told. Empire of the Summer Moon announces him as a major new writer of American history.
In the tradition of Bury My Heart at Wounded Knee, a stunningly vivid historical account of the forty-year battle between Comanche Indians and white se! ttlers for control of the American West, centering on Quanah, ! the grea test Comanche chief of them all.
S. C. Gwynne’s Empire of the Summer Moon spans two astonishing stories. The first traces the rise and fall of the Comanches, the most powerful Indian tribe in American history. The second entails one of the most remarkable narratives ever to come out of the Old West: the epic saga of the pioneer woman Cynthia Ann Parker and her mixed-blood son Quanah, who became the last and greatest chief of the Comanches.
Although readers may be more familiar with the tribal names Apache and Sioux, it was in fact the legendary fighting ability of the Comanches that determined just how and when the American West opened up. Comanche boys became adept bareback riders by age six; full Comanche braves were considered the best horsemen who ever rode. They were so masterful at war and so skillful with their arrows and lances that they stopped the northern drive of colonial Spain from Mexico and halted the French expansion westward from Lou! isiana. White settlers arriving in Texas from the eastern United States were surprised to find the frontier being rolled backward by Comanches incensed by the invasion of their tribal lands. So effective were the Comanches that they forced the creation of the Texas Rangers and account for the advent of the new weapon specifically designed to fight them: the six-gun.
The war with the Comanches lasted four decades, in effect holding up the development of the new American nation. Gwynne’s exhilarating account delivers a sweeping narrative that encompasses Spanish colonialism, the Civil War, the destruction of the buffalo herds, and the arrival of the railroadsâ€"a historical feast for anyone interested in how the United States came into being.
Against this backdrop Gwynne presents the compelling drama of Cynthia Ann Parker, a lovely nine-year-old girl with cornflower-blue eyes who was kidnapped by Comanches from the far Texas frontier in 1836. She grew to love h! er captors and became infamous as the "White Squaw" who refuse! d to ret urn until her tragic capture by Texas Rangers in 1860. More famous still was her son Quanah, a warrior who was never defeated and whose guerrilla wars in the Texas Panhandle made him a legend.
S. C. Gwynne’s account of these events is meticulously researched, intellectually provocative, and, above all, thrillingly told. Empire of the Summer Moon announces him as a major new writer of American history.
Patricia Briggs, the #1 New York Times bestselling author of the Mercy Thompson novels, "always enchants her readers." (Lynn Viehl, New York Times bestselling author) Now her Alpha and Omega series-set in a world of shifting shapes, loyalty, and passion- brings werewolves out of the darkness and into a society where fear and prejudice could make the hunters prey...
They say opposites attract. And in the case of werewolves Anna Latham and Charles Cornick, they mate. The son-and enforcer-of the leader of the North American werewolves, Charles is a dominant alpha. While Anna, an omega, has the rare ability to c! alm others of her kind.
Now that the werewolves have r! evealed themselves to humans, they can't afford any bad publicity. Infractions that could have been overlooked in the past must now be punished, and the strain of doing his father's dirty work is taking a toll on Charles.
Nevertheless, Charles and Anna are sent to Boston, when the FBI requests the pack's help on a local serial killer case. They quickly realize that not only the last two victims were werewolves-all of them were. Someone is targeting their kind. And now Anna and Charles have put themselves right in the killer's sights...
In Cry Wolf, New York Times bestselling author Patricia Briggs started a new urban fantasy series set in the world of Mercy Thompson but with rules of it’s own. Now, read the eSpecial, Alpha and Omega, the novella that inspired the new series, and see how it all began.
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These plush developmental friends introduce baby to classical music and instruments. Just squeeze his hands and feet to hear different musical instruments play. Squeeze hands and feet again to hear a symphony using those instruments. Instrument sounds include saxophone, drums, violin and xylophone. Features on/off switch and volume control. Collect all three; Baby Neptune turtle, panda, and lion.
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Louis B. Mayer ran the studio, and boy wonder Irving Thalberg! supervised production. However, another strong-willed producer, future Gone with the Wind CEO David O. Selznick, was responsible for guiding a pair of highly enjoyable Dickens adaptations, both released in 1935. David Copperfield is a wonderful condensation of the sprawling novel, crammed with memorable evocations of Dickens' roster of eccentrics. Freddie Bartholomew, who became a star with this role, plays the young David; equally indelible are W.C. Fields as Mr. Micawber, Basil Rathbone as Murdstone, and especially Edna May Oliver as Besty Trotwood. Director George Cukor's empathy and craftsmanship keep the movie humming with Dickensian wit. A Tale of Two Cities followed shortly thereafter, with Ronald Colman in one of his signature roles as the drunken romantic Sydney Carton, whose throttled love for the beautiful Lucie Manette leads to the French Revolution's guillotine. Jack Conway directs in tight, brisk fashion, and once again the supporting cas! t (Oliver and Rathbone return from Copperfield) is flav! orful. < p> The French Revolution also figures in the rather preposterous Marie Antoinette (1938), an eye-popping production about the bride of Louis XVI. The project was a pet of Thalberg and his wife Norma Shearer, and MGM proceeded with the overstuffed production even after Thalberg's early death. Marie gets an extramarital affair (with the young Tyrone Power) and an incredible parade of gowns and wigs, but not too much blame for the peasants starving. Robert Morley steals the show as Louis XVI, with John Barrymore in rascally form as his grandfather. Shearer's ordinariness somehow fits her out-of-it character.
Treasure Island (1934) casts Jackie Cooper as young Jim Hawkins and Wallace Beery as that one-legged seadog, Long John Silver (the pair had scored a huge hit in The Champ three years earlier). This is a lot of people's favorite adaptation of the marvelous Robert Louis Stevenson novel, and Victor Fleming's manly directing approach manages to take s! ome of the sheen off the MGM house style (by the way, art director Cedric Gibbons, credited on all these films, is one of the stars of the box set).
Pride and Prejudice (1940) is a respectable take on Jane Austen's oft-filmed novel, with Greer Garson as the headstrong Elizabeth Bennet and Laurence Olivier as the difficult Mr. Darcy. MGM liked to corset Garson in fine-lady roles, but here she lets some of Elizabeth's sauciness come through; actually, Olivier's elaborate performance is the movie's too-theatrical weak spot. But boy, does this movie tell a good story--and that's rather the point of these (Marie excepted) solid literary adaptations. --Robert Horton
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