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Sontag, Susan, --- Criticism and interpretation. --- United States --- Etats-Unis --- Intellectual life --- Vie intellectuelle --- #SBIB:309H043 --- #SBIB:3 G --- #SBIB:AANKOOP --- Populaire cultuur en massacultuur en “performers” --- Sociale Wetenschappen: algemeen --- Zontag, Sʹi︠u︡zen, --- Rosenblatt, Susan, --- Sontag, Susan

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The city of Birmingham offers a particularly rich case study on urban regeneration as it strives to build a new city image. Positioned between decline and regeneration, the landscape of the city and its environs collages old and new, producing dramatic contrasts - of industrial and post-industrial urbanisms of crumbling brutalism and spectacular flagship developments, of Victorian housing and diverse cultural lifestyles - that compound the aesthetic and socio-economic means of regeneration. This visually exciting book also reflects upon and extends current debates about public space, cultural

City planning --- Urban renewal --- Model cities --- Renewal, Urban --- Urban redevelopment --- Urban renewal projects --- Land use, Urban --- Urban policy --- Cities and towns --- Civic planning --- Redevelopment, Urban --- Slum clearance --- Town planning --- Urban design --- Urban development --- Urban planning --- Land use --- Planning --- Art, Municipal --- Civic improvement --- Regional planning --- Government policy --- Management --- Birmingham (England) --- Birmingham, Eng. --- Birmingham (West Midlands, England) --- City and Borough of Birmingham (England) --- Borough of Birmingham (England) --- 711.164 --- 711.4 <41> --- 911.375.9 --- 911.375.9 Verstedelijking. Stadsverval. Ontvolking van steden --- Verstedelijking. Stadsverval. Ontvolking van steden --- 711.164 Planologie: saneringsplannen --- Planologie: saneringsplannen --- 711.4 <41> Gemeentelijke planologie. Stadsplanning. Stedenbouw--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland --- Gemeentelijke planologie. Stadsplanning. Stedenbouw--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland

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The Troubles claimed the lives of almost four thousand people in Northern Ireland, most of them civilians; forty-five thousand were injured in bombings and shootings. Relative to population size this was the most intense conflict experienced in Western Europe since the end of the Second World War. The central question posed in this book is fundamental, yet it is one that has rarely been asked: Who was primarily responsible for the prosecution of the Troubles and their attendant toll of the dead, the injured, and the emotionally traumatized? Liam Kennedy, who lived in Belfast throughout most of the conflict, was long afraid to raise the question and its implications. After years of reflection and research on the matter he has brought together elements of history, politics, sociology, and social psychology to identify the collective actors who drove the conflict onwards for more than three decades, from the days of the civil rights movement in the late 1960s to the signing of the Good Friday Agreement in 1998. The Troubles in Northern Ireland are a world-class problem in miniature. The combustible mix of national, ethnic, and sectarian passions that went into the making of the conflict has its parallels today in other parts of the world. Who Was Responsible for the Troubles? is an original and controversial work that captures the terror and the pain but also the hope of life and the pursuit of happiness in a deeply divided society.

Political violence --- Northern Ireland --- History --- Politics and government

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In 2005, photographer Chris Hondros captured a striking image of a young Iraqi girl in the aftermath of the killing of her parents by American soldiers. The shot stunned the world and has since become iconic-comparable to the infamous photo by Nick Ut of a Vietnamese girl running from a napalm attack. Both images serve as microcosms for their respective conflicts. Afterimages looks at the work of war photographers like Hondros and Ut to understand how photojournalism interacts with the American worldview. Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image's ability to bear witness and stimulate action.

Photojournalism --- War photography --- History --- United States --- History, Military --- Foreign relations --- photography, war, violence, politics, foreign policy, government, iraq, soldiers, military, napalm, vietnam, photojournalism, human rights, public opinion, el salvador, nicaragua, iran, revolution, rebellion, overthrow, south america, the balkans, gulf, somalia, afghanistan, terrorism, casualties, civilians, home front, africa, europe, asia, coup, warlord, humanitarian aid, nonfiction, history, art, news, journalism, ethics.

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Architecture