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Global air mobility is an American invention. During the twentieth century, other nations developed capabilities to transport supplies and personnel by air to support deployed military forces. But only the United States mustered the resources and will to create a global transport force and aerial refueling aircraft capable of moving air and ground combat forces of all types to anywhere in the world and supporting them in continuous combat operations. Whether contemplating a bomber campaign or halting another surprise attack, American war planners have depended on transport and tanker aircraft.
In An Army at Dawn - winner of the Pulitzer Prize - Rick Atkinson provided a dramatic and authoritative history of the Allied triumph in North Africa. Now, in The Day of the Battle, he follows the strengthening American and British armies as they invade Sicily in July 1943 and then, mile by bloody mile, fight their way north. The Italian campaign's outcome was never certain; in fact, Roosevelt, Churchill and their military advisors engaged in heated debate about whether an invasion of the so-called soft underbelly of Europe was even a good idea. But once underway, the commitment to liberate Italy from the Nazis never wavered, despite the agonizingly high price. The battles at Salerno, Anzio, and Monte Cassino were particularly difficult and lethal, yet as the months passed, the Allied forces continued to push the Germans up the Italian peninsula. And with the liberation of Rome in June 1944, ultimate victory at last began to seem inevitable. Drawing on an astonishing array of primary source material, written with great drama and flair, this is narrative history of the first rank.
Marvin Pokrant argues that the currently recognized principles of war are flawed and proposes a set of nine new principles to guide military leaders.
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable?