The Al-Qaeda Organization and the Islamic State Organization: History, Doctrine, Modus, Operandi, and U.S Policy to Degrade and Defeat Terrorism Conducted in the Name of Sunni Islam

The al-Qaeda Organization (AQO) and the Islamic State Organization (ISO) are transnational adversaries that conduct terrorism in the name of Sunni Islam. It is declared U.S. Government (USG) policy to degrade, defeat, and destroy them. The present book has been written to assist policymakers, military planners, strategists, and professional military educators whose mission demands a deep understanding of strategically-relevant differences between these two transnational terrorist entities. In it, one shall find a careful comparative analysis across three key strategically relevant dimensions: essential doctrine, beliefs, and worldview; strategic concept, including terrorist modus operandi; and specific implications and recommendations for current USG policy and strategy. Key questions that are addressed include: How is each terrorist entity related historically and doctrinally to the broader phenomenon of transnational Sunni “jihadism”? What is the exact nature of the ISO? How, if at all, does ISO differ in strategically relevant ways from AQO? What doctrinal differences essentially define these entities? How does each understand and operationalize strategy? What critical requirements and vulnerabilities characterize each entity? Finally, what implications, recommendations, and proposals are advanced that are of particular interest to USG strategists and professional military educators?https://dc.etsu.edu/etsu_books/1127/thumbnail.jp

Sandspur, Vol. 77 No. 04, October 16, 1970

Rollins College student newspaper, written by the students and published at Rollins College. The Sandspur started as a literary journal.https://stars.library.ucf.edu/cfm-sandspur/2378/thumbnail.jp

The Independent, No. 26, April 9, 1981

The Independent was a student run newspaper created in 1960 at Newark State College, now Kean University. The proceeding title was The Reflector. The editor of this issue was Bruce Alan Sidwell.https://digitalcommons.kean.edu/independent_1980-1984/1013/thumbnail.jp

Witness: The Modern Writer as Witness

Editor\u27s Note [Excerpt] The United States, as a society, is on the brink of profound and positive change. Demographically and culturally, things are improving, and the reason is obvious to people who study history: Conflict pushes us to be better, to strive for principled goals. Consider the inspired eco-advocacy of Greta Thunberg. Or the swearing in of most diverse class of lawmakers in history into the 116th Congress. Or billionaire Robert F. Smith’s pledge to pay off every Morehouse College (in Atlanta, Georgia) student’s debt. Indeed, there are many good people helping and great moments happening in spite of a bleak 24-hour news cycle designed to ruin happiness and to limit our understanding of our human potential. We at Witness see this yearning for transformation in the works we selected. The doorway must be crossed, and the voices and characters we featured in our Winter 2019 issue stand at the vestibule, ready for the light to warm them, primed to fight for that necessary illumination.https://digitalscholarship.unlv.edu/witness/1000/thumbnail.jp

France and Ireland in the Public Imagination

This engaging collection of essays considers the cultural complexities of the Franco-Irish relationship in song and story, image and cuisine, novels, paintings and poetry. It casts a fresh eye on public perceptions of the historic bonds between Ireland and France, revealing a rich variety of contact and influence. Controversy is not shirked, whether on the subject of Irish economic decline or reflecting on prominent, contentious personalities such as Ian Paisley and Michel Houellebecq. Contrasting ideas of the popular and the intellectual emerge in a study of Brendan Kennelly; recent Irish tribunals are analysed in the light of French cultural theory; and familiar renditions of Franco-Irish links are re-evaluated against the evidence of newspaper and journal accounts.Drawing on the disciplines of history, art, economics and literature, and dipping into the good wines of France and Ireland, the book paints a fascinating picture of the relationship between the two countries over three dramatic centuries.https://arrow.tudublin.ie/afisbo/1007/thumbnail.jp

Postmodern materialism: things, people, and the remaking of the social in contemporary American narrative

This dissertation reexamines the critical orthodoxies of postmodern American literature by attending to the everyday objects that populate the worlds of narrative texts written from the 1960s to the first decade of the new millennium. Whereas the majority of literary and cultural critics, from Fredric Jameson to Linda Hutcheon to K. Anthony Appiah, argue that postmodernism can be best understood in terms of a commitment to the demystification of social arrangements that seem natural, this project proposes that what makes literature postmodern is a dedication to the ongoing material construction of the social. Beginning with the most mundane items in works of fiction by Leslie Marmon Silko, Don DeLillo, John Barth, Toni Morrison, and others, "Postmodern Materialism" charts the complex interactions of vast arrays of subjects and objects in the assembly of social groups. The resulting inquiry offers two important benefits: 1) a new approach to postmodernism in general through a rereading of postmodern fiction; 2) a unique methodology for assessing the relationship between things and people that reveals the fluidity of, and thus the possibility for remaking, our social structures. By showcasing the simplest components of the social, the project of postmodernism can be seen, I maintain, as calling our attention not so much away from ourselves and our preoccupations as toward the material world that we all share. Such a shift in consideration does necessitate, however, a theoretical movement away from human essence as the gravitational center of our social relations, thus precluding an overly reductive comparison between people that more often than not results in the exclusion, alienation, or marginalization of individuals and groups based on actual or perceived differences. Along these lines, I conclude that postmodern fiction is especially well-suited for a critical remaking of the social because it is attuned to the ways in which the social is constantly being fashioned by the world of material objects

Inventory for a Reverse Journey. Photographic Image and Found Object - An investigation of travel and material transformation as a paradigm of artist's practice: Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle.

Inventory for Reverse Journey is the title of a collection of photographic artefacts and found objects, which I have collected over the last twenty years. The title refers to one specific type of artist's journey, which is applicable to the `chronotope' of my archive, as a `metaphorical journey in space and time' (Bakhtin 1981, p. 81). The `city',`provincial town', `road', `threshold' and `interior' are recurrent motifs, which Bakhtin fused together to describe the historical evolution of the novel in relation to its different genres. Bakhtin's motifs are expanded as the basis of an evolutionary nomenclature of the artist's-journey, as a form of spatial mapping and identity formation. Alongside other sources from literature (Alain Robbe-Grillet), cinema (Michelangelo Antonioni), psychoanalysis (Kierkegaard) and critical theory (Walter Benjamin) I have developed a theoretical framework, which initially originated in an empirical process, that is reflected in the antecedents of this project. The research process, as a journey itself, has concretised this approach within a systems-based practice. This is mirrored in the work of the artists under investigation, as their differences and similarities are highlighted within a broad contextual analysis. Accordingly the tone of the writing shifts its register at different points in the thesis. My journey is just one example of several paradigmatic formations of `travel' as a strategy, which investigates the work of six different artists, as a voluntary or involuntary form of exile. A deskilled use of the photographic image is examined in the work of Ed Ruscha, Douglas Huebler and Bas jan Ader in the spatial mapping of their chosen locations. The work of these artists manifests travel, as a strategy, in a benign form of regional and expatriate exile. The investigation shifts its focus from the New World to Europe, where the work of Jimmie Durham, Gustav Metzger and Kurt Schwitters is analysed in relation to their transformation of found objects and materials, and their relationship with a former 'home'. Their position registers different degrees of the `impossibility of return' to a point of origin, which exists in the mind rather than as a physical location. The transience of their work, and use of disparate materials, is counterbalanced by their physical presence in the work. Conversely Ader, Huebler and Ruscha are linked by a scale of decreasing visibility, as they are sublimated within their work in the formation of, what is now construed as, a unique photographic presence. The starting point for which is a return to the formative years of conceptualism in the 1960's, which set the scene for Durham and Metzger from the 1970's onwards. The spectre of Schwitters practice of forming (Formung) and unforming (Entformung) is significant for my analysis of the dematerialisation of the art-work and artist, by processes of series and repetition, distance and proximity, movement and stasis. Although `travel' is a ubiquitous term, I continue to use it as a portmanteau, which carries with it the themes and `salient' features of a typology of artist's journeys. In a moment of perceived obsolescence as digital information systems engender a culture of `selective-amnesia', these thoughts have informed my work, which runs parallel to the artist case-studies, and the material transformation of the photographic image and found object

Gendered voice in Palestinian Women Bloggers' narratives: A postcolonial feminist approach to women writing in occupied spaces

In the last two decades, the online space has afforded Palestinians a significant platform for self-representation. The space has allowed for narratives of national identity to emerge, where memories can be evoked, home can be reconstructed and imagined, and an everyday narrative of the conflict is made available to local and global interlocutors. This thesis examines the online narratives of Palestinian women bloggers who are writing from positions of anticolonial struggle, and explores the ways in which gender is written into and represented by their narratives. Importantly, the blogs analysed in this thesis are treated as forms of online life writing. Conceiving of women’s online narratives in this way means approaching the question of gender by engaging with the grounded experiences of Palestinian women whose personal accounts provide not only the opportunity to write witness narratives, but also to negotiate, disrupt and subvert stories of the nation. From a postcolonial feminist perspective, and drawing extensively on the work of critical scholars, the work considers how these women’s writing enables them to negotiate their gendered identities and their feminist concerns in a political context where questions of the nation are prioritised, and where women have typically been assigned a primarily symbolic significance in bearing the nation biologically and culturally. This negotiation manifests itself in the ways in which these women write alternative ways of narrating and imagining the nation, as the bloggers question their previously assigned roles in the national struggle. In this way, the thesis also reveals the women’s imaginative and creative role in the larger dynamic struggle between politics and narrative, as they stand at the intersection of colonial, orientalist, nationalist and gendered constructions of the nation