How did the most powerful nation on earth come to embrace terror as the organizing principle of its security policy? In The Theater of Operations, Joseph Masco locates the origins of the present-day U.S. counterterrorism apparatus in the Cold War's "balance of terror." He shows how, after the attacks of 9/11, the U.S. global War on Terror mobilized a wide range of affective, conceptual, and institutional resources established during the Cold War to enable a new planetary theater of operations. Tracing how specific aspects of emotional management, existential danger, state secrecy, and threat awareness have evolved as core aspects of the American social contract, Masco draws on archival, media, and ethnographic resources to offer a new portrait of American national security culture. Undemocratic and unrelenting, this counterterror state prioritizes speculative practices over facts, and ignores everyday forms of violence across climate, capital, and health in an unprecedented effort to anticipate and eliminate terror threats—real, imagined, and emergent.

This exhibition catalogue, accompanying the major building-wide exhibition Theater of Operations: The Gulf Wars 1991-2011, includes four new commissioned texts by scholars of Iraqi art Zainab Bahrani, Rijin Sahakian, and Nada Shabout, as well as a media-focused critique from McKenzie Wark. The book will also feature essays from our curators Ruba Katrib and Peter Eleey, as well as critical reproductions from contemporaneous media artifacts, ranging from the Baghdad Diaries--the personal diaries during Iraqi occupation and sanction of artist Nuha Al-Radi--as well as entries from the still-anonymous blogger Riverbend's Baghdad Burning blog chronicling her time living under occupation, as well as texts from Serge Daney, Jean Baudrillard. As this conflict was the first to disseminate via a 24hr televised news cycle, this publication examines the impact of this period of ongoing conflict and its pervasive effects on visual culture.

A description of General Eisenhower's wartime command, focusing on the general, his staff, and his superiors in London and Washington and contrasting Allied and enemy command organizations.

[Includes 23 maps and 31 illustrations] This volume describes two campaigns that the Germans conducted in their Northern Theater of Operations. The first they launched, on 9 April 1940, against Denmark and Norway. The second they conducted out of Finland in partnership with the Finns against the Soviet Union. The latter campaign began on 22 June 1941 and ended in the winter of 1944-45 after the Finnish Government had sued for peace. The scene of these campaigns by the end of 1941 stretched from the North Sea to the Arctic Ocean and from Bergen on the west coast of Norway, to Petrozavodsk, the former capital of the Karelo-Finnish Soviet Socialist Republic. It faced east into the Soviet Union on a 700-mile-long front, and west on a 1,300-mile sea frontier. Hitler regarded this theater as the keystone of his empire, and, after 1941, maintained in it two armies totaling over a half million men. In spite of its vast area and the effort and worry which Hitler lavished on it, the Northern Theater throughout most of the war constituted something of a military backwater. The major operations which took place in the theater were overshadowed by events on other fronts, and public attention focused on the theaters in which the strategically decisive operations were expected to take place. Remoteness, German security measures, and the Russians’ well-known penchant for secrecy combined to keep information concerning the Northern Theater down to a mere trickle, much of that inaccurate. Since the war, through official and private publications, a great deal more has become known. The present volume is based in the main on the greatest remaining source of unexploited information, the captured German military and naval records. In addition a number of the participants on the German side have very generously contributed from their personal knowledge and experience.

Though its most famous battles were waged in the East at Antietam, Gettysburg, and throughout Virginia, the Civil War was clearly a conflict that raged across a continent. From cotton-rich Texas and the fields of Kansas through Indian Territory and into the high desert of New Mexico, the Trans-Mississippi Theater was site of major clashes from the war's earliest days through the surrenders of Confederate generals Edmund Kirby Smith and Stand Waite in June 1865. In this comprehensive military history of the war west of the Mississippi River, Thomas W. Cutrer shows that the theater's distance from events in the East does not diminish its importance to the unfolding of the larger struggle.

This assured debut novel from acclaimed Chilean author Andrea Jeftanovic explores the devastating psychological effects of the conflict in the Balkans on a family who flee to South America to build a new life. It is told from the perspective of the young Tamara, as she tries to make sense of growing up haunted by a distant conflict. Yet the ghosts of war re-emerge in their new land – which has its own traumatic past – to tear the family apart.Staging scenes from childhood as if the characters were rehearsing for a play, the novel uses all the imaginary resources of theatre director, set paint- er and lighting designer to pose the question: how can Tamara salvage an identity as an adult from the ruins of memory, and rediscover the ability to love? With themes that echo Elif Shafak’s The Bastard of Istanbul , a sensitive narrator recalling Eimear McBride’s A Girl is a Half-Formed Thing , and a focus on the body in the style of Elfriede Jelinek, this is an artfully construct- ed, widely praised work from one of the most exciting novelists at work in Latin America today.

Doctrine provides a military organization with unity of effort and a common philosophy, language, and purpose. This manual, "Theater Army Operations" (FM3-93), discusses the organization and operations of the theater army headquarters, including its role as the Army Service component command (ASCC) to the geographic combatant commander (GCC) and the relationships between the theater army headquarters and the theater enabling commands. The manual also discusses theater army responsibilities for setting the theater, Title 10 functions and responsibilities, generally referred to as the combatant commander's daily operations requirements, as well as the operational employment of the theater army's contingency command post (CCP) to directly mission command limited types of operations.