New PDF release: Être soldat

By François Cochet

ISBN-10: 2200248253

ISBN-13: 9782200248253

Être soldat ne relève pas d’un easy choix professionnel. Dans cette militaire qui est plus qu’un métier, se pose l. a. query éthique de l. a. mort reçue ou donnée et de l’usage des armes, légitimé en droit par le fait que le soldat est le représentant légal de l. a. strength publique dans les conflits. Le rapport au sacré est souvent interrogé dans les cultures professionnelles, notamment des officiers. Être soldat, c’est également s’inscrire dans une acceptation de l’autorité et de l. a. hiérarchie. Les systèmes de représentation de los angeles société à l’égard de l’armée sont interrogés dans cet ouvrage, de l’image du soldat, au cours des siècles, à l’antimilitarisme, de l. a. participation des militaires à l. a. politique, à l’évolution de leur rôle dans les conflits passés et contemporains.
Passant du carrier du Roi à celui de l. a. country, le soldat est toujours en section avec les débats de sociétés de son époque, passant de l. a. d’un soldat de métier au système mixte républicain mêlant conscription et professionnels. Depuis 1997, et par un retour de l’histoire sur elle-même, le soldat est redevenu un engagé volontaire, quel que soit son grade. Engagé dans des conflits locaux (conquête coloniale et conflits de décolonisation), il a également connu les deux guerres mondiales avant de participer à des « Opérations extérieures », sous l’égide d’organismes internationaux. À l’image de los angeles société française, los angeles situation militaire a profondément évolué depuis l. a. veille de l. a. Révolution française. Ce livre en montre les multiples facettes et en identifie les facteurs d’évolution, mais aussi les ancrages culturels de lengthy terme.

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Americans did not simply retain their national identification when they went abroad. More precisely, they often discovered overseas just how they wanted to be American. Writers and artists in Paris most famously contributed to this process. Rather than retreating into their own private worlds of exile, expatriates consumed themselves with the task of defining and even promoting a modern national culture. Encouraged in their endeavors by small but select sets of European intellectuals enamored of the machine-age artifacts of American life—from the architect Le Corbusier and the painter Fernand Léger to surrealists and négritude writers—Americans in Paris began to see how they might capture vibrant national idioms, how they could construct new aesthetics and attitudes by rubbing them up against other subjects, traditions, and techniques.

That spring, Dos Passos remembered, “it looked as if every man or woman in the United States who could read or write had wrangled an overseas job. ”20 After Versailles, the wave of unruly doughboys and conspicuous convention-goers would ebb, but the journalists were there to stay, and they helped to set the tone of the postwar American colony. The growth of syndicated news networks and the war itself had stoked interest back in the United States for overseas news of all kinds. Once considered career suicide, appointments to posts in continental Europe became some of the most coveted positions in journalism.

Manufacturing in the United States soared, and the principles of industrial organization piloted by Frederick Winslow Taylor’s scientific management and Henry Ford’s factory work system became famous the world over. The emergence of a vibrant, distinctively American culture during the first half of the century, however, entailed not just these new modes of production but other, more subtle or diffuse changes—innovations smuggled into everyday life by the bold graphics of Madison Avenue, the blinking neon lights of the Great White Way, the fast talk and streamlined fashions of Hollywood films, the blowout sounds of big band jazz.

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Être soldat by François Cochet


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