A groundbreaking history of the roots of modern terrorism, ranging from early modern Europe to the contemporary Middle East.

The Solution of the Fist: Dostoevsky and the Roots of Modern Terrorism addresses the political and psychological aspects of terrorism as seen through the eyes of a first-generation observer of terrorism, Fyodor Dostoevsky. Through an in-depth analysis of the first novel ever w...

In Modernity and Terrorism: From Anti-Modernity to Modern Global Terror Milan Zafirovski and Daniel G. Rodeheaver analyze the nature, types, and causes of contemporary global terrorism. The book redefines modern terrorism in a novel more comprehensive manner compared to the previous literature. It examines counter-state and state terrorism, with an emphasis on the latter in light of its scale, persistence, and intensity as well as its relative neglect in the literature. The book identifies and predicts the general cause of most modern terrorism in anti-modernity as the adverse reaction to and reversal of liberal-democratic, secular, rationalistic, and globalized, modernity. In essence, it discovers and predicts anti-liberalism in the form of conservatism as the main source and force of modern terrorism.

The production of ‘human waste’ – or more precisely, wasted lives, the ‘superfluous’ populations of migrants, refugees and other outcasts – is an inevitable outcome of modernization. It is an unavoidable side-effect of economic progress and the quest for order which is characteristic of modernity. As long as large parts of the world remained wholly or partly unaffected by modernization, they were treated by modernizing societies as lands that were able to absorb the excess of population in the ‘developed countries’. Global solutions were sought, and temporarily found, to locally produced overpopulation problems. But as modernization has reached the furthest lands of the planet, ‘redundant population’ is produced everywhere and all localities have to bear the consequences of modernity’s global triumph. They are now confronted with the need to seek – in vain, it seems – local solutions to globally produced problems. The global spread of the modernity has given rise to growing quantities of human beings who are deprived of adequate means of survival, but the planet is fast running out of places to put them. Hence the new anxieties about ‘immigrants’ and ‘asylum seekers’ and the growing role played by diffuse ‘security fears’ on the contemporary political agenda. With characteristic brilliance, this new book by Zygmunt Bauman unravels the impact of this transformation on our contemporary culture and politics and shows that the problem of coping with ‘human waste’ provides a key for understanding some otherwise baffling features of our shared life, from the strategies of global domination to the most intimate aspects of human relationships.

'The suicide warriors who attacked Washington and New York on September 11th, 2001, did more than kill thousands of civilians and demolish the World Trade Center. They destroyed the West's ruling myth.' So John Gray begins this short, powerful book on the belief that has dominated our minds for a century and a half - the idea that we are all, more or less, becoming modern and that as we become modern we will become more alike, and at the same time more familiar and more reasonable. Nothing could be further from the truth, Gray argues. Al Qaeda is a product of modernity and of globalisation, and it will not be the last group to use the products of the modern world in its own monstrous way. Gray pulls up by the roots the myth that the human condition can be remade by science and progress or political engineering. He describes with mordant irony the rise of Positivists, the strange sect that put science and technology at the centre of the cult and developed a religion of humanity. Through their influence on economists, politicians and biologists, they still powerfully affect the way we think. Gray looks at the various attempts to remake humanity, from the Bolshevik and Nazi disasters to the utopian experiments of modern radical Islam and the dreams of the prophets of globalisation. And he gives a scathing account of the real sources of conflict in the world, of American power and its illusions, and of the ways in which cultures will resist the reshaping we might wish on them.

States that the war on terror cannot be truly understood without investigating the legitimacy of modernity, the challenge that religion presents to modernization, and the post-colonial predicament from which Islamist reaction arises. This book illuminates the war on terror in light of these issues.

On April 4, 1866, just as Alexander II stepped out of Saint Petersburg's Summer Garden and onto the boulevard, a young man named Dmitry Karakozov pulled out a pistol and shot at the tsar. He missed, but his "unheard-of act" changed the course of Russian history-and gave birth to the revolutionary political violence known as terrorism. Based on clues pulled out of the pockets of Karakozov's peasant disguise, investigators concluded that there had been a conspiracy so extensive as to have sprawled across the entirety of the Russian empire and the European continent. Karakozov was said to have been a member of "The Organization," a socialist network at the center of which sat a secret cell of suicide-assassins: "Hell." It is still unclear how much of this "conspiracy" theory was actually true, but of the thirty-six defendants who stood accused during what was Russia's first modern political trial, all but a few were exiled to Siberia, and Karakozov himself was publicly hanged on September 3, 1866. Because Karakozov was decidedly strange, sick, and suicidal, his failed act of political violence has long been relegated to a footnote of Russian history. In The Odd Man Karakozov, however, Claudia Verhoeven argues that it is precisely this neglected, exceptional case that sheds a new light on the origins of terrorism. The book not only demonstrates how the idea of terrorism first emerged from the reception of Karakozov's attack, but also, importantly, what was really at stake in this novel form of political violence, namely, the birth of a new, modern political subject. Along the way, in characterizing Karakozov's as an essentially modernist crime, Verhoeven traces how his act profoundly impacted Russian culture, including such touchstones as Repin's art and Dostoevsky's literature. By looking at the history that produced Karakozov and, in turn, the history that Karakozov produced, Verhoeven shows terrorism as a phenomenon inextricably linked to the foundations of the modern world: capitalism, enlightened law and scientific reason, ideology, technology, new media, and above all, people's participation in politics and in the making of history.