In the first book to systematically explore the linkages between war and emergency response, Hoffman and Weiss focus on the profound impact of new wars with non-state actors. The authors trace the evolution of the international humanitarian system from its inception in the 1860s through the current challenges cast by recent U.S. military action in Afghanistan and Iraq. By bringing historical perspective to bear on the mechanics of war and humanitarian action, Sword & Salve provides an essential analytical framework for grasping the nature of crises and how aid agencies can respond strategically rather than reactively to change. Students will find it a powerful tool for understanding the roles of state and non-state actors in international relations, as well as the panopoly of means and ends encompassed by contemporary humanitarianisms.

Arguing forcefully that changing times are a clarion call for new thinking, this book convincingly shows that if humanitarian organizations continue to operate as they have in the past, they will fail to help the very victims whom they try to save. Focusing especially on the emergence of 'new wars, ' Hoffman and Weiss insist that humanitarian organizations must recognize that they live in a political world and that their actions and goals are invariably affected by military action. The brand of warfare that erupted in the 1990s-marked by civil or transnational armed conflicts featuring potent non-state actors, altered political economies, a high proportion of civilian casualties, and a globalized media-produced horrors that shocked consciences and led humanitarian agencies to question their unyielding stance of neutrality and impartiality. Indeed, in a departure from earlier norms and practices, some have reinvented their policies and tools and created 'new humanitarianisms.' This authoritative book traces the evolution of the international humanitarian system from its inception in the 1860s, parses the dynamics of war and emergency response from the 1980s through the current disasters in Afghanistan and Iraq, and provides a strategic roadmap for practitioners. By bringing historical perspective to bear, this volume provides an invaluable analytical framework for grasping the nature of humanitarian crises and how agencies can respond strategically rather than reactively to change. Students will find its blend of clearly presented theory and case studies a powerful tool for understanding the roles of state and non-state actors in international relations. By charting the tides of continuity and change, this book will prepare agencies to dodge both figurative and actual bullets that threaten humanitarian action at the outset of the millennium.

A country comedy about the absurdly corrupt purchases of military titles. Captain Underwit has succeeded in becoming a “paper” Captain by bribing the Lieutenant with favors and a below-value land-purchase. Underwit then sends his servant Thomas to purchase books to prepare him to actually carry out military duties, but Thomas instead purchases the “Shakespeare” Folio, and other impractical or irrelevant books in a manner that echoes Don Quixote’s belief he could imitate the actions of knights in romance novels. Meanwhile, Underwit withdraws from London into his father-in-law Sir Richard’s country estate. Underwit hires Captain Sackburie to build his military acumen, but Sackburie only has him perform a few military dances before they escape to drink at a tavern. The plot then digresses from these heavy subjects to romantic entanglements as Sir Richard’s wife (Lady) attempts to have an affair with Sir Francis, and Sister flirts with Mr. Courtwell, and Lady’s maid, Mistress Dorothy, devises a fraudulent scheme to make suitors falsely believe she comes from an aristocratic family to secure a husband. There are gems under this visage of simplicity, as Engine is attempting to bribe his way into a monopoly on periwigs, and Device the poet recites elegant songs to Sister that he is not sure if he has plagiarized. The introductory materials explain that the plagiarism of the “Catch” dice-game-song that repeats in the “James Shirley”-bylined Poems &c. (1646) re-affirms Percy’s ghostwriting of most “Shirley”-bylined plays as well as Captain, instead of proving “Shirley’s” authorship of this group of texts, as critics have previously claimed. “A classic English country comedy from the British Renaissance era, and now ably translated by Anna Faktorovich into Modern English for an appreciative readership with an interest in the literature and stage dramas of the time. Captain Underwit is an eloquent, unique, and highly recommended contribution to academic library collections… It should be noted for the personal reading lists of students, academia, and non-specialist general readers with an interest in the subject…” —Midwest Book Review, James Cox, The Literary Fiction Shelf Exordium Plot and Staging “Introduction to Captain Underwit” (1883) by A. H. Bullen Text Terms, References, Questions, Exercises