Claudia Verhoeven – författare

In August 1969, members of charismatic leader Charles Manson's countercultural "family" mur­dered some of Hollywood's "beautiful people," most famously Sharon Tate, eight and a half months pregnant at the time. The killers left be­hind evidence intended to implicate Black radi­cals and to trigger an apocalyptic race war. What happened instead was that the gruesome murders placed the entire counterculture un-der suspicion and then came to mean, in Joan Didion's formulation, the end of the sixties. They have been a cornerstone of the true crime genre ever since.Drawing on newly released archival material of case transcripts, Love and Terror recasts the Manson case as an exemplary site for historical scholarship. The book shows how the standard story of the murders came to be told the way it was. In place of this shopworn narrative, Clau­dia Verhoeven presents a kaleidoscopic history at the center of which is a far stranger portrait of Manson, the man who became the ultimate murder mastermind in the American mythos.Based on years of investigative research, Love and Terror rewrites the Manson murders as a prism of American culture, an event framed by global avant-gardist movements and revolu­tionary violence, and an early sign of our age of spectacle.This history is confused, tumultuous, and pell-mell; it is carnival-esque; and it is a downward spiral into terror that, however, is simultaneously thrilling and repetitively compulsive, which is why the song's refrain about the repeat experience of going up and down the helter skelter is also an apt metaphor for the endless retelling of the murders and the never-ending produc­tivity of the Manson industrial complex/culture industry.

In August 1969, members of charismatic leader Charles Manson's countercultural "e;family"e; mur,dered some of Hollywood's "e;beautiful people,"e; most famously Sharon Tate, eight and a half months pregnant at the time. The killers left be,hind evidence intended to implicate Black radi,cals and to trigger an apocalyptic race war. What happened instead was that the gruesome murders placed the entire counterculture un-der suspicion and then came to mean, in Joan Didion's formulation, the end of the sixties. They have been a cornerstone of the true crime genre ever since.Drawing on newly released archival material of case transcripts, Love and Terror recasts the Manson case as an exemplary site for historical scholarship. The book shows how the standard story of the murders came to be told the way it was. In place of this shopworn narrative, Clau,dia Verhoeven presents a kaleidoscopic history at the center of which is a far stranger portrait of Manson, the man who became the ultimate murder mastermind in the American mythos.Based on years of investigative research, Love and Terror rewrites the Manson murders as a prism of American culture, an event framed by global avant-gardist movements and revolu,tionary violence, and an early sign of our age of spectacle.This history is confused, tumultuous, and pell-mell; it is carnival-esque; and it is a downward spiral into terror that, however, is simultaneously thrilling and repetitively compulsive, which is why the song's refrain about the repeat experience of going up and down the helter skelter is also an apt metaphor for the endless retelling of the murders and the never-ending produc,tivity of the Manson industrial complex/culture industry.

The Oxford Handbook of the History of Terrorism presents a revaluation of the major narratives in the history of terrorism, exploring the emergence and the use of terrorism in world history from antiquity up to the twenty-first century.The essays collected in this handbook constitute the first systematic analysis of the relationship between terrorism and modernity on a global scale from the French Revolution to the present. Historians and political theorists have long asserted such a link, but this causal connection has rarely been rigorously investigated, and the failure to examine such a crucial aspect of terrorism has contributed to the spread of unsubstantiated claims about its nature and origins. Terrorism is often presented as a perennial barbarism forever lurking outside of civilization when, in fact, it is a historically specific form of political violence generated by modern Western culture that was then transported around the globe, where it was transformed in accordance with local conditions. This handbook offers cogent arguments and well-documented case studies that support a reading of terrorism as an explicitly modern phenomenon. It also provides sustained analyses of the challenges involved in the application of the theories and practices of modernity and terrorism to non-Western parts of the world. The volume presents an overview of terrorism''s antecedents in the pre-modern world, analyzes the emergence of terrorism in the West, and presents a series of case studies from non-Western parts of the world that together constitute terrorism''s global reception history. Essays cover a broad range of topics from tyrannicide in ancient Greek political culture, the radical resistance movement against Roman rule in Judea, the invention of terrorism in Europe, Russia, and the United States, anarchist networks in France, Argentina, and China, imperial terror in Colonial Kenya, anti-colonial violence in India, Egypt''s Muslim Brotherhood, and the German Autumn, to right-wing, eco-and religious terrorism, as well as terrorism''s entanglements with science, technology, media, literature and art.The Oxford Handbook of the History of Terrorism ultimately provides an account of the global history of terrorism and coverage of the most important cases from this history, always presented with an eye towards their entanglement with the forces and technologies of modernity.

The Oxford Handbook of the History of Terrorism presents a revaluation of the major narratives in the history of terrorism, exploring the emergence and the use of terrorism in world history from antiquity up to the twenty-first century.The essays collected in this handbook constitute the first systematic analysis of the relationship between terrorism and modernity on a global scale from the French Revolution to the present. Historians and political theorists have long asserted such a link, but this causal connection has rarely been rigorously investigated, and the failure to examine such a crucial aspect of terrorism has contributed to the spread of unsubstantiated claims about its nature and origins. Terrorism is often presented as a perennial barbarism forever lurking outside of civilization when, in fact, it is a historically specific form of political violence generated by modern Western culture that was then transported around the globe, where it was transformed in accordance with local conditions. This handbook offers cogent arguments and well-documented case studies that support a reading of terrorism as an explicitly modern phenomenon. It also provides sustained analyses of the challenges involved in the application of the theories and practices of modernity and terrorism to non-Western parts of the world.The volume presents an overview of terrorism's antecedents in the pre-modern world, analyzes the emergence of terrorism in the West, and presents a series of case studies from non-Western parts of the world that together constitute terrorism's global reception history. Essays cover a broad range of topics from tyrannicide in ancient Greek political culture, the radical resistance movement against Roman rule in Judea, the invention of terrorism in Europe, Russia, and the United States, anarchist networks in France, Argentina, and China, imperial terror in Colonial Kenya, anti-colonial violence in India, Egypt's Muslim Brotherhood, and the German Autumn, to right-wing, eco-and religious terrorism, as well as terrorism's entanglements with science, technology, media, literature and art.The Oxford Handbook of the History of Terrorism ultimately provides an account of the global history of terrorism and coverage of the most important cases from this history, always presented with an eye towards their entanglement with the forces and technologies of modernity.

The Oxford Handbook of the History of Terrorism presents a revaluation of the major narratives in the history of terrorism, exploring the emergence and the use of terrorism in world history from antiquity up to the twenty-first century.The essays collected in this handbook constitute the first systematic analysis of the relationship between terrorism and modernity on a global scale from the French Revolution to the present. Historians and political theorists have long asserted such a link, but this causal connection has rarely been rigorously investigated, and the failure to examine such a crucial aspect of terrorism has contributed to the spread of unsubstantiated claims about its nature and origins. Terrorism is often presented as a perennial barbarism forever lurking outside of civilization when, in fact, it is a historically specific form of political violence generated by modern Western culture that was then transported around the globe, where it was transformed in accordance with local conditions. This handbook offers cogent arguments and well-documented case studies that support a reading of terrorism as an explicitly modern phenomenon. It also provides sustained analyses of the challenges involved in the application of the theories and practices of modernity and terrorism to non-Western parts of the world. The volume presents an overview of terrorism''s antecedents in the pre-modern world, analyzes the emergence of terrorism in the West, and presents a series of case studies from non-Western parts of the world that together constitute terrorism''s global reception history. Essays cover a broad range of topics from tyrannicide in ancient Greek political culture, the radical resistance movement against Roman rule in Judea, the invention of terrorism in Europe, Russia, and the United States, anarchist networks in France, Argentina, and China, imperial terror in Colonial Kenya, anti-colonial violence in India, Egypt''s Muslim Brotherhood, and the German Autumn, to right-wing, eco-and religious terrorism, as well as terrorism''s entanglements with science, technology, media, literature and art.The Oxford Handbook of the History of Terrorism ultimately provides an account of the global history of terrorism and coverage of the most important cases from this history, always presented with an eye towards their entanglement with the forces and technologies of modernity.

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.

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.

David Warren Sabean was a pioneer in the historical-anthropological study of kinship, community, and selfhood in early modern and modern Europe. His career has helped shape the discipline of history through his supervision of dozens of graduate students and his influence on countless other scholars. This book collects wide-ranging essays demonstrating the impact of Sabean’s work has on scholars of diverse time periods and regions, all revolving around the prominent issues that have framed his career: kinship, community, and self. The significance of David Warren Sabean’s scholarship is reflected in original research contributed by former students and essays written by his contemporaries, demonstrating Sabean’s impact on the discipline of history.