Each element should be followed by the punctuation mark shown here. Earlier editions of the handbook included the place of publication and required different punctuation such as journal editions in parentheses and colons after issue numbers. In the current version, punctuation is simpler only commas and periods separate the elementsand information about the source is kept to the basics. End this element with a period.
War Plans To be understood, On War really has to be approached as a whole, but the intelligent reader needs to keep in mind that various sections reflect different stages in Clausewitz's intellectual and theoretical evolution.
Books One, Two, and Eight are generally considered the most important and the most nearly "finished" especially Book Onewhile older parts sometimes fail to connect with Clausewitz's most mature ideas. Some sections are often left out of abridged versions, especially Books Five, Six, and Seven, allegedly because they are tactical in nature and thus obsolete.
This sometimes leads to serious misunderstandings of Clausewitz's arguments, for it is precisely in these books that he works out the practical implications of his ideas. For those who prefer to paint Clausewitz as the "apostle of the offensive," it is especially convenient to leave out Book Six, "Defense"—by far the largest, which demonstrated Clausewitz's controversial conviction that defense is inherently the stronger form of war.
One of the main sources of confusion about Clausewitz's approach lies in his dialectical method of presentation.
For example, Clausewitz's famous line that "War is merely a continuation of Politik," while accurate as far as it goes, was not intended as a statement of fact.
It is the antithesis in a dialectical argument whose thesis is the point—made earlier in the analysis—that "war is nothing but a duel [or wrestling match, a better translation of the German Zweikampf] on a larger scale. This synthesis resolves the deficiencies of the two earlier bald statements, indicating that war is neither "nothing but" an act of brute force nor "merely" a rational act of politics or policy.
Rather, it is a dynamic, inherently unstable interaction of the forces of violent emotion, chance, and rational calculation on all sides.
Identifying precisely who was to benefit from reading On War, and precisely how, are perplexing questions. Clausewitz's practical purpose in writing included providing "military analysts" with a clear conceptual scheme for understanding war, in hopes of improving both its actual conduct and the literature discussing it.
He hoped that such an understanding would improve the judgement of military commanders, but he also believed that "military genius" was more a matter of character, personality, and temperament than of intellect. Perhaps because of his awareness of his own character, he felt that intellectuals generally made poor commanders.
Only a self-conscious intellectual, however, was likely to wrestle with a book like On War. One of the deepest explorations of Clausewitz's intentions is provided by historian Jon Sumida in his Decoding Clausewitz: University Press of Kansas, Sumida's interpretation is discussed below under the heading "Clausewitz on History and Military History.
Sumida asks whether it was Clausewitz's goal to provide a phenomenology of war—that is to say, a description of the essential nature of armed conflict—or to suggest some other route to understanding the problem.
These are important distinctions; Sumida emphasizes the latter. But Clausewitz was an eclectic thinker who sought to integrate many diverse aspects of the problem, and it is difficult in practice to separate the two goals.
On War certainly was not intended to provide a practical "cookbook" for commanders in the field. That approach is common in military doctrinal writing, and Clausewitz the practical soldier had himself written and taught doctrine during the Napoleonic Wars.
But it was alien to Clausewitz's concept of military theory.§ Implementation of Texas Essential Knowledge and Skills for English Language Arts and Reading, High School, Beginning with School Year Below, I describe an approach as one example of how you might go about it.
I have chosen it because it is an approach I am familiar with.
|MLA Formatting and Style Guide||It is one such image, that of "magician", which is the subject of this thesis. Given this contrast between the archetype as such and the archetypal image in which it finds cultural expression, "the magician" might better be regarded as an archetypal image than as an archetype itself.|
|Rescuing good health from bad science.||Here, all you need to know is that these types of essays look into two subjects.|
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Also, it achieves a balance of action and research, and it is more economical to report than other approaches I know. May 23, · Which of the following would be a good thesis statement for a compare-and-contrast essay?
A. A lemon is yellow, a lime is green, and an orange — as its name states — is orange. B. A lemon tastes good on fish, a lime is a tasty in water, and an orange tastes wonderful for breakfast.
C. A discerning cook will consider the characteristics Status: Resolved. The Reactive Engine A. C. Kay I wish to God these calculations were executed by steam C.
Babbage, The Analytical Engine. Many of the diagrams in the thesis were hand drawn. See also the pages. The poetry of Seamus Heaney: flawed success Seamus Heaney: ethical depth?
His responses to the British army during the Troubles in Northern Ireland, bullfighting, the Colosseum, 'pests,' 9/11, IRA punishment, the starving or hungry, the hunger strikers in Northern Ireland. Welcome to my “Forks Over Knives” analysis, AKA the longest movie review you’ll ever attempt to read.
Thanks for stopping by! In case you aren’t yet convinced that I’ve made it my life’s mission to critique everything related to T. Colin Campbell, this should seal the deal.