Americans and Human Rights in the Twentieth Century
'This is a magnificent and much-needed book on how the United States has wrestled with the global human rights imagination in the twentieth century. Bradley's history provides an essential discussion of the background for some of the critical issues in today's international human rights regime.' O. A. Westad, John F. Kennedy School of Government, Harvard University
'Operating at the intersection of diplomatic history and cultural analysis, this elegant study rewrites the history of how human rights language came to be a powerful yet ordinary vernacular for Americans. Bradley's approach is remarkably interdisciplinary, and his use of visual culture to analyze the affective call of human rights logic is utterly compelling. This book will transform how we think about the history of human rights and the limits of the US role in that history. [The World Reimagined] is a brilliant, field-defining work.' Melani McAlister, Chair, Department of American Studies, and Associate Professor of American Studies and International Affairs, George Washington University
'Mark Philip Bradley has written a luminous account of the human rights movement in America that draws on an astonishing array of material including photography and popular culture. [The World Reimagined] traces both the evolution and the limitations of human rights as the 'ubiquitous moral language' of the day. Beautifully written and powerfully argued, no other work on the subject comes close to this brilliant analysis.' Marilyn B. Young, New York University
'Mark Philip Bradley expands the boundaries of both American and human rights history in this luminous book, which provides extraordinarily compelling and fundamentally novel depictions of two different eras and how they relate across decades. With his trademark depth of mind and enviable subtlety, Bradley has achieved the most finely wrought and intellectually consequential history of America's place in the imagination of human rights ever composed. By turns absorbing and moving, it simultaneously brings the topic to a new level of sophistication and to the broadest of audiences.' Samuel Moyn, Harvard University, and author of The Last Utopia: Human Rights in History
'... an artful book in all positive meaning of this word. The source material encompasses photography, theater, literature, and painting. ... Mark Philip Bradley has done a remarkable job of addressing the imperfections of memory and the inadequacies of documentation as they relate to an important part of human rights history, justifying a readership well beyond academia. He has also succeeded in a subtle repositioning of that physical and imaginative place called America and its role in the global human rights story.' Steven L. B. Jensen, H-Net
'In the 1940s and again in the 1970s, Bradley convincingly argues, American diplomats (and numerous citizens and NGOs) began to talk about foreign engagements in a new way ... Bradley describes and expla...
Mark Philip Bradley is Bernadotte E. Schmidt Professor of History at the University of Chicago, where he also serves as the Faculty Director of the Pozen Family Center for Human Rights and Chair of the Committee on International Relations. He is the author of Imagining Vietnam and America: The Making of Postcolonial Vietnam (2000), which won the Harry J. Benda Prize from the Association for Asian Studies, and Vietnam at War (2009). He is the coeditor of Familiar Made Strange: American Icons and Artifacts after the Transnational Turn (2015), Making Sense of the Vietnam Wars (2008), and Truth Claims: Representation and Human Rights (2001). Bradley is also the former President of the Society for Historians of American Foreign Relations. His work has been supported by the American Council of Learned Societies and the National Endowment for the Humanities.
Introduction: how it feels to be free; Part I. The 1940s: 1. At home in the world; 2. The wartime rights imagination; 3. Beyond belief; 4. Conditions of possibility; Part II. The 1970s: 5. Circulations; 6. American vernaculars I; 7. American vernaculars II; 8. The movement; Coda: the sense of an ending.