The conflicts waged in Asia between 1945 and 1954 are examined here as part of the anti-colonial struggle and national independence, giving rise to free and original Asian practices. The background is the emergence and consolidation of the bipolar powers of the superpowers involved in the cold war. The decolonization of the region was part of the Western Allies' ideals. However, the Cold Conflict's political conveniences lead the Truman Administration to tolerate and support the colonial presence. American policy on Asia-Pacific feared that independence would jeopardize regional stability. This desideratum frustrated the aspirations of the local populations and elites and the communists. After 1949 starting its huge task of national reconstruction, the People's Republic of China recovered imperial diplomatic practices. In addition to expanding his agricultural and industrial production bases, he supported the communist side in the war between the two Koreas and Vietminh, in Indochina. Exercising dominance over its allies the Maoist China, it consolidated its regional projection, suggesting to several important actors on the western side that the three conflicts were part of a single war against communism that they believed to be expanding.

The aim of this essay is to exploratory analyze the Russian film Russian War T. 34, by Alexey Sidorov, as a symbolic duel between two individuals, a Nazi German and the other one Soviet, employing their tanks, their backgrounds, their industrial cultures, and ideologies. The Dominant Explain Comes from the Curzio Malaparte reports that, at the beginning of Operation Barbarossa of 1941, advocated Nazi defeat. We use the works of Steve Zaloga to analyze the use of tanks as a combat machines. John Erickson, Brandon Schechter's reading, explains the victory of the Red Army and the USSR, mobilizing industrial, human, and cultural means employing, according to Lewin, the memory of the Russian victory over Napoleon in 1812. Our Findings indicate that the consolidation of an accelerated industrial mindset produced a new ethics where Tank Crews were soldiers and mechanically inspired and, like an elite, along with industrial technique, employed tricks as a tactic weapon, according to Michel de Certeau. Narrating the dynamic plastic of the battle between tanks, Sidorov's film holds the viewer's attention by employing the narrative aesthetics of silent cinema and visualizing his scenes dispensing with the reading of Russian subtitles. The film puts the tank, the top product of the 1930s and 40s celebrated industrial development, as a complex war tool whose employment requires exceptional individuals endowed with cunning and technique of fighting, simultaneously soldiers and mechanical.

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The Egyptian military continues to draw upon a history of revolutionary legitimacy, and many view it as a patriotic institution. The 1881 "Arabi revolution" against the British, the Free Officer's movement, and Egypt's wars with Israel reinforce the military's important historical role within the popular imagination.

This paper examines the role of the dog in the work of two modern Italian writers Curzio Malaparte and Carlo Levi and the writings of a notable Italian philosopher of our times, The Italian philosopher Giorgio Agamben, in several works he assures the importance of animals in tne human life, and the dog, in particular, in the redefinition of the future of the human being.   Taking their assertions as analysis tools for the mentioned authors, we analize in the texts, where they formulate a peculiar way of central role represented by the animal. In Levi he is capable to be the key able to open the door to a fantastic world. For Malaparte the dog becomes the essential counterpart to the humanity being capable to harbor huge feelings that he is able to teach man . Finally, for Agamben, men and animals are part of the same natural creation and, eschatologically, walk together until, at the end of time, when humans will reconcile with their half animal nature.