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Presents an examination of American novels and nonfiction texts, published between 1947 and 2005, that looks at the concept of chance and how it was denied in the Soviet Union.
The time is right for a critical reassessment of Cold War culture both because its full cultural impact remains unprocessed and because some of the chief paradigms for understanding that culture confuse rather than clarify. A collection of the work of some of the best cultural critics writing about the period, American Literature and Culture in an Age of Cold War reveals a broad range of ways that American cultural production from the late 1940s to the present might be understood in relation to the Cold War. Critically engaging the reigning paradigms that equate postwar U.S. culture with containment culture, the authors present suggestive revisionist claims. Their essays draw on a literary archive—including the works of John Updike, Joan Didion, Richard E. Kim, Allen Ginsberg, Edwin Denby, Alice Childress, Frank Herbert, and others—strikingly different from the one typically presented in accounts of the period. Likewise, the authors describe phenomena—such as the FBI’s surveillance of writers (especially African Americans), biopolitics, development theory, struggles over the centralization and decentralization of government, and the cultural work of Reaganism—that open up new contexts for discussing postwar culture. Extending the timeline and expanding the geographic scope of Cold War culture, this book reveals both the literature and the culture of the time to be more dynamic and complex than has been generally supposed.
Uncertain Empire examines the idea of the Cold War and its application to the writing of American history.
Cold War Friendships explores the plight of the Asian ally of the American wars in Korea and Vietnam. Enlisted into proxy warfare, this figure is not a friend but a "friendly," a wartime convenience enlisted to serve a superpower. It is through this deeply unequal relation, however, that the Cold War friendly secures her own integrity and insists upon her place in the neocolonial imperium. This study reads a set of highly enterprising wartime subjects who make their way to the US via difficult attachments. American forces ventured into newly postcolonial Korea and Vietnam, both plunged into civil wars, to draw the dividing line of the Cold War. The strange success of containment and militarization in Korea unraveled in Vietnam, but the friendly marks the significant continuity between these hot wars. In both cases, the friendly justified the fight: she was also a political necessity who redeployed cold war alliances, and, remarkably, made her way to America. As subjects in process--and indeed, proto-Americans--these figures are prime literary subjects, whose processes of becoming are on full display in Asian American novels and testimonies of these wars. Literary writings on both of these conflicts are presently burgeoning, and Cold War Friendships performs close analyses of key texts whose stylistic constraints and contradictions--shot through with political and historical nuance--present complex gestures of alliance.
Art, History, and Postwar Fiction explores the ways in which twenty-century novelists responded to visual art and how writing about art was often a means of commenting on historical developments of the period.
Bringing together noted scholars in the fields of literary, cultural, gender, and race studies, this edited volume challenges us to reconsider our understanding of the Cold War, revealing it to be a global phenomenon rather than just a binary conflict between U.S. and Soviet forces. Shining a spotlight on writers from the war’s numerous fronts and applying lenses of race, gender, and decolonization, the essayists present several new angles from which to view the tense global showdown that lasted roughly a half-century. Ultimately, they reframe the Cold War not merely as a divide between the Soviet Union and the United States, but between nations rich and poor, and mostly white and mostly not. By emphasizing the global dimensions of the Cold War, this innovative collection reveals emergent forms of post-WWII empire that continue to shape our world today, thereby raising the question of whether the Cold War has ever fully ended.
Fictions of Fact and Value argues that the philosophy of logical positivism, considered the antithesis of literary postmodernism, exerts a determining influence on the development of American fiction in the three decades following 1945, in what amounts to a constitutive encounter between literature and philosophy at mid-century: after the end of modernism, as it was traditionally conceived, but prior to the rise of postmodernism, as it came to be known. Two particular postwar literary preoccupations derive from logical positivist philosophy: the fact/value problem and the correlative distinction between sense and nonsense. Even as postwar writers responded to logical positivism as a threat to the imagination, their works often manifest its influence, specifically with regard to "emotive" or "meaningless" terms. Far from a straightforward history of ideas, Fictions of Fact and Value charts a genealogy that is often erased in the very texts where it registers and disowned by the very authors that it includes. LeMahieu complicates a predominant narrative of intellectual history in which a liberating postmodernism triumphs over a reactionary positivism by historicizing the literary response to positivism in works by John Barth, Saul Bellow, Don DeLillo, Iris Murdoch, Flannery O'Connor, Thomas Pynchon, and Ludwig Wittgenstein. As LeMahieu compelling demonstrates, the centrality of the fact/value problem to both positivism and postmodernism demands a rethinking of postwar literary history. A trenchantly argued study that unearths an important part of postwar literary history, Fictions of Fact and Value will interest anyone concerned with postmodernism, modernist studies, analytic philosophy, or the history of ideas.
What is our definition of "modernismif we imagine it stretching from 1865 to 1965 instead of 1890 to 1945? How does the captivity narrative change when we consider it as a contemporary, not just a "colonial,genre? What does the course of American literature look like set against the backdrop of federal denials of Native sovereignty or housing policies that exacerbated segregation? Filled with challenges to scholars, inspirations for teachers (anchored by an appendix of syllabi), and entry points for students, Timelines of American Literature gathers some of the most exciting new work in the field to showcase the revelatory potential of fresh thinking about how we organize the literary past.
This book examines labour in the age of US hegemony through the art that has grappled with it; and, vice versa, developments in American culture as they have been shaped by work’s transformations over the last century. Describing the complex relations between cultural forms and the work practices, Art, Labour and American Life explores everything from Fordism to feminization, from white-collar ascendency to zero hours precarity, as these things have manifested in painting, performance art, poetry, fiction, philosophy and music. Labour, all but invisible in cultural histories of the period, despite the fact most Americans have spent most of their lives doing it, here receives an urgent re-emphasis, as we witness work’s radical redefinition across the world.