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In this book, Michael Gardiner suggests that the conception of the ‘war-ending’ weapon was tied up with a longer commitment to unified space and singular progress. The mission for total weapons can be seen rising with the highly-technical defensive war of the later nineteenth century, and passing through twentieth century atomic research, then the targeting of the outsides of commercial empire, and the post-war consensus with deterrence as its foundation. The end of the Cold War brought an opportunity to fully naturalise deterrence, but also brought a tacit acceptance of nuclear violence while forms of violence against the individual were rigorously sought out. If the world-unifying role of deterrence has always been undermined by the rise of rival empires, it has also been questioned by critical communities including the consensus-sceptics of the 1950s–60s, 1980s–90s Nuclear Criticism and readers of ‘nuclear ism’, millennial campaigns for Scottish independence, and twenty-first century descriptions of nuclear colonialism. Recently it has become more obvious that an Anglosphere concept of ‘worldly’ deterrence was bound to a singular and ultimately nihilistic idea of progress.[bio]Michael Gardiner is Professor in the Department of English and Comparative Literature at the University of Warwick.
"The anxiety caused by the thought of nuclear war causes some people to avoid the topic altogether, some to despair, and others to place unwarranted confidence in scientific or governmental control. However, the vivid characters and realistic settings of fiction can bring home the impact of a nuclear war in a way that makes the topic difficult to avoid and allows readers to confront their fears and phobias. This bibliography study is the only compliation of its kind to deal exclusively with nuclear war in fiction. The first five chapters provide a historical survey of the development of the nuclear war theme and a study of the causes and aftermath of nuclear war as treated in literature. In addition, Brians considers the significant failure of some works to confront the subject and the success of others as educational tools. With a clear focus on the subject of war, this work does not deal with such related topics as nuclear accidents, reactor disasters, or near-war situations. The bulk of the book is given over to the detailed, annotated bibliography which consists of over 800 entries with associated checklists. Intended to provide scholars, librarians, and general readers with ready access to a great variety of information about his body of writing, the bibliography lists both hardcover and paper editions of books and the reprinting of each short story and corrects several errors in other standard reference works. In his critical analysis and through the annotations in the bibliography, Brians attempts to improve our understanding of cultural attitudes toward the dangers posed by the ever-present reality of nuclear weaponry"--Jacket.
"As we approach the 70-year anniversary of the dropping of the first atomic bomb, Heck's timely collection explores the brink of creation and annihilation -- the dawning of the nuclear age and the shaping of Japanese American identity within the shadows of WWII."--Publisher's website.
Fukushima Fiction introduces readers to the powerful literary works that have emerged out of Japan’s triple disaster, now known as 3/11. The book provides a broad and nuanced picture of the varied literary responses to this ongoing tragedy, focusing on “serious fiction” (junbungaku), the one area of Japanese cultural production that has consistently addressed the disaster and its aftermath. Examining short stories and novels by both new and established writers, author Rachel DiNitto effectively captures this literary tide and names it after the nuclear accident that turned a natural disaster into an environmental and political catastrophe. The book takes a spatial approach to a new literary landscape, tracing Fukushima fiction thematically from depictions of the local experience of victims on the ground, through the regional and national conceptualizations of the disaster, to considerations of the disaster as history, and last to the global concerns common to nuclear incidents worldwide. Throughout, DiNitto shows how fiction writers played an important role in turning the disaster into a narrative of trauma that speaks to a broad readership within and outside Japan. Although the book examines fiction about all three of the disasters—earthquake, tsunami, and nuclear meltdowns—DiNitto contends that Fukushima fiction reaches its critical potential as a literature of nuclear resistance. She articulates the stakes involved, arguing that serious fiction provides the critical voice necessary to combat the government and nuclear industry’s attempts to move the disaster off the headlines as the 2020 Olympics approach and Japan restarts its idle nuclear power plants. Rigorous and sophisticated yet highly readable and relevant for a broad audience, Fukushima Fiction is a critical intervention of humanities scholarship into the growing field of Fukushima studies. The work pushes readers to understand the disaster as a global crisis and to see the importance of literature as a critical medium in a media-saturated world. By engaging with other disasters—from 9/11 to Chernobyl to Hurricane Katrina—DiNitto brings Japan’s local and national tragedy to the attention of a global audience, evocatively conveying fiction’s power to imagine the unimaginable and the unforeseen.
An informed look at the myths and fears surrounding nuclear energy, and a practical, politically realistic solution to global warming and our energy needs. Faced by the world's oil shortages and curious about alternative energy sources, Gwyneth Cravens skeptically sets out to find the truth about nuclear energy. Her conclusion: it is a totally viable and practical solution to global warming. In the end, we see that if we are to care for subsequent generations, embracing nuclear energy is an ethical imperative.
In this chilling science fiction novel by H.G. Wells, rich and powerful men wage the ultimate war "to end all wars". Published in 1914, The World Set Free was ahead of its time, telling the story of how newly-acquired nuclear weapons led to warfare between nations. In the book, Wells explores how social and moral dilemmas can result in self-destruction and chaos before eventually leading to solutions that create a unique utopia. Even today, this classic novel speaks to the challenges society faces due to the rise of science and technology. ABOUT THE SERIES: The Arcturus Classics series brings together high-quality paperback editions of classics works, presented with contemporary graphic cover designs. Together they make a wonderful collection which is perfect for any home library.
This book, written by a leading expert on Iran's foreign and nuclear affairs, provides a fresh and insightful perspective on Iran's nuclear program. Based on in-depth interviews with the key nuclear decision-makers in Iran, Europe, and the International Atomic Energy Agency (IAEA), the book is a welcome addition that sheds new light on the present international crisis over Iran's nuclear program. In a lucidly-written narrative intended for both general readers as well as academics and policy-makers, the book covers the history of Iran's nuclear program, the Iran-Europe negotiations, the IAEA reports and other similar reports, the media's coverage, and the prospects for a successful resolution of the nuclear standoff with Iran. Afrasiabi presents a compelling case for non-proliferation in Iran and the Middle East, drawing on his first-hand knowledge of the region. The book has been divided into 20 chapters and has an appendix that documents Iran's nuclear standpoint.
Surveying the vast expanse of politically-charged science fiction, this book posits that the defining dilemma for these tales rests in whether identity and meaning germinate from progressive linear changes or progress, or from a continuous return to primitive realities of war, death and the competition for survival.