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The longest war in the nation's history, the American military intervention in Vietnam dominated United States culture and politics from 1965 to 1975. In addition to causing immense devastation in Southeast Asia, the war transformed American society, with effects that continue to be felt today. Yet aside from a few cultural studies of the war's representations, scholars have tended to ignore the relationship between the American war in Vietnam and broader cultural developments in the West. Frederic Jameson once characterized the Vietnam War as the first terrible postmodernist war, suggesting that it embodied or reflected the sensibility of an emerging historical epoch. But does it make sense to place a military conflict within a category of cultural and aesthetic periodization? Is it possible to see the Vietnam War as an expression and reflection of postmodernity--what Jameson calls the cultural logic of late capitalism? These are some of the questions addressed in this volume. Ranging across a variety of disciplines, including philosophy, cultural studies, literary criticism, and film studies, the essays explore the war's discourses and technologies in relation to the post-modern condition. At the same time, they reinterpret key cultural representations of the war from a postmodern perspective. The result is a book that poses important challenges to both Vietnam War studies and postmodern studies, at once reshaping the ways postmodernity is conceived and reminding us of the war's enduring significance in contemporary cultural history. In addition to Michael Bibby, contributors are Philip D. Beidler, Michael Clark, Cynthia J. Fuchs, Brady Harrison, Tony Williams, Eric Gadzinski, Chris Hables Gray, and Douglas Kellner.
Frederic Jameson once characterized the Vietnam War as "the first terrible postmodernist war, " suggesting that it embodied or reflected the sensibility of an emerging historical epoch. But does it make sense to place a military conflict within a category of cultural and aesthetic periodization? Is it possible to see the Vietnam War as an expression and reflection of postmodernity -- what Jameson calls "the cultural logic of late capitalism"?
Discussing theorists including Baudrillard and Virilio and covering conflicts including the two Gulf Wars, Somalia, Bosnia, Haiti, Rwanda, Kosove, Afhanistan, and the War on Terror, this book investigates the new character of modern warfare, and why media presentation of conflict is so central to both Western military operations and terrorists.
Seminar paper from the year 2013 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Basel, language: English, abstract: During the course of this seminar paper, I will show how O'Brien describes the Vietnam War and its accompanying acoustic environment as a loud and chaotic cacophony, where no clear boundaries and no easily identifiable enemy exist. Thereby, and by the way in which O'Brien employs characteristics typical for postmodern fiction, the novel can be seen as an exemplary postmodern representation of the Vietnam War. For the understanding and distinction of the terms postmodernism and postmodernity I will include a discussion of their characteristics.
Seminar paper from the year 2013 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Basel, language: English, abstract: During the course of this seminar paper, I will show how O'Brien describes the Vietnam War and its accompanying acoustic environment as a loud and chaotic cacophony, where no clear boundaries and no easily identifiable enemy exist. Thereby, and by the way in which O'Brien employs characteristics typical for postmodern fiction, the novel can be seen as an exemplary postmodern representation of the Vietnam War. For the understanding and distinction of the terms postmodernism and postmodernity I will include a discussion of their characteristics.
In this rigorous and challenging analysis of American postmodernity, Anthony Woodiwiss re-examines the political, economic and social life of the United States over the past 60 years. Exploring the rise and fall of modernism as a social ideology, he offers a distinctive and original interpretation of the unique experience of American modernity and the arrival of the postmodern world. The result is both a novel history of postwar America and a significant contribution to the idea of postmodernism as a social and cultural form. Postmodernity USA also carries lessons for the understanding of class, culture and politics in late industrial societies in general. Offering an innovative synthesis of postmodernist and Marxist approache
Vietnam and Beyond is a comprehensive, in-depth study of Tim O’Brien, one of the most thought-provoking writers of the Vietnam war generation. It is the first major new study of this important writer in over ten years.
Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.
The notion that war plays a fundamental role in the United States' idea of itself obscures the rich--and by no means naïve--seam of anti-war thinking that winds through American culture. Non-violent resistance, far from being a philosophy of passive dreamers, instead embodies Ralph Waldo Emerson's belief that peace "can never be defended, never be executed, by cowards." Giorgio Mariani rigorously engages with the essential question of what makes a text explicitly anti-war. Ranging from Emerson and Joel Barlow to Maxine Hong Kingston and Tim O'Brien, Waging War on War explores why sustained attempts at identifying the anti-war text's formal and philosophical features seem to always end at an impasse. Mariani moves a step beyond to construct a theoretical model that invites new inquiries into America's nonviolent, nonconformist tradition even as it challenges the ways we study U.S. warmaking and the cultural reactions to it. In the process, he shows how the ideal of nonviolence and a dislike of war have been significant, if nonhegemonic, features of American culture since the nation's early days. Ambitious and nuanced, Waging War on War at last defines anti-war literature while exploring the genre's role in an assertive peacefighting project that offered--and still offers--alternatives to violence.