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Catastrophic wartime casualties and postwar discomfort with the successes of women who had served in combat roles combined to shatter prewar ideals about what service meant for Soviet masculine identity. The soldier had to be re-imagined and resold to a public that had just emerged from the Second World War, and a younger generation suspicious of state control. In doing so, Soviet military culture wrote women out and attempted to re-establish soldiering as the premier form of masculinity in society. Military Masculinity and Postwar Recovery in the Soviet Union combines textual and visual analysis, as well as archival research to highlight the multiple narratives that contributed to rebuilding military identities. Each chapter visits a particular site of this reconstruction, including debates about conscription and evasion, appropriate role models for cadets, misogynist military imagery in cartoons, the fraught militarized workplaces of nuclear physicists, and the first cohort of cosmonauts, who represented the completion of the project to rebuild militarized masculinity.
"Catastrophic wartime casualties and postwar discomfort with the successes of women who had served in combat roles combined to shatter prewar ideals about what service meant for Soviet masculine identity. The soldier had to be re-imagined and resold to a public that had just emerged from the Second World War, and a younger generation suspicious of state control. In doing so, Soviet military culture wrote women out and attempted to re-establish soldiering as the premier form of masculinity in society. Military Masculinity combines textual and visual analysis, as well as archival research to highlight the multiple narratives that contributed to rebuilding military identities. Each chapter visits a particular site of this reconstruction, including debates about conscription and evasion, appropriate role models for cadets, misogynist military imagery in cartoons, the fraught militarized workplaces of nuclear physicists, and the first cohort of cosmonauts, who represented the completion of the project to rebuild militarized masculinity."--
Men Out of Focus charts conversations and polemics about masculinity in Soviet cinema and popular media during the liberal period – often described as "The Thaw" – between the death of Stalin in 1953 and the invasion of Czechoslovakia in 1968. The book shows how the filmmakers of the long 1960s built stories around male protagonists who felt disoriented by a world that was becoming increasingly suburbanized, rebellious, consumerist, household-oriented, and scientifically complex. The dramatic tension of 1960s cinema revolved around the male protagonists’ inability to navigate the challenges of postwar life. Selling over three billion tickets annually, the Soviet film industry became a fault line of postwar cultural contestation. By examining both the discussions surrounding the period’s most controversial movies as well as the cultural context in which these debates happened, the book captures the official and popular reactions to the dizzying transformations of Soviet society after Stalin.
Catastrophic wartime casualties and postwar discomfort with the successes of women who had served in combat roles combined to shatter prewar ideals about what service meant for Soviet masculine identity. The soldier had to be re-imagined and resold to a public that had just emerged from the Second World War, and a younger generation suspicious of state control. In doing so, Soviet military culture wrote women out and attempted to re-establish soldiering as the premier form of masculinity in society. Military Masculinity and Postwar Recovery in the Soviet Union combines textual and visual analysis, as well as archival research to highlight the multiple narratives that contributed to rebuilding military identities. Each chapter visits a particular site of this reconstruction, including debates about conscription and evasion, appropriate role models for cadets, misogynist military imagery in cartoons, the fraught militarized workplaces of nuclear physicists, and the first cohort of cosmonauts, who represented the completion of the project to rebuild militarized masculinity.
In the years following World War II the health and well-being of the nation was of primary concern to the British government. The essays in this collection examine the relationship between health and stress in post-war Britain through a series of carefully connected case studies.
One of the most significant industrial states in the country, with a powerful radical tradition, Pennsylvania was, by the early 1950s, the scene of some of the fiercest anti-Communist activism in the United States. Philip Jenkins examines the political an
"World War II was the largest and most destructive conflict in human history. It was an existential struggle that pitted irreconcilable political systems and ideologies against one another across the globe in a decade of violence unlike any other. There is little doubt today that the United States had to engage in the fighting, especially after the Japanese attack on Pearl Harbor on December 7, 1941. The conflict was, in the words of historians Allan Millett and Williamson Murray, "a war to be won." As the world's largest industrial power, the United States put forth a supreme effort to produce the weapons, munitions, and military formations essential to achieving victory. When the war finally ended, the finale signaled by atomic mushroom clouds over Hiroshima and Nagasaki, upwards of 60 million people had perished in the inferno. Of course, the human toll represented only part of the devastation; global environments also suffered greatly. The growth and devastation of the Second World War significantly changed American landscapes as well. The war created or significantly expanded a number of industries, put land to new uses, spurred urbanization, and left a legacy of pollution that would in time create a new term: Superfund site"--
The articles featured in The Human Reimagined examine the ways in which literary and artistic representations of the body, selfhood, subjectivity, and consciousness illuminate late- and post-Soviet ideas about the changing relationships among the individual, the environment, technology, and society. --Aaron Winslow "Los Angeles Review of Books"
The fourth volume of The Cambridge History of America and the World examines the heights of American global power in the mid-twentieth century and how challenges from at home and abroad altered the United States and its role in the world. The second half of the twentieth century marked the pinnacle of American global power in economic, political, and cultural terms, but even as it reached such heights, the United States quickly faced new challenges to its power, originating both domestically and internationally. Highlighting cutting-edge ideas from scholars from all over the world, this volume anatomizes American power as well as the counters and alternatives to 'the American empire.' Topics include US economic and military power, American culture overseas, human rights and humanitarianism, third-world internationalism, immigration, communications technology, and the Anthropocene.
A Foreign Affairs Best Book of the Year Winner of the AATSEEL Prize for Best Book in Cultural Studies Winner of the Laura Shannon Prize in Contemporary European Studies Winner of the Marshall D. Shulman Book Prize Winner of the Wayne S. Vucinich Book Prize The Soviet Union was a notoriously closed society until Stalin’s death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West. At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss. Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings. With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd’s history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.