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The multi-volume Longman literature in English series aims to provide students of literature with a critical introduction to the major genres in their historical and cultural context. This book looks at cinema, painting and architecture in 20th-century America, as well as the culture of politics.
Whether picketing outside abortion clinics, speaking out at school board meetings, or attending anti-death penalty vigils, many Americans have publicly opposed local, state, or federal government policies on the basis of their religious convictions. In The Fracture of Good Order, Jason Bivins examines the growing phenomenon of Christian protest against civil authority and political order in the United States. He argues that since the 1960s, there has been a proliferation of religious activism against what protesters perceive as government's excessive power and lack of moral principle. Calling this phenomenon "Christian antiliberalism," Bivins finds at its center a belief that American politics is based on a liberal tradition that gives government too much social and economic influence and threatens the practice of a religious life. Focusing on the Catholic pacifism of Daniel and Philip Berrigan and the Jonah House resistance community, the Christian Right's homeschooling movement, and the evangelical Sojourners community, Bivins combines religious studies with political theory to explore the common ground shared by these disparate groups. Despite their vast ideological and institutional differences, Bivins argues, these activists justify their actions in overtly religious terms based on a rejection of basic tenets of the American political system. Analyzing the widespread dissatisfaction with the conventional forms of political identity and affiliation that characterize American civic life today, Bivins sheds light on the complex relations between religion and democratic society.
This edtion has been revised and extended to include eleven new entries on Berlin, Chomsky, Derrida, Rorty and many others. Comprising 169 entries, it also includes non-Western political thinkers.
Moving deftly among literary and visual arts, as well as the modern critical canon, Christopher Prendergast's book explores the meaning and value of representation as both a philosophical challenge (What does it mean to create an image that "stands for" something absent?) and a political issue (Who has the right to represent whom?). The Triangle of Representation raises a range of theoretical, historical, and aesthetic questions, and offers subtle readings of such cultural critics as Raymond Williams, Paul de Man, Edward Said, Walter Benjamin, and Hélène Cixous, in addition to penetrating investigations of visual artists like Gros, Ingres, and Matisse and significant insights into Proust and the onus of translating him. Above all, Prendergast's work is a striking display of how a firm grounding in theory is essential for the exploration of art and literature.
First published in 1998. Feminist Social Thought brings together key articles by prominent feminist thinkers, offering students sophisticated treatment of the theoretical topics central to feminist social thought. This reader highlights salient concerns in contemporary feminist scholarship and the advances feminist philosophers have made. The editor's introduction outlines alternative routes through the text, allowing instructors to easily adapt this reader to their particular courses and the interests of their students. Each article is prefaced with a short introduction by the editor placing it in context, highlighting the principle issues and the conclusions reached. Students will find these headnotes helpful when tackling the challenging theoretical issues addressed. Representing a spectrum of feminist thinking, Feminist Social Thought is organized around seven topics constructions of gender; theorizing diversity; figurations of women; subjectivity, agency and feminist critique; social identity, solidarity and political engagement; care and its critics; and women, equality and justice. Students will be exposed to a wide variety of feminist philosophy and encouraged to think critically about challenging questions around pivotal subjects including * How are gender norms instilled, enforced, and perpetuated? * What are the relationships between gender and other socially demarcated positions such as race, class and sexual orientation? * What resources do women have at their disposal for recognizing their subordination and resisting it? * What goals should feminist politics pursue? * How can social and legal equality be reconciled with difference?
A path-breaking collection of essays by cutting-edge authors that reassess the Cold War since the fall of communism.
Unfathomably merciless and powerful, the atomic bomb has left its indelible mark on film. In Atomic Bomb Cinema, Jerome F. Shapiro unearths the unspoken legacy of the bombing of Nagasaki and Hiroshima and its complex aftermath in American and Japanese cinema. According to Shapiro, a "Bomb film" is never simply an exercise in ideology or paranoia. He examines hundreds of films like Godzilla, Dr. Strangelove, and The Terminator as a body of work held together by ancient narrative and symbolic traditions that extol survival under devastating conditions. Drawing extensively on both English-language and Japanese-language sources, Shapiro argues that such films not only grapple with our nuclear anxieties, but also offer signs of hope that humanity is capable of repairing a damaged and divided world. www.atomicbombcinema.com
"Instead of proposing another theory of war, their goal is a more modest one of raising the theoretical consciousness of historians. Specifically, they argue that '1) ideology does influence theory, 2) historians do have ideologies as well as theories . . . about which they are not always conscious or consistent, and 3) we can better understand, compare, and evaluate what historians are saying when we comprehend their ideological and theoretical perspectives.' They attempt then, to classify historical interpretations of war according to their ideological/ theoretical orientations, however covert." --Perspective "Nelson and Olin .. . are concerned with enhancing history's social utility by advancing its capacity to produce generalizations that can explain or predict events and are subject to empirical testing. Their exploration of historical generalization focuses on an issue itself of the highest importance, the causes of war; but their aim is also to create a model for historical generalization applicable to other issues. They argue that to understand generalizations in history, one must recognize their roots in theory, and that historians' theories in turn proceed from their own ideologies. To demonstrate, they survey theories about the causes of war that have come out of conservative, liberal, and radical ideologies. . . . any historian will profit from this rigorous approach to the problem." --Choice "Learned and suggestive, this book clarifies much of what is already known, and points toward new ways of understanding."--Library Journal
Africa has long gripped the American imagination. From the Edenic wilderness of Edgar Rice Burroughs's Tarzan novels to the 'black Zion' of Garvey's Back-to-Africa movement, all manner of Americans - whether white or black, male or female - have come to see Africa as an idealized stage on which they can fashion new, more authentic selves. In this remarkable, panoramic work, David Peterson del Mar explores the ways in which American fantasies of Africa have evolved over time, as well as the role of Africans themselves in subverting American attitudes to their continent. Spanning seven decades, from the post-war period to the present day, and encompassing sources ranging from literature, film and music to accounts by missionaries, aid workers and travel writers, African, American is a fascinating deconstruction of 'Africa' as it exists in the American mindset.