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"nuclear criticism"
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The post-Chornobyl library : Ukrainian postmodernism of the 1990s
Havingexploded on the margins of Europe, Chornobyl marked the end of the Soviet Unionand tied the era of postmodernism in Western Europe with nuclear consciousness.The Post-Chornobyl Library becomes a metaphor of a new Ukrainian literature of the 1990s,which emerges out of the Chornobyl nuclear trauma.
eBook
The new monuments and the end of man : U.S. sculpture between war and peace, 1945-1975
How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculpture. In the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation. Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Smith, the austere structures of Donald Judd, and the desolate yet picturesque earthworks of Robert Smithson. Transforming how we understand this crucial moment in American art, he traces the intersections of postwar sculptural practice with cybernetic theory, science-fiction cinema and literature, and the political debates surrounding nuclear warfare. Slifkin identifies previously unrecognized affinities of the sculpture of the 1940s and 1950s with the minimalism and land art of the 1960s and 1970s, and acknowledges the important contributions of postwar artists who have been marginalized until now, such as Raoul Hague, Peter Grippe, and Robert Mallary. Strikingly illustrated throughout, The New Monuments and the End of Man spans the decades from Hiroshima to the Fall of Saigon, when the atomic bomb cast its shadow over American art.
Book
Local Theater Responding to a Global Issue: 3.11 Seen from Japan's Periphery
Scrutinizing local theater productions from Aomori, this article looks into the role of the arts as a critical voice after the 2011 triple disaster. The Aomori perspective is of special interest in this context. While the city was hardly afflicted by the calamity, Aomori is part of Japan's northern periphery and home to nuclear facilities, thereby sharing central problems with the disaster zones such as economic hardship, depopulation, and the threat of nuclear contamination. I analyze two plays by Hatasawa Seigo, a local playwright, director, and high school teacher. The first, Moshiita: Moshi kōkō yakyū no joshi manējā ga Aomori no \"itako\" o yondara (Moshiita: What if the Manager of a High School Baseball Team Called in an Aomori itako Shaman, 2011), was written for and performed by the high school drama club under Hatasawa's supervision and won the National High School Drama Competition Prize 2012. Originally planned for performances in consolatory visits to the afflicted areas, it was eventually staged nationwide. The second, Saraba! Genshiryoku robo Mutsu: Ai · senshihen (Farewell to Nuclear Robot Mutsu: Soldiers of Love, 2014) is a newly arranged version of a play written for Hatasawa's troupe Watanabe Genshirō Shōten (Nabegen) in 2012. The satirical piece is rare in that it focuses on the global issue of nuclear waste disposal. Analyzing two plays by this local director, who is gaining recognition and reputation on a national level, this article aims to scrutinize how these performances relate to site-specific memories and stories and construct narratives that go against the dominant Tokyo perspective.
Journal Article
Introduction
This book focuses on the writing of finitude and catastrophe in the twentieth century, taking as its point of departure the oft-repeated, epochalizing characterization of the century as a turning point in the history of violence and destruction, or the pivotal yet ambivalent claim that for the first time in the history of the world, humanity has the power to bring about the end of human life, to annihilate the human as species and ideal. Literary criticism, and so-called nuclear criticism in particular, has taken up the fantasy of such an unprecedented, all-encompassing, and remainderless end, and the problems it raises for thinking the last and unsurvivable event, the event that would break with all thought and any writing of the event.
Book Chapter
Apocalypse television : how The day after helped end the Cold War
\"Apocalypse Television features a dramatic insider's account of the making of and backlash against The Day After\"-- Provided by publisher.
Book
Solzhenitsyn
In this examination of Solzhenitsyn and his work, Lee Congdon explores the consequences of the atheistic socialism that drove the Russian revolutionary movement. Beginning with a description of the post-revolutionary Russia into which Solzhenitsyn was born, Congdon addresses the Bolshevik victory in the civil war, the origins of the concentration camp system, the Bolsheviks' war on Christianity and the Russian Orthodox Church, Solzhenitsyn's arrest near the war's end, his time in the labor camps, his struggle with cancer, his exile and increasing alienation from the Western way of life, and his return home. He concludes with a reminder of Solzhenitsyn's warning to the West—that it was on a path parallel to that which Russia had followed into the abyss.
eBook