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冷战后的核文化

论文作者:www.51lunwen.org论文属性:作业 Assignment登出时间:2015-06-09编辑:xiaoni2000点击率:2966

论文字数:2156论文编号:org201505281517168638语种:英语论文 English地区:澳大利亚价格:免费论文

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摘要:本文是一篇澳大利亚留学生课程作业,主要介绍了冷战后的核文化。

我希望本文能勾勒出涉及核影像学和后冷战时期的文化图像。这个项目的核心是认为当前的历史时刻形成合法性危机的科学,军事,工业,政府,和“文化”的机构的利益配置,在设计,制造,部署,和“使用”核武器方面。在这一刻,各种进步和倒退的运动一直倡导通过生产和接受核武器的言论。在霸权的视觉意象的作用历来受到轻微的关注(例如,与“nukespeak”外交政策,大众媒体的新闻报道,和文学作品等等)。最近的学术文章和书籍都试图通过检查类型和艺术话语纠正这一失衡(例如,绘画,电影和摄影)。总的来说,这项工作表明炸弹——后w.j.t.米切尔——“ImageText是“口头和标志性的话语interanimate生产方式(不)看到和形式(不)的感觉,有历史定位文化主题有关的技术,政策,人物,地点,事件,和机构(以感觉是“惯例”和“正式组织”)所构成的核条件。..


I wish in this paper to sketch a project involving nuclear iconography and post-Cold War culture. At the heart of this project is the claim that the current historical moment forms a legitimation crisis for the scientific, military, industrial, governmental, and 'cultural' institutions whose interests are configured in the design, manufacture, deployment, and 'use' of nuclear weapons. Within this moment, a variety of progressive and regressive movements have been intitiated through the production and reception of nuclear weapons rhetoric. The role of visual iconography in nuclear hegemony has traditionally received minor attention (e.g., compared with the 'nukespeak' of foreign policy, mass media news coverage, and literary works). Recent scholarly articles and books have attempted to correct this verbalist imbalance by examining the genres and discourses of nuclear art (e.g., painting), cinema and photography. Collectively, this work establishes that the Bomb is -- after W.J.T. Mitchell -- an 'imagetext' in which verbal and iconic discourses interanimate to produce ways of (not) seeing and forms of (not) feeling that have historically positioned cultural subjects in relation to the technologies, policies, figures, locations, events, and institutions (in both senses as 'customary practices' and 'formal organizations') which have constituted the nuclear condition . . . 

'Now Do You See It?': Post-Cold War Nuclear Iconography 
I am interested in the role of visual rhetoric in maintaining this 'war of position' between military, environmental, arms-control, pacifist, industrial, scientific and federal interests [in post-Cold War culture]. Issues in this research include the nature of verbal and visual codes in nuclear representations (e.g., in critical disagreement over the success of nuclear landscape photography in evoking viewer knowledge of the deadly, invisible radiation which 'really' suffuses its depicted objects), the uses to which images are put in various social contexts (e.g., in museum exhibits commemorating the Japanese atomic bombings), and the consequences of images for existing power relations between nuclear authorities and citizens (e.g., in legitimating the 'accelerated' -- and arguably incomplete -- cleanup of contaminated nuclear weapons plants by federal agencies and their contractors) . . . 

. . . A preliminary survey of prominent nuclear weapons images suggests [this] 'new' theme in this process, unique to the post-Cold War era . . . 

. . . 'Museumification' 

This theme describes the inter-related processes by which the partially decrepit and moribund nuclear apparatus is being dismantled, appropriated, recycled, commodified, and memorialized in contemporary culture (e.g., in the recent recommendation by a pyrotechnics expert to convert disarmed ballistic missiles into fireworks celebrating the coming millenium). One outcome of this process is an official archive of nuclear history (e.g., the inclusion of nuclear weapons plants 论文英语论文网提供整理,提供论文代写英语论文代写代写论文代写英语论文代写留学生论文代写英文论文留学生论文代写相关核心关键词搜索。

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