冷战后的核文化 [3]
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:8720
论文字数:2156论文编号:org201505281517168638语种:英语 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。
le announcing the termination of U.S. submarine patrols under the Arctic ice cap leads its reader to fondly recall Alisdair Maclean's 1960's espionage thriller (later made into a film), Ice Station Zebra. Intertextuality can also be generated in the performance of a media event, like one that evoked the the complex relationship between the development of nuclear power and nuclear weapons. On a recent visit to Chernobyl's 'menacing monument' to nuclear 'mistakes,' U.S. Vice President Al Gore cited that 1986 reactor disaster as an instructive lesson for the Indian and Pakistani governments currently engaged in a regional nuclear arms race.
While Gore's warning demonstrates the diverse political ends served by museumification, this process usually produces visual texts connoting reduced nuclear risk. These texts punctuate the nuclear age as essentially closed. Often -- as in treatments of the Cuban Missile Crisis, or the so-called 'Soviet Doomsday Machine' -- they generate morbid excitement based on the retrospective revelation of narrowly-averted (but temporally contained) disaster. The scenario of 'if only . . .' provides the payoff. Vast, secret bunkers dedicated to the preservation of national leaders, policies of succession, and communications 'hotlines' are recurring tropes. These images and artifacts, however, can potentially blunt critical appreciation of continued nuclear weapons development. They are prematurely memorialist, even as they perform the function of revelation. Occasionally, however, this genre is countered by image-texts reflecting surprise and suspicion (generally mild in the mainstream media). One recent news article about the Pentagon's expensive renovation of existing missile silos, for example, provided the following hook: 'Nuclear warriors? These days?' In another, stronger example, Richard Misrach's recent work of landscape photography concludes by proposing the conversion of Nevada's devastated Bravo-20 bombing site into a National Park whose features and exhibits would condemn the Pentagon's massive 'withdrawal' of public lands for seemingly unnecessary environmental destruction.
Additionally, this theme encompasses multi-media images that depict the 'retirement' and disassembly of nuclear weapons systems, and that exploit reduced security restrictions to reveal the vast scale of historical Cold War operations. One example is an Internet Website whose spelunking authors provide an 'unofficial' photographic tour of an abandoned missile silo. Don DeLillo's recent Cold War epic, Underworld, contains a related scene depicting a massive, eerie 'boneyard' of B-52 bombers resembling the thousands currently 'stored' in the Northern Arizona desert. The 'mortality' of these weapons systems is mirrored in photographs accompanying the obituaries of their human designers, administrators, and military operators -- many of whom served as part of the famous Manhattan Project cohort. These tropes of 'retirement' and 'death' become reflexive when some of these elderly white men reject their professional socialization (a.k.a., 'the retirement syndrome') to urge deeper and more rapid nuclear disarmament (e.g,. complete 'abolition').
Finally, this theme encompasses the visual rhetoric by which nuclear weapons are symbolically and literally appropriated as elements of museum and tourist sites. A 'Bureau of Atomic Tourism' Website, for example, organizes information (e
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