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冷战后的核文化 [4]

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:8688

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。

.g., brief site histories, hotel amenities, local transportation) about locations promoting themselves as destinations for nuclear-themed leisure. At these locations, tourists may consume mediated depictions of 'actual' nuclear weapons production ('Savannah River Site -- See where Plutonium 239 and Tritium were made') and use ('Nagasaki -- Last Wartime Use of an Atomic Bomb'). Some of these facilities are quite popular: thrice-weekly tours of the Colorado Springs NORAD facility (popularized in Hollywood films as the panoptical but unreliable nerve-center of nuclear warfighting) are sold out six months in advance. This tourism website clarifies a larger body of journalistic and promotional 'travel' discourse which emerged during 1995, and framed the 50th anniversary of the atomic bombings as an opportunity to 'explore' historically forbidden regions of (inter)national space and identity. The jaunty, breezy tone of some of this discourse ('Los Alamos Is More Than Just a 'Hot' Time In the Desert') suggests some lingering awkwardness in the marketing of these communities, which have strategically developed their tourist economies to supplement declining federal budgets. Not all nuclear-historical sites, of course, have chosen this path. In its recent massive redevelopment, for example, the city of Berlin has chosen to minimize its famous sites of Cold War confrontation, such as 'Checkpoint Charlie.' A related genre of public spectacle, finally, involves the restoration and operation of Cold War weapons systems as elements of 'live' civic and commercial entertainment (e.g., the display and piloting of Soviet MiG fighters at travelling air shows). 

The textuality of these sites and events forms an important opportunity for the study of the post-Cold War production and reception of nuclear history. Collectively, these processes construct a visual archive of Cold War culture that selects, organizes and interprets the significant elements of this period (e.g., a one-ton steel, 1955-vintage bomb shelter donated to the Smithsonian's National Museum of American History, subsequetly restored to include 1950's board games, canned goods, sleeping bags, and water purification tablets). The elements of this archive form the textual resource for the popular construction of nuclear history as an ongoing narrative with malleable relevance to present conditions. The inevitable politics of this process form a principal opportunity for a revived post-Cold War criticism . 
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