David Holloway – författare

A groundbreaking history of nuclear weapons across the world, from their invention to the end of the Cold WarHow should we deal with nuclear weapons? The discovery of nuclear fission fundamentally changed the world order. Its power was harnessed, nuclear bombs invented, and the cities of Hiroshima and Nagasaki were destroyed. In recurring international crises and calls for arms control, the threat of nuclear war has hung over humanity ever since.David Holloway traces how these weapons shaped the last century, from the US-Soviet arms race to the rivalry between India and Pakistan. Deterrence and intimidation, alliances and war plans, international treaties and organizations have all played their role. At the centre were political leaders—among them Truman, Kennedy, and Reagan, as well as Stalin, Khrushchev, and Gorbachev—who all had their fingers on the nuclear button.This is a global history of these fearsome weapons and our attempts to deal with the consequences of their existence—a story at once fascinating and repellent, of a very dangerous period in our history.

For forty years the Soviet-American nuclear arms race dominated world politics, yet the Soviet nuclear establishment was shrouded in secrecy. Now that the Cold War is over and the Soviet Union has collapsed, it is possible to answer questions that have intrigued policymakers and the public for years. How did the Soviet Union build its atomic and hydrogen bombs? What role did espionage play? How did the American atomic monopoly affect Stalin's foreign policy? What was the relationship between Soviet nuclear scientists and the country's political leaders? This spellbinding book answers these questions by tracing the history of Soviet nuclear policy from developments in physics in the 1920s to the testing of the hydrogen bomb and the emergence of nuclear deterrence in the mid-1950s.In engrossing detail, David Holloway tells how Stalin launched a crash atomic program only after the Americans bombed Hiroshima and showed that the bomb could be built; how the information handed over to the Soviets by Klaus Fuchs helped in the creation of their first bomb; how the scientific intelligentsia, which included such men as Andrei Sakharov, interacted with the police apparatus headed by the suspicious and menacing Lavrentii Beria; what steps Stalin took to counter U.S. atomic diplomacy; how the nuclear project saved Soviet physics and enabled it to survive as an island of intellectual autonomy in a totalitarian society; and what happened when, after Stalin's death, Soviet scientists argued that a nuclear war might extinguish all life on earth. This magisterial history throws light on Soviet policy at the height of the Cold War, illuminates a central but hitherto secret element of the Stalinist system, and puts into perspective the tragic legacy of this program today—environmental damage, a vast network of institutes and factories, and a huge stockpile of unwanted weapons.

Through close examination of the formal as well as thematic organization of Cormac McCarthy's eight novels, this volume offers a radically new assessment of the work of an author who has often been described as one of the greatest contemporary American novelists. In opposition to existing McCarthy scholarship—which tends to concentrate on the regional dimensions of his work, viewing it within the literary and mythopoetic traditions of the South and Southwest—Holloway argues that McCarthy's full significance can only be understood if his work is contextualized within the broader political, economic, and intellectual discourses of the period in which his novels have been produced. Drawing on the ideas of Marxist thinkers such as Fredric Jameson, George Lukács, and Jean-Paul Sartre, he shows how McCarthy's late modernism resists many of the postmodern assumptions about literary narrative that have come to shape our understanding of aesthetics in recent times.

This collection of essays offers a fresh look at the 1970s, the crucial decade when the nuclear non-proliferation regime took shape. Exploring a broad array of newly declassified archival sources from different countries across the globe, and moving freely across methodological and national barriers, historians from Europe, North and South America, Asia and Africa discuss the making of the global nuclear order from truly international and transnational perspectives. The result is a fascinating and innovative volume which will remain an essential reference for historians of the nuclear age, of the cold war, and more generally of the evolution of the international system in the second half of the twentieth century.The chapters in this book were originally published as a special issue of The International History Review.

This collection of essays offers a fresh look at the 1970s, the crucial decade when the nuclear non-proliferation regime took shape. Exploring a broad array of newly declassified archival sources from different countries across the globe, and moving freely across methodological and national barriers, historians from Europe, North and South America, Asia and Africa discuss the making of the global nuclear order from truly international and transnational perspectives. The result is a fascinating and innovative volume which will remain an essential reference for historians of the nuclear age, of the cold war, and more generally of the evolution of the international system in the second half of the twentieth century.The chapters in this book were originally published as a special issue of The International History Review.

This interdisciplinary study of how 9/11 and the ‘war on terror’ were represented during the Bush era, shows how culture often functioned as a vital resource, for citizens attempting to make sense of momentous historical events that frequently seemed beyond their influence or control. Illustrated throughout, the book discusses representation of 9/11 and the war on terror in Hollywood film, the 9/11 novel, mass media, visual art and photography, political discourse, and revisionist historical accounts of American ‘empire,’ between the September 11 attacks and the Congressional midterm elections in 2006. As well as prompting an international security crisis, and a crisis in international governance and law, David Holloway suggests the culture of the time also points to a ‘crisis’ unfolding in the institutions and processes of republican democracy in the United States. His book offers a cultural and ideological history of the period, showing how culture was used by contemporaries to debate, legitimise, qualify, contest, or repress discussion, about the causes, consequences and broader meanings of 9/11 and the war on terror.

This interdisciplinary study of how 9/11 and the ‘war on terror’ were represented during the Bush era, shows how culture often functioned as a vital resource, for citizens attempting to make sense of momentous historical events that frequently seemed beyond their influence or control. Illustrated throughout, the book discusses representation of 9/11 and the war on terror in Hollywood film, the 9/11 novel, mass media, visual art and photography, political discourse, and revisionist historical accounts of American ‘empire,’ between the September 11 attacks and the Congressional midterm elections in 2006. As well as prompting an international security crisis, and a crisis in international governance and law, David Holloway suggests the culture of the time also points to a ‘crisis’ unfolding in the institutions and processes of republican democracy in the United States. His book offers a cultural and ideological history of the period, showing how culture was used by contemporaries to debate, legitimise, qualify, contest, or repress discussion, about the causes, consequences and broader meanings of 9/11 and the war on terror.

A major new textbook for students of contemporary American art and media, and modern American history. American Visual Cultures analyses the role of painting, photography, film, television, advertising, journalism and other visual media in the historical development of the United States from the Civil War to the present day. It offers a chronology of major debates and developments in modern US history and traces the social, political and economic factors that have shaped the development of visual forms and practices across time. Illustrated throughout, the book combines a wide range of critical approaches and is made up of new essays by internationally renowned scholars. A General Introduction, in which the editors discuss the theoretical and pedagogical approaches shaping the contemporary study of visual culture, with particular reference to the United States, is followed by four sections, each covering a defined chronological period: 1861-1929; 1929-1963; 1963-1980; 1980 to the present. Each section opens with an introduction by the editors, giving historical and cultural context and highlighting thematic and pedagogical links between essays.An annotated bibliography of suggested further reading completes this invaluable and unique resource for the student and teacher of modern American art, media and culture.