Lindsey A. Freeman – författare
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This Atom Bomb in Me traces what it felt like to grow up suffused with American nuclear culture in and around the atomic city of Oak Ridge, Tennessee. As a secret city during the Manhattan Project, Oak Ridge enriched the uranium that powered Little Boy, the bomb that destroyed Hiroshima. The city was a major nuclear production site throughout the Cold War, adding something to each and every bomb in the United States arsenal. Even today, Oak Ridge contains the world''s largest supply of fissionable uranium.
The granddaughter of an atomic courier, Lindsey A. Freeman turns a critical yet nostalgic eye to the place where her family was sent as part of a covert government plan. Theirs was a city devoted to nuclear science within a larger America obsessed with its nuclear prowess. Through memories, mysterious photographs, and uncanny childhood toys, she shows how Reagan-era politics and nuclear culture irradiated the late twentieth century. Alternately tender and alarming, her book takes a Geiger counter to recent history, reading the half-life of the atomic past as it resonates in our tense nuclear present.
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In an age of information and new media the relationships between remembering and forgetting have changed. This volume addresses the tension between loud and often spectacular histories and those forgotten pasts we strain to hear. Employing social and cultural analysis, the essays within examine mnemonic technologies both new and old, and cover subjects as diverse as U.S. internment camps for Japanese Americans in WWII, the Canadian Indian Residential School system, Israeli memorial videos, and the desaparecidos in Argentina. Through these cases, the contributors argue for a re-interpretation of Guy Debord’s notion of the spectacle as a conceptual apparatus through which to examine the contemporary landscape of social memory, arguing that the concept of spectacle might be developed in an age seen as dissatisfied with the present, nervous about the future, and obsessed with the past. Perhaps now “spectacle” can be thought of not as a tool of distraction employed solely by hegemonic powers, but instead as a device used to answer Walter Benjamin’s plea to “explode the continuum of history” and bring our attention to now-time.
Silence, Screen, and Spectacle
Rethinking Social Memory in the Age of Information
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