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America's Culture of Terrorism by Jeffory A. Clymer Pdf
Although the terrorist attacks of 11 September 2001 shocked the world, America has confronted terrorism at home for well over a century. With the invention of dynamite in 1866, Americans began to worry about anonymous acts of mass violence in a way that differed from previous generations' fears of urban riots, slave uprisings, and mob violence. Focusing on the volatile period between the 1886 Haymarket bombing and the 1920 bombing outside J. P. Morgan's Wall Street office, Jeffory Clymer argues that economic and cultural displacements caused by the expansion of industrial capitalism directly influenced evolving ideas about terrorism. In America's Culture of Terrorism, Clymer uncovers the roots of American terrorism and its impact on American identity by exploring the literary works of Henry James, Ida B. Wells, Jack London, Thomas Dixon, and Covington Hall, as well as trial transcripts, media reports, and the cultural rhetoric surrounding terrorist acts of the day. He demonstrates that the rise of mass media and the pressures of the industrial wage-labor economy both fueled the development of terrorism and shaped society's response to it. His analysis not only sheds new light on American literature and culture a century ago but also offers insights into the contemporary understanding of terrorism.
9/11 in American Culture by Yvonna S. Lincoln,Norman K. Denzin Pdf
In response to the events following September 11, a number of leading cultural studies and interpretive qualitative researchers write from their own experiences and hearts. From the poetic to the personal, the theoretical to the historical, their essays_by noted scholars Kellner, Fine, McLaren, Richardson, Denzin, Giroux, and others_are collected in this volume, and were written in crisis within days and weeks of September 11. The immediacy of their writing is refreshing, and reflects the varied emotional and critical responses that bring meaning to this cataclysmal event.
This scathing critique of U.S. political culture is a brilliant analysis of the Iran-contra scandal. Chomsky offers a message of hope, reminding us that resistance is possible, necessary, and effective.
Terror, Culture, Politics by Daniel J. Sherman,Terry Nardin Pdf
Taking a critical look at the politics of American culture in the wake of the 2001 terrorist attacks, contributors offer a multi-disciplinary approach in their examination of how our existing cultural patterns, have shaped our response to it.
Terrorism in American Memory by Marita Sturken Pdf
Introduction: The Politics of Memory in the Post-9/11 Era -- Monuments and Voids: The Proliferation of 9/11 Memory -- The Objects That Lived, the Voices That Remain: The 9/11 Museum -- Global Architecture, Patriotic Skyscrapers, and a Cathedral Shopping Mall: The Rebuilding of Lower Manhattan -- Visibility and Erasure: Memory and the "Global War on Terror" -- The Memory of Racial Terror: The National Memorial for Peace and Justice and the Legacy Museum.
Post-9/11 America is in a cultural haze. The relationship between terror and crime is evolving more closely together at the same time that many Americans seem to have forgotten that America, too, is a source of terrorism. Domestic terror is a long-standing and ongoing pattern within American culture, having woven itself into America's social, geographical and emotional heart, with support from problems in America's national character and American society. American culture will keep moving, either in the direction of the jackal, representing terror, or in the direction of the phoenix, representing the ability not just to revive, but also to become stronger after a terrorist attack. Americans who are accustomed to comfort and convenience have the challenge of understanding that domestic terror can be combated by rooting out problems in contemporary American culture. To fight the collective psychological challenge of terrorism, Americans need to come out of their individual social boxes and create a culture characterized less by anger and fear. Short American memories and the tendency to view each American terrorist as one more deranged individual both prevent Americans from seeing domestic terror as a pattern that is characteristic of the culture, and that can be fought from a cultural perspective. Oklahoma City, school bombers, snipers, and the Unabomber are all expressions of the dark side of American character, a side that America tends to deny. That dark side is fueled by a cultural paradox. Individuals who are powerful in a land that is independent and free, have come to feel disempowered instead because of the scale of American culture and a disconnected social environment.Americans have lost a sense of their positive social power. American terrorists react to that feeling by making intensive pathological social connections instead, with acts of violent destruction. Tim McVeigh, the smiley-face bomber, and an ongoing parade of American perpetrators of terror
The War on Terror and American Popular Culture by Andrew Schopp,Matthew B. Hill Pdf
The War on Terror and American Popular Culture is a collection of original essays by academics and researchers from around the world that examines the complex interrelation between the Bush administration's "War on Terror" and American popular culture. Written by experts in the fields of literature, film, and cultural studies, this book examines in detail how popular culture reflects concerns and anxieties about the September 11 attacks and the war those attacks generated, how it interrogates the individual and collective impacts that war has wrought, how it might challenge or critique current policy, and how it might reinforce or endorse the war and its sociopolitical paradigms.
Culture, Crisis and America's War on Terror by Stuart Croft Pdf
Since the infamous events of 9/11, the fear of terrorism and the determination to strike back against it has become a topic of enormous public debate. The 'war on terror' discourse has developed not only through American politics but via other channels including the media, the church, music, novels, films and television, and therefore permeates many aspects of American life. Stuart Croft suggests that the process of this production of knowledge has created a very particular form of common sense which shapes relationships, jokes and even forms of tattoos. Understanding how a social process of crisis can be mapped out and how that process creates assumptions allows policy-making in America's war on terror to be examined from new perspectives. Using IR approaches together with insights from cultural studies, this book develops a dynamic model of crisis which seeks to understand the war on terror as a cultural phenomenon.
Feste develops a framework of terrorism termination dynamics constructed from empirical cases and applies it to the current al Qaeda problem to offer a new method for tracking development of terrorist episodes with implications for U.S. foreign policy.
From THE ENEMY AT HOME: “In this book I make a claim that will seem startling at the outset. The cultural left in this country is responsible for causing 9/11. … In faulting the cultural left, I am not making the absurd accusation that this group blew up the World Trade Center and the Pentagon. I am saying that the cultural left and its allies in Congress, the media, Hollywood, the nonprofit sector, and the universities are the primary cause of the volcano of anger toward America that is erupting from the Islamic world. The Muslims who carried out the 9/11 attacks were the product of this visceral rage—some of it based on legitimate concerns, some of it based on wrongful prejudice, but all of it fueled and encouraged by the cultural left. Thus without the cultural left, 9/11 would not have happened. “I realize that this is a strong charge, one that no one has made before. But it is a neglected aspect of the 9/11 debate, and it is critical to understanding the current controversy over the ‘war against terrorism.’ … I intend to show that the left has actively fostered the intense hatred of America that has led to numerous attacks such as 9/11. If I am right, then no war against terrorism can be effectively fought using the left-wing premises that are now accepted doctrine among mainstream liberals and Democrats.” Whenever Muslims charge that the war on terror is really a war against Islam, Americans hasten to assure them they are wrong. Yet as Dinesh D’Souza argues in this powerful and timely polemic, there really is a war against Islam. Only this war is not being waged by Christian conservatives bent on a moral crusade to impose democracy abroad but by the American cultural left, which for years has been vigorously exporting its domestic war against religion and traditional morality to the rest of the world. D’Souza contends that the cultural left is responsible for 9/11 in two ways: by fostering a decadent and depraved American culture that angers and repulses other societies—especially traditional and religious ones— and by promoting, at home and abroad, an anti-American attitude that blames America for all the problems of the world. Islamic anti-Americanism is not merely a reaction to U.S. foreign policy but is also rooted in a revulsion against what Muslims perceive to be the atheism and moral depravity of American popular culture. Muslims and other traditional people around the world allege that secular American values are being imposed on their societies and that these values undermine religious belief, weaken the traditional family, and corrupt the innocence of children. But it is not “America” that is doing this to them, it is the American cultural left. What traditional societies consider repulsive and immoral, the cultural left considers progressive and liberating. Taking issue with those on the right who speak of a “clash of civilizations,” D’Souza argues that the war on terror is really a war for the hearts and minds of traditional Muslims—and traditional peoples everywhere. The only way to win the struggle with radical Islam is to convince traditional Muslims that America is on their side. We are accustomed to thinking of the war on terror and the culture war as two distinct and separate struggles. D’Souza shows that they are really one and the same. Conservatives must recognize that the left is now allied with the Islamic radicals in a combined effort to defeat Bush’s war on terror. A whole new strategy is therefore needed to fight both wars. “In order to defeat the Islamic radicals abroad,” D’Souza writes, “we must defeat the enemy at home.”
Americans responded to the deadly terrorist attacks on September 11, 2001, with an outpouring of patriotism, though all were not united in their expression. A war-based patriotism inspired millions of Americans to wave the flag and support a brutal War on Terror in Afghanistan and Iraq, while many other Americans demanded an empathic patriotism that would bear witness to the death and suffering surrounding the attack. Twenty years later, the war still simmers, and both forms of patriotism continue to shape historical understandings of 9/11's legacy and the political life of the nation. John Bodnar's compelling history shifts the focus on America's War on Terror from the battlefield to the arena of political and cultural conflict, revealing how fierce debates over the war are inseparable from debates about the meaning of patriotism itself. Bodnar probes how honor, brutality, trauma, and suffering have become highly contested in commemorations, congressional correspondence, films, soldier memoirs, and works of art. He concludes that Americans continue to be deeply divided over the War on Terror and how to define the terms of their allegiance--a fissure that has deepened as American politics has become dangerously polarized over the first two decades of this new century.
Author : Carol K. Winkler Publisher : State University of New York Press Page : 272 pages File Size : 52,9 Mb Release : 2012-02-16 Category : Political Science ISBN : 9780791482537
American Multiculturalism After 9/11 by Derek Rubin,J. Verheul Pdf
This provocative and rich volume charts the post-9/11 debates and practice of multiculturalism, pinpointing their political and cultural implications in the United States and Europe.
The War of My Generation is the first essay collection to focus specifically on how the 9/11 terrorist attacks and their aftermath have shaped the newest generation of Americans. Drawing on a variety of disciplines including anthropology, sociology, cultural studies, and literary studies, the volume considers what cultural factors and products have shaped young people's experience of the 9/11 attacks, the wars that have followed, and their experiences as emerging citizen-subjects.
