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Cultures of War in Graphic Novels examines the representation of
small-scale and often less acknowledged conflicts from around the
world and throughout history. The contributors look at an array of
graphic novels about conflicts such as the Boxer Rebellion
(1899-1901), the Irish struggle for national independence
(1916-1998), the Falkland War (1982), the Bosnian War (1992-1995),
the Rwandan genocide (1994), the Israel-Lebanon War (2006), and the
War on Terror (2001-). The book explores the multi-layered relation
between the graphic novel as a popular medium and war as a pivotal
recurring experience in human history. The focus on largely
overlooked small-scale conflicts contributes not only to advance
our understanding of graphic novels about war and the cultural
aspects of war as reflected in graphic novels, but also our sense
of the early twenty-first century, in which popular media and
limited conflicts have become closely interrelated.
Historical writing and fiction are not the same thing, though
historians often creatively manipulate material in imposing plot
structures, selecting starting and ending points, and fashioning
compelling literary characters from historical figures. In
Docu-Fictions of War, Tatiana Prorokova argues that the opposite is
also true-war fiction offers a kind of history that both documents
its subjects and provides a snapshot of the cultural representation
of the United States' most recent military involvements. She covers
a largely neglected body of cinematic and literary texts about the
First Gulf War, the Balkan War, the Afghanistan War, and the Iraq
War to open a fresh analysis of cultural texts on war. Prorokova
contends that these texts are not pure fiction, but
"docu-fictions"-works of imagination that can document their
subjects while disclosing the social, political, and historical
link between war and culture during the last three decades.
Docu-Fictions of War analyzes how these representational narratives
have highlighted a humanitarian rationale behind American
involvement in each war, whether the stated goals were to free the
oppressed from tyranny, stop genocide, or rid the world of
terrorism. The book explores the gap between history-what allegedly
happened-and the cultural mythology that is both true and inexact,
tangible and sensed, recognized and undocumented.
This interdisciplinary collection of eleven original essays focuses
on the environmental impact of transportation, which is, as Tatiana
Prorokova-Konrad and Brian C. Black note in their introduction,
responsible for 26 percent of global energy use. Approaching
mobility not solely as a material, logistical question but as a
phenomenon mediated by culture, the book interrogates popular
assumptions deeply entangled with energy choices. Rethinking
transportation, the contributors argue, necessarily involves
fundamental understandings of consumption, freedom, and self. The
essays in Transportation and the Culture of Climate Change cover an
eclectic range of subject matter, from the association of bicycles
with childhood to the songs of Bruce Springsteen, but are united in
a central conviction: "Transport is a considerable part of our
culture that is as hard to transform as it is for us to stop using
fossil fuels - but we do not have an alternative.
Historical writing and fiction are not the same thing, though
historians often creatively manipulate material in imposing plot
structures, selecting starting and ending points, and fashioning
compelling literary characters from historical figures. In
Docu-Fictions of War, Tatiana Prorokova argues that the opposite is
also true—war fiction offers a kind of history that both
documents its subjects and provides a snapshot of the cultural
representation of the United States’ most recent military
involvements. She covers a largely neglected body of cinematic and
literary texts about the First Gulf War, the Balkan War, the
Afghanistan War, and the Iraq War to open a fresh analysis of
cultural texts on war. Prorokova contends that these texts are not
pure fiction, but “docu-fictions”—works of imagination that
can document their subjects while disclosing the social, political,
and historical link between war and culture during the last three
decades. Docu-Fictions of War analyzes how these representational
narratives have highlighted a humanitarian rationale behind
American involvement in each war, whether the stated goals were to
free the oppressed from tyranny, stop genocide, or rid the world of
terrorism. The book explores the gap between history—what
allegedly happened—and the cultural mythology that is both true
and inexact, tangible and sensed, recognized and undocumented.
With the tomboy figure currently operating in a liminal space
between extinction and resurgence, Reclaiming the Tomboy: The Body,
Identity, and Representation is an unabashed celebration of her
rebellious, independent, and pioneering spirit. This collection
examines the tomboy as she appears throughout history, in the arts
and in real-life. It also addresses how she has changed over the
centuries, adapting to the world around her and breaking new
boundaries in new ways (sometimes with a "simple" selfie). While
this collection addresses the claim of the tomboy as being
antiquated or even "problematic," it more vigorously offers
examples of where she is thriving and benefiting from her tomboy
identity. Ultimately, this book underscores the tomboy's legacy as
well as why she is still relevant, if not needed, today.
Women's Human Rights in Nineteenth-Century Literature and Culture
sheds light on women's rights advancements in the nineteenth
century and early twentieth-century through explorations of
literature and culture from this time period. With an international
emphasis, contributors illuminate the range and diversity of
women's work as novelists, journalists, and short story writers and
analyze the New Woman phenomenon, feminist impulse, and the
diversity of the women writers. Studying writing by authors such as
Alice Meynell, Thomas Hardy, Netta Syrett, Alice Dunbar-Nelson,
Mary Seacole, Charlotte Bronte, and Jean Rhys, the contributors
analyze women's voices and works on the subject of women's rights
and the representation of the New Woman.
In recent years, Hollywood cinema has forwarded a growing number of
images of the Cold War and entertained a return to memories of
conflicts between the USSR and the US, Russians and Americans, and
communism and capitalism. Cold War II: Hollywood's Renewed
Obsession with Russia explores the reasons for this sudden renewed
interest in the Cold War. Essayists examine such films as Guy
Ritchie's The Man from U.N.C.L.E., Steven Spielberg's Bridge of
Spies, Ethan Coen and Joel Coen's Hail, Caesar!, David Leitch's
Atomic Blonde, Guillermo del Toro's The Shape of Water, Ryan
Coogler's Black Panther, and Francis Lawrence's Red Sparrow, among
others, as well as such television shows as Comrade Detective and
The Americans. Contributors to this collection interrogate the
revival of the Cold War movie genre from multiple angles and
examine the issues of patriotism, national identity, otherness,
gender, and corruption. They consider cinematic aesthetics and the
ethics of these representations. They reveal how Cold War imagery
shapes audiences' understanding of the period in general and of the
relationship between the US and Russia in particular. The authors
complicate traditional definitions of the Cold War film and invite
readers to discover a new phase in the Cold War movie genre: Cold
War II.
In recent years, Hollywood cinema has forwarded a growing number of
images of the Cold War and entertained a return to memories of
conflicts between the USSR and the US, Russians and Americans, and
communism and capitalism. Cold War II: Hollywood's Renewed
Obsession with Russia explores the reasons for this sudden renewed
interest in the Cold War. Essayists examine such films as Guy
Ritchie's The Man from U.N.C.L.E., Steven Spielberg's Bridge of
Spies, Ethan Coen and Joel Coen's Hail, Caesar!, David Leitch's
Atomic Blonde, Guillermo del Toro's The Shape of Water, Ryan
Coogler's Black Panther, and Francis Lawrence's Red Sparrow, among
others, as well as such television shows as Comrade Detective and
The Americans. Contributors to this collection interrogate the
revival of the Cold War movie genre from multiple angles and
examine the issues of patriotism, national identity, otherness,
gender, and corruption. They consider cinematic aesthetics and the
ethics of these representations. They reveal how Cold War imagery
shapes audiences' understanding of the period in general and of the
relationship between the US and Russia in particular. The authors
complicate traditional definitions of the Cold War film and invite
readers to discover a new phase in the Cold War movie genre: Cold
War II.
Women's Human Rights in Nineteenth-Century Literature and Culture
sheds light on women's rights advancements in the nineteenth
century and early twentieth-century through explorations of
literature and culture from this time period. With an international
emphasis, contributors illuminate the range and diversity of
women's work as novelists, journalists, and short story writers and
analyze the New Woman phenomenon, feminist impulse, and the
diversity of the women writers. Studying writing by authors such as
Alice Meynell, Thomas Hardy, Netta Syrett, Alice Dunbar-Nelson,
Mary Seacole, Charlotte Bronte, and Jean Rhys, the contributors
analyze women's voices and works on the subject of women's rights
and the representation of the New Woman.
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