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019 _a(OCoLC)979880069
020 _a9780231152792
_qprint
020 _a9780231526494
_qPDF
024 7 _a10.7312/deut15278
_2doi
035 _a(DE-B1597)9780231526494
035 _a(DE-B1597)458795
035 _a(OCoLC)829462165
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aSOC026000
_2bisacsh
082 0 4 _a700.1/03
084 _aonline - DeGruyter
100 1 _aDeutsche, Rosalyn
_eautore
245 1 0 _aHiroshima After Iraq :
_bThree Studies in Art and War /
_cRosalyn Deutsche.
264 1 _aNew York, NY :
_bColumbia University Press,
_c[2010]
264 4 _c©2010
300 _a1 online resource (104 p.) :
_b38 illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aThe Wellek Library Lectures
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction --
_t1. Silvia Kolbowski --
_t2. Leslie Thornton --
_t3. Krzysztof Wodiczko --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aMany on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), made after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 0 _aArt and war.
650 7 _aSOCIAL SCIENCE / Sociology / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7312/deut15278
856 4 0 _uhttps://www.degruyter.com/isbn/9780231526494
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780231526494/original
942 _cEB
999 _c183520
_d183520