918 resultados para Cultural Cold War
Resumo:
With a 20 million dollar budget and 1,900 staff Voice of America broadcasted in 45 different languages and Italy was one of its main targets. By looking into what went on behind the microphone, this article addresses the extent to which cultural change was planned and structured transnationally, the interactions and interdependencies operating between Washington and Rome, and how a cooperation was achieved despite the fierce resistance of some of RAI’s executives. This allowed to air programmes produced in New York, and led to the launch of the most popular character of Italian radio and television: Mike Bongiorno.
Resumo:
This thesis explores the theme of social paranoia as depicted in the Absurdist fiction of Cold War America and Soviet Russia. The central hypothesis informing this research maintains that, despite the ideology of moral and cultural “Otherness” constructed and reinforced by both nations throughout much of twentieth century, the US and the Soviet Union more often than not functioned as mirror images of paranoia and suspicion. Much of the fiction produced in Russia from the Revolution onwards and in the US during the Cold War period highlights how these two ostensibly irreconcilable nations were consumed by similar fears and gripped by an equally pervasive paranoia. These parallel conditions of anxiety and mistrust led to a surprising congruity of literary responses, which transcended the ideological divide between capitalism and communism and, as such, underscored the homogeny of fear which lay beneath the façade of constructed difference. I contend that, because Soviet Russia and the America of the Cold War period were nations consumed by fear and suspicion, authors living in both countries became preoccupied by the mechanics of such deeply paranoid societies. Consequently, much of the fiction of the US and the Soviet Union during this period was preoccupied with the themes of paranoia, conspiracy, intensive bureaucracy and the politicisation of science, which resulted in the terror of the Nuclear Age. This thesis explores how these central themes unite apparently diverse literary texts and illustrate the uniformity of terror which transcended both the physical and ideological boundaries separating the United States and the Soviet Union. In doing so, this research focuses primarily on the multi-faceted manifestations of paranoia in selected works by Soviet authors Mikhail Bulgakov, Daniil Kharms and Yuli Daniel, and American authors Joseph Heller, Thomas Pynchon and Kurt Vonnegut. Focusing on key works by each author, this research considers these texts as products of two culturally diverse, yet equally paranoid societies and explores their preoccupation with issues of spying, infiltration and conspiracy. This thesis thus emphasises how these authors counter simplistic notions of Cold War Otherness by revealing two nations possessed by a similar sense of vulnerability and insecurity. Furthermore, this thesis examines how this social anxiety is reinforced by the way in which these authors position issues such as the mechanics of the bureaucratic system and clandestine scientific experimentation as the focal point of the paranoid imagination. Ultimately, by examining the concordance of paranoiac representation in America and the Soviet Union during this period, I demonstrate that these ostensibly divergent nations harboured similar fears and insecurities.
Resumo:
This paper explores the ways in which the construction of militarized masculinities in Cold War Canadian media reflected the hegemonic masculinities and broader social trends of the period. This paper focuses specifically on the recruiting materials produced for and by the Canadian Army between 1956 and 1959, the time of the Suez Canal Crisis and the beginnings of “Canadian peacekeeping.” Through the mobilization of modern and anti-modern masculine identities attached to hegemonic and idealized Cold War Canadian masculinities, the Army created the image of the “Modern Warrior” to portray itself as an occupation and culture for “real Canadian men.” This identity simultaneously corresponded with Canada’s new “peacekeeping” identity. By presenting certain images of Canadian manhood as the “ideal” Canadian identity and by associating this “ideal” masculinity with military service, the Army’s recruitment advertisements conflated Cold War rhetoric of service, defence, national citizenship, cultural belonging, and “ideal” ethnicity with a Canadian identity available only to a specific (and often exclusive) segment of society. Because military service has long been considered the crux of citizenship, these advertisements (re)entrenched patterns of middle-class, heterosexual, Anglo- Saxon masculine power and dominance in a time of social uncertainty and cultural anxiety through the reaffirmation of this group’s “privilege” to serve the nation.