Download Archives of Authority: Empire, Culture, and the Cold War by Andrew N. Rubin PDF

By Andrew N. Rubin

Combining literary, cultural, and political background, and in line with broad archival learn, together with formerly unseen FBI and CIA files, Archives of Authority argues that cultural politics--specifically America's usually covert patronage of the arts--played a hugely very important function within the move of imperial authority from Britain to the us in the course of a severe interval after international struggle II. Andrew Rubin argues that this move reshaped the postwar literary area and he indicates how, in this time, new and effective modes of cultural transmission, replication, and travel--such as radio and quickly and globally circulated journals--completely reworked the placement occupied via the postwar author and the position of global literature.

Rubin demonstrates that the approximately immediate translation of texts via George Orwell, Thomas Mann, W. H. Auden, Richard Wright, Mary McCarthy, and Albert Camus, between others, into interrelated journals that have been backed through companies resembling the CIA's Congress for Cultural Freedom and circulated around the globe successfully reshaped writers, critics, and intellectuals into simply recognizable, transnational figures. Their paintings shaped a brand new canon of worldwide literature that was once celebrated within the usa and supposedly represented the simplest of latest inspiration, whereas much less politically appealing authors have been overlooked or maybe demonized. This championing and demonizing of writers happened within the identify of anti-Communism--the new, transatlantic "civilizing mission" by which postwar cultural and literary authority emerged.

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Growing up in an erotically charged media environment alters the very foundations of our personalities. I think it distorts our sexuality. It changes the way you feel when someone suddenly puts their hand on your shoulder, hugs you, or flirts with you through the car window. I think the constant flow of commercially scripted pseudosex, rape and pornography makes us more voyeuristic, insatiable and aggressive— even though I can't prove it with hard facts. Similarly, I have no hard proof that daily exposure to media vio lence shapes the way you feel about crime and punishment, or affects the way you feel about that guy standing next to you at the bus stop.

Any stimulus change—any jolt—releases hormones that trigger the biologically encoded fight-or-flight response, vestigial from a time when survival depended on being alert to anything in the environment that happened at faster than normal or "natural" speed. The response was designed to keep us from being eaten by cave bears. It was not designed to keep us glued to our TV sets. However, most TV programs do just that. They are scripted to deliver the maximum number of jolts per minute (and keep viewers suspended through the breaks).

The MUD aficionados Sherry Turkle investigates in her books tend to use the Net to create bigger and better (nonauthentic) selves. They often use it to beef up the parts of their lives that are failing in the real, concrete world. In Life on the Screen, we meet Matthew, the nineteenyear-old son of a distant, alcoholic dad. In actual life his girlfriend had dumped him, but on the Net his chivalrous MUD persona was enor mously attractive to women. " MUD addicts end up inhabiting a world somewhere between real life and virtual life.

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