Despite the growing interest in atomic culture and history, the body of relevant scholarship is relatively sparse. Atomic Culture opens new doors into the field by providing a substantive, engaging, and historically based consideration of the topic that will appeal to students and scholars of the Atomic Age as well as general readers.
Contributors include Michael A. Amundson, Mick Broderick, Peter Goin, John Hunner, Ferenc M. Szasz, A. Costandina Titus, Peter C. van Wyck, and Scott C. Zeman.
An unflinching examination of the moral and professional dilemmas faced by physicians who took part in the Manhattan Project.
After his father died, James L. Nolan, Jr., took possession of a box of private family materials. To his surprise, the small secret archive contained a treasure trove of information about his grandfather’s role as a doctor in the Manhattan Project. Dr. Nolan, it turned out, had been a significant figure. A talented ob-gyn radiologist, he cared for the scientists on the project, organized safety and evacuation plans for the Trinity test at Alamogordo, escorted the “Little Boy” bomb from Los Alamos to the Pacific Islands, and was one of the first Americans to enter the irradiated ruins of Hiroshima and Nagasaki.
Participation on the project challenged Dr. Nolan’s instincts as a healer. He and his medical colleagues were often conflicted, torn between their duty and desire to win the war and their oaths to protect life. Atomic Doctors follows these physicians as they sought to maximize the health and safety of those exposed to nuclear radiation, all the while serving leaders determined to minimize delays and maintain secrecy. Called upon both to guard against the harmful effects of radiation and to downplay its hazards, doctors struggled with the ethics of ending the deadliest of all wars using the most lethal of all weapons. Their work became a very human drama of ideals, co-optation, and complicity.
A vital and vivid account of a largely unknown chapter in atomic history, Atomic Doctors is a profound meditation on the moral dilemmas that ordinary people face in extraordinary times.
The term Neo-Dada surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and painterly interests of the then-dominant movement, Abstract Expressionism. Neo-Dada quickly became the word of choice in the early 1960s to designate experimental art, including assemblage, performance, Pop art, and nascent forms of minimal and conceptual art.
The first account of the August Trials, in which postwar Poland confronted the betrayal of Jewish citizens under Nazi rule but ended up fashioning an alibi for the past.
When six years of ferocious resistance to Nazi occupation came to an end in 1945, a devastated Poland could agree with its new Soviet rulers on little else beyond the need to punish German war criminals and their collaborators. Determined to root out the “many Cains among us,” as a Poznań newspaper editorial put it, Poland’s judicial reckoning spawned 32,000 trials and spanned more than a decade before being largely forgotten.
Andrew Kornbluth reconstructs the story of the August Trials, long dismissed as a Stalinist travesty, and discovers that they were in fact a scrupulous search for the truth. But as the process of retribution began to unearth evidence of enthusiastic local participation in the Holocaust, the hated government, traumatized populace, and fiercely independent judiciary all struggled to salvage a purely heroic vision of the past that could unify a nation recovering from massive upheaval. The trials became the crucible in which the Communist state and an unyielding society forged a foundational myth of modern Poland but left a lasting open wound in Polish-Jewish relations.
The August Trials draws striking parallels with incomplete postwar reckonings on both sides of the Iron Curtain, suggesting the extent to which ethnic cleansing and its abortive judicial accounting are part of a common European heritage. From Paris and The Hague to Warsaw and Kyiv, the law was made to serve many different purposes, even as it failed to secure the goal with which it is most closely associated: justice.
Austin, Texas, entered the aviation age on October 29, 1911, when Calbraith Perry Rodgers landed his Wright EX Flyer in a vacant field near the present-day intersection of Duval and 45th Streets. Some 3,000 excited people rushed out to see the pilot and his plane, much like the hundreds of thousands who mobbed Charles A. Lindbergh and The Spirit of St. Louis in Paris sixteen years later. Though no one that day in Austin could foresee all the changes that would result from manned flight, people here—as in cities and towns across the United States—realized that a new era was opening, and they greeted it with all-out enthusiasm.
This popularly written history tells the story of aviation in Austin from 1911 to the opening of Austin-Bergstrom International Airport in 1999. Kenneth Ragsdale covers all the significant developments, beginning with military aviation activities during World War I and continuing through the barnstorming era of the 1920s, the inauguration of airmail service in 1928 and airline service in 1929, and the dedication of the first municipal airport in 1930. He also looks at the University of Texas's role in training pilots during World War II, the growth of commercial and military aviation in the postwar period, and the struggle over airport expansion that occupied the last decades of the twentieth century. Throughout, he shows how aviation and the city grew together and supported each other, which makes the Austin aviation experience a case study of the impact of aviation on urban communities nationwide.
Three forces—dwindling British power, rising American influence, and nationalism in a variety of forms—have transformed Australia, New Zealand, and the adjacent islands since 1919. In this volume, some of the most distinguished scholars of the Pacific region assess these significant historical changes.
These essays deal with international relations, politics, changing social structures, and literature since World War I. The themes of the volume as a whole are social and humanistic; they concern the evolution of both a regional identity and separate national identities in the Southwest Pacific. The unique areal and thematic concentration of this book makes it essential reading for all those interested in the history, politics, and culture of the Pacific.
Contemporary Australian fiction is attracting a world audience, particularly in the United States, where a growing readership eagerly awaits new works. In Australian Voices, Ray Willbanks goes beyond the books to their authors, using sixteen interviews to reveal the state of fiction writing in Australia—what nags from the past, what engages the imagination for the future.
Willbanks engages the writers in lively discussions of their own work, as well as topics of collective interest such as the past, including convict times; the nature of the land; the treatment of Aborigines; national identity and national flaws; Australian-British antipathy; sexuality and feminism; drama and film; writing, publishing, and criticism in Australia; and the continuous and pervasive influence of the United States on Australia.
The interviews in Australian Voices are gossipy, often funny, and always informative, as Willbanks builds a structured conversation that reveals biography, personality, and significant insight into the works of each writer. They will be important for both scholars and the reading public.
The Avant-Garde and Geopolitics in Latin America examines the canonical Latin American avant-garde texts of the 1920s and 1930s in novels, travel writing, journalism, and poetry, and presents them in a new light as formulators of modern Western culture and precursors of global culture. Particular focus is placed on the work of Roberto Arlt and Mário de Andrade as exemplars of the movement.
Fernando J. Rosenberg provides a theoretical historiography of Latin American literature and the role that modernity and avant-gardism played in it. He finds significant parallels between the cultural battles of the interwar years in Latin America and current debates over the role of the peripheral nation-state within the culture of globalization. Rosenberg establishes that the Latin American avant-garde evolved on its own terms, in polemic dialogue with the European movements, critiquing modernity itself and developing a global geopolitical awareness. In the process these writers created a bridge between postcolonial and postmodern culture, forming a distinct movement that continues its influence today.
Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”
In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé.
The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.
Americans today “know” that a majority of the population supports the death penalty, that half of all marriages end in divorce, and that four out of five prefer a particular brand of toothpaste. Through statistics like these, we feel that we understand our fellow citizens. But remarkably, such data—now woven into our social fabric—became common currency only in the last century. Sarah Igo tells the story, for the first time, of how opinion polls, man-in-the-street interviews, sex surveys, community studies, and consumer research transformed the United States public.
Igo argues that modern surveys, from the Middletown studies to the Gallup Poll and the Kinsey Reports, projected new visions of the nation: authoritative accounts of majorities and minorities, the mainstream and the marginal. They also infiltrated the lives of those who opened their doors to pollsters, or measured their habits and beliefs against statistics culled from strangers. Survey data underwrote categories as abstract as “the average American” and as intimate as the sexual self.
With a bold and sophisticated analysis, Igo demonstrates the power of scientific surveys to shape Americans’ sense of themselves as individuals, members of communities, and citizens of a nation. Tracing how ordinary people argued about and adapted to a public awash in aggregate data, she reveals how survey techniques and findings became the vocabulary of mass society—and essential to understanding who we, as modern Americans, think we are.
The half century between statehood in 1896 and the end of World War II in 1945 was a period of transformation and transition for Utah. This book interprets those profound changes, revealing sweeping impacts on both institutions and ordinary people. Drawing upon expertise honed over decades of teaching, researching, and writing about Utah’s history, the authors incorporate fresh archival sources, new oral histories, and hundreds of scholarly articles and books as they narrate the little-known story of the crucial formative years when Utah came of age.
During its sometimes awkward years of adolescence and maturation, Utah was gradually incorporated into the American political, social, and economic mainstream. Urban and industrial influences supplanted agrarian traditions, displacing people socially, draining the countryside of population, and galvanizing a critical crisis in values and self-identification. National corporations and mass labor movements took root in the state as commerce expanded. Involvement in world events such as the Spanish-American War, two world wars, and the Great Depression further set the stage for entry into the modern, globalized world as Utahns immersed themselves in national politics and became part of the democratic, corporate culture of twentieth-century America.
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