LEADER 03528nam 2200625Ia 450 001 9910458829803321 005 20200520144314.0 010 $a0-231-52649-0 024 7 $a10.7312/deut15278 035 $a(CKB)2560000000052264 035 $a(EBL)908257 035 $a(OCoLC)829462165 035 $a(SSID)ssj0000484948 035 $a(PQKBManifestationID)11296450 035 $a(PQKBTitleCode)TC0000484948 035 $a(PQKBWorkID)10603173 035 $a(PQKB)10096420 035 $a(MiAaPQ)EBC908257 035 $a(DE-B1597)458795 035 $a(OCoLC)979880069 035 $a(DE-B1597)9780231526494 035 $a(Au-PeEL)EBL908257 035 $a(CaPaEBR)ebr10410272 035 $a(CaONFJC)MIL818906 035 $a(EXLCZ)992560000000052264 100 $a20100106d2010 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aHiroshima after Iraq$b[electronic resource] $ethree studies in art and war /$fRosalyn Deutsche 210 $aNew York $cColumbia University Press$d2010 215 $a1 online resource (121 p.) 225 1 $aWellek library lectures in critical theory 300 $aDescription based upon print version of record. 311 $a0-231-15279-5 311 $a0-231-15278-7 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction --$t1. Silvia Kolbowski --$t2. Leslie Thornton --$t3. Krzysztof Wodiczko --$tNotes --$tBibliography --$tIndex 330 $aMany on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960's and 1970's, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), made after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied. 410 0$aWellek Library lecture series at the University of California, Irvine. 517 3 $aThree studies in art and war 606 $aArt and war 608 $aElectronic books. 615 0$aArt and war. 676 $a700.1/03 700 $aDeutsche$b Rosalyn$0275887 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910458829803321 996 $aHiroshima after Iraq$92471560 997 $aUNINA