Culture and Imperialism

Frantz Fanon’s explosive Black Skin, White Masks is a merciless expose of the psychological damage done by colonial rule across the world. Using Fanon’s incisive analytical abilities to expose the consequences of colonialism on the psyches of colonized peoples, it is both a crucial text in post-colonial theory, and a lesson in the power of analytical skills to reveal the realities that hide beneath the surface of things.  
Fanon was himself part of a colonized nation – Martinique – and grew up with the values and beliefs of French culture imposed upon him, while remaining relegated to an inferior status in society. Qualifying as a psychiatrist in France before working in Algeria (a French colony subject to brutal repression), his own experiences granted him a sharp insight into the psychological problems associated with colonial rule.  
Like any good analytical thinker, Fanon’s particular skill was in breaking things down and joining dots. His analysis of colonial rule exposed its implicit assumptions – and how they were replicated in colonised populations – allowing Fanon to unpick the hidden reasons behind his own conflicted psychological make up, and those of his patients. Unflinchingly clear-sighted in doing so, Black Skin White Masks remains a shocking read today.

An Analysis of Frantz Fanon's Black Skin, White Masks

20th anniversary edition of "The End of History and the Last Man", a landmark of political philosophy by Francis Fukuyama, author of "The Origins of Political Order". With the fall of Berlin Wall in 1989 the threat of the Cold War which had dominated the second half of the twentieth century vanished. And with it the West looked to the future with optimism but renewed uncertainty. "The End of History and the Last Man" was the first book to offer a picture of what the new century would look like. Boldly outlining the challenges and problems to face modern liberal democracies, Frances Fukuyama examined what had just happened and then speculated what was going to come next. Tackling religious fundamentalism, politics, scientific progress, ethical codes and war, "The End of History and the Last Man" remains a compelling work to this day, provoking argument and debate among its readers. "Awesome ...a landmark ...profoundly realistic and important ...supremely timely and cogent ...the first book to fully fathom the depth and range of the changes now sweeping through the world." (George Gilder, "The Washington"). Post Francis Fukuyama was born in Chicago in 1952. His work includes "America at the Crossroads: Democracy, Power, and the Neoconservative Legacy" and "After the Neo Cons: Where the Right went Wrong". He now lives in Washington D.C. with his wife and children, where he also works as a part time photographer.

http://library.um.ac.id/free-contents/downloadpdf.php/buku/the-end-of-history-and-the-last-man-kemenangan-kapitalisme-dn-demokrasi-liberal-oleh-francis-fukuyama-penerjemah-m-h-amrullah-10836.pdf

The end of history and the last man : kemenangan kapitalisme dn demokrasi liberal / oleh Francis Fukuyama, penerjemah M.H. Amrullah

Thirty years after the fact, the Vietnam War continues to haunt the collective memory of the United States. One of the primary embodiments of that haunting is the image of a naked girl running down a road toward the camera, screaming in pain and terror from the napalm burns on her back and arms. The photograph, often dubbed “accidental napalm,” provides a complex construction of viewer response that was uniquely suited to the conditions of representation in the Vietnam era, while it reflects a continuing struggle within public culture since that time. In this essay, we offer a close reading of the photograph as a performance of public judgment, and we explore its subsequent history of appropriation. We argue that the photograph functions as a powerful emotional and inventional resource for animating moral deliberation and democratic dissent as it mediates the “stranger relationality” central to public engagement. At the same time, the image also motivates dominant narrative responses that reinscribe liberal ideology to inhibit collective memory and public accountability. This ambivalence in the circulation of the iconic image is grounded in fundamental affinities between photographic representation, public culture, and mass media.

Public Identity and Collective Memory in U.S. Iconic Photography: The Image of 'Accidental Napalm': A Reader in Communication and American Culture

This paper reviews existing approaches to military landscapes, establishing the field’s breadth and variety. It suggests areas for future military landscape research around virtual military landsca...

/pdf/military-landscapes-agendas-and-approaches-for-future-441muc35gp.pdf

Military landscapes Agendas and approaches for future research

This article examines the subtle and not so subtle shifts in Canadian political culture that have taken place in, through and alongside the so-called ‘return’ of the Canadian warrior. It begins from the contention that while the racialised dimensions of the post 9/11 Canadian security state have been well analysed elsewhere, the gendered dimensions have not been fully explored. This article explores the re-emergence of a sacrificial imaginary in Canadian culture through an examination of seemingly irreconcilable accounts that have emerged of the Canadian security state – one that reads ‘Canada’ through the story of the torture and repatriation of Canadian citizen, Maher Arar, and one that tells the story of ‘Canada at War’ through the warrior's return. It examines both in terms of the tensions and instabilities they reveal in the Western liberal imaginary and in terms of the ways in which they collectively operate to redefine the aesthetic borders of the Canadian political community. The article argues that the sacralisation of violence which has refound this political community has been enabled by a remasculinised aesthetic that delimits the ‘progressive liberalism’ which animated the Canada of Old – ostensibly in order to protect it.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0260210511000271

Highways, heroes, and secular martyrs: the symbolics of power and sacrifice

Introduction: Reading International Relations through Bodies, Reading the Maternal Body as Political Event 1. The Vicissitudes of Life: Women's Complex Entanglement with Peace and War 2. Shifting the Gaze from Hysterical Mothers to 'Deadly Dads': Spectacle and the Antinuclear Movement 3. (M)others, Biopolitics and the Gulf War 4. Grieving Dead Soldiers, Disavowing Loss: Cindy Sheehan and the Im/possibility of the American Antiwar Movement Conclusion: The Maternal Body as Alibi: Understanding the Centrality of the Maternal Body to Sovereign Representation

Gender, Agency and War: The Maternalized Body in US Foreign Policy

Abstract This article uses the trope of ‘hysterical motherhood’ to elucidate one of the unique forms that women’s protest action took at the height of the American anti-nuclear movement. It advances an understanding of ‘hysterical motherhood’ as both an embodied tactic and a performative act, arguing that its tactical effectiveness lay in its ability to redirect the societal gaze from the ‘hystericized’ bodies of women to the bodies and practices of militarised men. In so doing, it (re)structured the field of the possible: constraining and enabling performative enactments of masculinity and the nuclear state.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S026021050700770X

Shifting the gaze from hysterical mothers to ‘deadly dads’: spectacle and the anti-nuclear movement

This article begins via an exploration of Jean Baudrillard's provocative claim that we dreamed of the ‘events of 9/11’ prior to their occurrence. Baudrillard's particular quote is introduced to raise questions about the politics of knowing and un-knowing in International Relations, with specific reference to risk and the “war on terror”. Building on postcolonial scholarship, this article points to the limits of contemporary approaches to risk and offers an alternative methodological approach – one it argues better identifies the power relations that structure the daily forms of knowing and un-knowing that give meaning to and invigorate articulations of risk.

/pdf/we-all-dreamed-it-the-politics-of-knowing-and-un-knowing-the-1dlsulda58.pdf

We all dreamed it: the politics of knowing and un-knowing the “war on terror”

This book offers new insights into the excesses and uncanniness of the ‘War on Terror’ via an engagement with the pleasures of risk.
Engaging with the unconscious, the excess, the uncanny and the spectacular dimensions of the ‘War on Terror’ – as made evident, for example, in the 2012 London Olympic Games and the 2013 manhunt for the Boston Marathon bombers – leads this book to probe the so-called order of things that has made this war intelligible in both mainstream and critical approaches to Security Studies and International Relations. Specifically, this book brings to light and theorizes the obscene pleasures of the ‘War on Terror’ and its supplementary precautionary risk logic. Coming to grips with this (i.e., the pleasures of risk), ultimately via an engagement with critical psychoanalytic theory, leads this book to argue that we may be other than we think we are within critical International Relations (IR) traditions. Furthermore, albeit without discounting the madness, if not desolation, of the present (extending from the ‘War on Terror’ to the politics of Brexit and Donald Trump), it suggests there may be some relief in that yet.
This book will be of much interest to students of critical terrorism studies, critical security studies, political theory and International Relations broadly.

Unknowing the “War on Terror” : The Pleasures of Risk

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