By Jeffrey Melnick
9/11 Culture serves as a well timed and obtainable advent to the complexities of yankee tradition within the wake of the September 11 assaults.
- Gives balanced examinations of a huge catalogue of artifacts from movie, track, images, literary fiction, and different well known arts
- Investigates the ways in which 9-11 has exerted a shaping strength on quite a lot of practices, from the politics of femininity to the poetics of redemption
- Includes pedagogical fabric to aid realizing and educating, together with movie and discographies, and an invaluable academics' preface
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Additional resources for 9/11 Culture
In actual hip hop performance these phrases would likely appear in calland- response pump-up-the-crowd contexts; borrowing them, repeating them, putting them in the mouths of his clip art clones, Rees makes us feel for these “representative citizens” – as Whitehead calls them – who “re-enact the same poses again and again, mouth the same platitudes and speculations over and over, without progress or relief” (iv). Figure 2 David Rees transforms clip art into political art. Source: “Get Your War On,” © 2008 by David Rees.
A cultural formation, in brief, is a site where important social and political institutions, rhetorical practices, and personal behaviors overlap and combine to create a threshold level of cultural energy that comes to help define its historical moment in some significant manner. “9/11” is a language. It has its own vocabulary, grammar, and tonalities. g. Hollywood film and underground hip hop) while leaving other forms (network television, for instance) relatively unchanged. g. “Hollywood” or “the Big Three television networks”) and their responses to 9/11.
There are some wispy indications in the cultural sphere that the historical period we have been calling post-9/11 might have an expiration date, but it is important not to look for the usual sorts of historical closure prematurely. e. “when did the frontier close”)? After surveying the dominant explanations that have been offered over the years, Limerick offers up her own sensible notion: the frontier was closed when tourism about the West became a major force in the states that had previously been understood as frontier areas.