Review of Infrastructures of Apocalypse: American Literature and the Nuclear Complex by Jessica Hurley (University of Minnesota Press)

Jessica Hurley’s Infrastructures of Apocalypse: American Literature and the Nuclear Complex examines how postwar literature has responded to discourses, both official and unofficial, of nuclear weaponry and nuclear power. Hurley explores how literature from a variety of genres offer a different sense of past, present, and future in response, thus constructing the apocalypse as a transfiguration rather than as a revelation.

Years in Cultural Studies: 2013

n Eastern Europe, which is the focus of our study, different national scholarly traditions assigned their own place to the study of culture. Although the influence of the kulturologia (“culturology”) schools installed at Russian universities in the 1980s radiated out into Eastern European countries, local academic communities dictated the approach to the study of popular culture. While the Polish field of kulturoznawstwo was propelled by internal forces from the early 1970s onwards, in Czechoslovakia, kulturologie emerged as a new discipline around the fall of the Communist regime. Even so, it failed to take off and by 2012 had vanished completely from the Czech Republic. Central European countries were also affected by the German academic tradition of Kulturwissenschaften with its emphasis on philosophy and aesthetics. Our inquiry highlights the first international conference on cultural studies in the Czech Republic in 2013. It was during this event that a group of new postdocs from Charles University, including ourselves, raised the topic of changes in Eastern European popular culture due to the political transformation in 1989. This group had also arranged for Ann Gray, the final director of the UK Centre for Contemporary Cultural Studies (CCCS) to give a keynote address at the conference, a gesture that clearly linked the CCCS with the group’s own Centre for the Study of Popular Culture (CSPK) established three years earlier. From the outset, CSPK’s organizers aimed to promote the Anglo-American tradition of cultural studies both in the academy and among the general public. At the same time, they sought to retain their independence from academic structures and funding systems that might restrict their political activism.

Arctic Pedagogy

This paper is about the place of Indigenous people in an early instance of a culture war in the United States: the conflict in the 1970s over an innovative middle-grades social studies curriculum called “Man: A Course of Study” (MACOS). Funded by the National Science Foundation, MACOS sought to revamp social studies education by addressing big questions about humans as a species and as social animals. It quickly came under fire from conservatives and helped to solidify the concept of “secular humanism” as a social threat. A broad conservative organizing effort, whose effects can still be felt today, eventually ended not only MACOS, but the very viability of school curriculum reform projects on the national level. Though this story is familiar to historians of American education, this paper argues for its centrality to the development of contemporary conservative politics and the early history of the culture wars. It also takes up the largely unaddressed issue of how Indigenous people figured in the MACOS curriculum and in the ensuing controversy. Focusing on the ethnographic film series featuring Netsilik Inuit that was at the heart of the MACOS curriculum, this paper addresses the largely unacknowledged legacy of Indigenous pedagogy, to argue that the culture war that led to the demise of the MACOS project also represented a lost opportunity for Indigenous knowledge and teaching to be incorporated into the formal schooling of American children.

First-Person Shooters, Tunnel Warfare, and the Racial Infrastructures of the US–Mexico Bordere

Digital networked media actively participate in the nation-state’s and tech entrepreneurs’ efforts to imagine and manage the borderlands. These media facilitate virtual forms of thinking about the border both by offering popular reference points for the new technology being developed (e.g. Google Maps, Pokémon Go, Call of Duty) and by providing the actual tools through which these ideas can become actionable. This article analyzes one such reference point within the first-person shooter (FPS) console game Call of Juarez: The Cartel (Ubisoft, 2011). Like other border-themed video games, The Cartel borrows on colonial tropes and ideologies by creating playable narratives that invoke the untamable frontier and position racialized subjects as Other. Through its virtual modes of representation and interaction, the game encodes the racialization processes that continue to shape popular imaginings of the border. While its digital aesthetics animate a dynamic space of possibility, the logic of the first-person shooter reins in the expansiveness of animated space by restricting it to an interactive experience of tunnel warfare, an ideological orientation to the border underground that channels the players’ purposive motion into a space of direct confrontation and racial violence. Analyzing the narrative and procedural work of this ostensibly reactionary video game demonstrates how border infrastructures structure and shape specific forms of racial and colonial violence.

Back to Basics with Labor-Power

Ted Striphas recently called for a return to the “problem of culture” within cultural studies. This is a political as much as a methodological provocation: “culture” became an object of analysis among mid-twentieth century scholars in dialogue with Marxist accounts of ongoing political crises. Taking a cue from this past, this essay rethinks culture in relation to the ongoing crisis in social reproduction via Social Reproduction Theory (SRT). Within some Marxist feminist currents, “social reproduction” refers to the reproduction of labor-power, Marx’s term for the capacity to work sold on the market in exchange for wages. Marxist feminists have theorized such matters at length via their analyses of the practices undergirding the reproduction of labor-power. SRT is not unfamiliar to cultural studies scholars, but those engaged with it tend to explore the representation of socially reproductive practices within culture rather than the ways culture itself contributes to labor-power’s reproduction. This is unsurprising. Historically, the field has discussed labor-power in terms of its circulation rather than its reproduction, detailing culture’s role in reproducing social systems. Drawing upon Michael Denning’s “labor theory of culture,” recent work in SRT, and Marx, I argue that culture functions in a socially reproductive capacity within the logic of capitalism. In doing so, it casts cultural struggle as a form of social reproduction struggle at the intersection of labor-power’s reproduction and that of the society that requires it. This essay constructs a systematic account of culture’s socially reproductive before using it to consider its historical expression in the current moment.

Editors' Introduction: Materializing Immaterial Labor in Cultural Studies

This introduction frames the six original articles in this issue and the forum on "Corona A(e)ffects: Radical Affectivities of Dissent and Hope" around the concept of immaterial labor. Two full years into a pandemic that has uprooted place-based work for many, and forced even more indoors, away from public spaces, and onto screens, we reflect on the very material effects of present-day immaterial and emotional labor.

Coronavirus Pedagogy in the Zoomoscape

The COVID-19 pandemic emptied universities, colleges, and schools across the United States in March 2020, forcing instructors into an unavoidable culture in which a networked commercial technology mediated teaching and learning. In the tradition of critical pedagogy, this article argues that students and instructors alike engaged through the artificial lenses and screens of Zoom. The “pinhole intimacy” of the Zoomscape is assessed using conscientization, the concept offered by the Brazilian educator Paulo Freire, to describe most pedagogy as an oppressive apparatus that can be overcome with direct engagement between students and instructors. In such an opticentric context, the Zoomosphere’s intimacy is used to explore how the emancipation proposed by conscientization might be applied to the culture of pedagogy in a college with a diverse student population, including pedagogical interventions to address the challenges associated with teaching Division I athletes. The context of a large communication department at Boston College provides the empirical foundation for the exploration of coronavirus pedagogy.

Commodifying Tragedy

By focusing on the representation of violence against Native American women in Craig Johnson’s "The Cold Dish" and the television show "Longmire," this article demonstrates how these cultural productions perpetuate settler-colonial power relations. Although Longmire is one of the more progressive shows thanks to its development of Native American characters and storylines, the settler-colonial status quo is affirmed in four main ways. Not only do the novel and TV show redeploy the racist stock characters of the Magical Indian and the White Savior, but the TV show especially also reiterates a version of the stereotypical Vanishing American narrative inherited from the Western genre. Furthermore, both cultural productions heavily pathologize the Cheyenne community, depriving them of agency. Finally, the novel and show both transform pain, suffering, and grief into transferable commodities. This allows them to disinvest the pain and tragedy suffered by the Native American characters in order to reinvest this tragic potential in white characters, which serves to reinforce the white characters’ heroism. The commodification of tragic potential and emphasis on its sentimentalization help obscure the settler-colonial origins and systemic perpetuation of violence against Native American women. In sum, this analysis shows that the deeply ingrained and normalized settler-colonial ideology inherent to representational strategies limit the progressive potential of even the most benevolent and well-meaning white cultural productions.

Review of Another Aesthetics is Possible: Arts of Rebellion in the Fourth World War by Jennifer Ponce de León (Duke University Press)

In Another Aesthetics is Possible, Jennifer Ponce de León looks at recent aesthetic practices in Argentina, Mexico, and the United States that shift the commonsense of history, space, and violence in order to usher in an anticapitalist and anticolonial world. With an expansive archive and a method that combines interviews, journalism, and close formal readings of art–activist practices, Ponce de León demonstrates the importance of aesthetics—and of aesthetic criticism—for making another world possible.

Review of Reproductive Rights as Human Rights: Women of Color and the Fight for Reproductive Justice by Zakiya Luna (New York University Press)

Zakiya Luna’s rich study combines comprehensive discourse analysis of political rhetoric and archival documents with her own ethnographic experiences within the reproductive justice movement. This book is an entry point into this often-marginalized arena, presenting a unique perspective informed by years of participant observation and thorough research which has produced additional projects, attesting to Luna’s expertise in this field of study. As a woman of color, Luna’s work is symbolically significant, and her intersectional lens renders this study broadly applicable to scholars of law, sociology, and gender studies, to policymakers and activists, and, indeed, to all women, who the reproductive justice movement indirectly or directly impacts. In tracing the way that reproductive justice has been framed as a “human right,” Luna addresses the potential for the human rights discourse to deliver on its intrinsic promise to secure freedom and equity for all.