This article was completed a few months prior to the global COVID-19 crisis.Īnalysis While many scholars dismiss contemporary forms of ruin gazing as. It was imperative to place the events in the framework of the benign narratives rather than to consider US support for authoritarian regimes across the Middle East for five decades.īackground Although the popularity of ruins has accompanied Western modernity in waves since the eighteenth century, the post-9/11 decade marks a notable resurgence of the imagery, aesthetics, and rhetoric of ruins, especially in American culture. ![]() At issue was the centrality of the US identity. Within days the ‘power to persuade’ had been used effectively to define the events, and in so doing to limit the scope of critical discussion, alternative explanations and understanding. To this end a series of conflations took place that facilitated the military response, ultimately encompassing Iraq. The semiotic struggle of mid-September 2001 saw Bush’s rhetoric and the use of the flag and photography privilege a certain interpretation over others. Various symbols, devices, rhetorical strategies and images were employed that soon obscured the broader meanings of September 11 and framed the US response within the benign narratives, the constructs of nationhood, and the images that would link that date to the road to war. ![]() Immediately after September 11, Washington and US culture more generally created the framework within which it responded to those crimes.
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