By Robert B. Reich
The Harvard political economist argues that american citizens needs to reconsider a few vital cultural myths and self-definitions if the U.S. is to continue its dominant function in the rising international economic climate.
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This learn seems at union responses to the alterations within the Latin American vehicle within the final 15 years. It considers the influence of the shift in the direction of export construction and local integration, and the impact of political alterations on union reponses.
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Extra info for Tales of a New America: The Anxious Liberal's Guide to the Future
Example text
Chapter 6 discusses a renowned text by Marguerite Duras, Hiroshima Mon Amour (1960), written and published at the height of the Algerian war. Drafted as a film script and rewritten a year later, this story of a love affair between a French woman and a Japanese man was an important literary and political event. This chapter describes how Hiroshima Mon Amour’s technique of foregrounding absences and silences conveys historical events and how it interacts with reality. Hiroshima Mon Amour introduces three political themes: the bombing of Hiroshima, the end of World War II in central France, and colonial exploitation.
While the argument that Flaubert revealed the inner contradiction of the genre of the novel might hold as convincing, the almost complete absence of a comparison of Flaubert, whose work foreshadows writing degree zero, and Camus, where the concept finds fuller flowering, weakens Barthes’s emphasis on the difference between the novel and writing degree zero. If Barthes wishes to give his concept the kind of validity which he imagines it has, he must differentiate it from other, seemingly similar, techniques.
Considering the title of the study and its clearly stated historicizing intention, writing degree zero gets very little space, a surprisingly brusque formal analysis, and the least specific treatment of its place in both History and a history of literature. Writing Degree Zero has a unique place in the evolution of literary theory. It uses both historicizing and structuralist terminology, and yet at this early date Barthes is not forced into taking sides or trying to find their common ground, as the incompatibility of the concepts of History and Structure, which would soon come to preoccupy French literary critics for more than a decade, has not yet fully emerged as a problem.