Search results for ""Author William V. Spanos""

Like so many soldiers of his generation, William V. Spanos was not much more than a boy when he went off to fight in World War II. In the chaos of his first battle, what would later become legendary as the Battle of the Bulge, he was separated from his antitank gun crew and taken prisoner in the Ardennes forest. Along with a procession of other prisoners of war, he was marched and conveyed by freight train to Dresden. Surviving the brutal conditions of the labor camps and the Allies’ devastating firebombing of the city, he escaped as the losing German army retreated. For Spanos, this was never a “war story.” It was the singular, irreducible, unnameable, dreadful experience of war. In the face of the American myth of the greatest generation, this renowned literary scholar looks back at that time and crafts a dissident, dissonant remembrance of the “just war.” Retrieving the singularity of the experience of war from the grip of official American cultural memory, Spanos recaptures something of the boy’s life that he lost. His book is an attempt to rescue some semblance of his awakened being—and that of the multitude of young men who fought—from the oblivion to which they have been relegated under the banalizing memorialization of the “sacrifices of our greatest generation.”

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With the untimely death of Edward W. Said in 2003, various academic and public intellectuals worldwide have begun to reassess the writings of this powerful oppositional intellectual. Figures on the neoconservative right have already begun to discredit Said’s work as that of a subversive intent on slandering America’s benign global image and undermining its global authority. On the left, a significant number of oppositional intellectuals are eager to counter this neoconservative vilification, proffering a Said who, in marked opposition to the “anti-humanism” of the great poststructuralist thinkers who were his contemporaries--Jacques Derrida, Jean-Francois Lyotard, Jacques Lacan, Louis Althusser, and Michel Foucault--reaffirms humanism and thus rejects poststructuralist theory.In this provocative assessment of Edward Said’s lifework, William V. Spanos argues that Said’s lifelong anti-imperialist project is actually a fulfillment of the revolutionary possibilities of poststructuralist theory. Spanos examines Said, his legacy, and the various texts he wrote--including Orientalism,Culture and Imperialism, and Humanism and Democratic Criticism--that are now being considered for their lasting political impact.

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In The Errant Art of Moby-Dick, one of America’s most distinguished critics reexamines Melville’s monumental novel and turns the occasion into a meditation on the history and implications of canon formation. In Moby-Dick—a work virtually ignored and discredited at the time of its publication—William V. Spanos uncovers a text remarkably suited as a foundation for a "New Americanist" critique of the ideology based on Puritan origins that was codified in the canon established by "Old Americanist" critics from F. O. Matthiessen to Lionel Trilling. But Spanos also shows, with the novel still as his focus, the limitations of this "New Americanist" discourse and its failure to escape the totalizing imperial perspective it finds in its predecessor.Combining Heideggerian ontology with a sociopolitical perspective derived primarily from Foucault, the reading of Moby-Dick that forms the center of this book demonstrates that the traditional identification of Melville’s novel as a "romance" renders it complicitous in the discourse of the Cold War. At the same time, Spanos shows how New Americanist criticism overlooks the degree to which Moby-Dick anticipates not only America’s self-representation as the savior of the world against communism, but also the emergent postmodern and anti-imperial discourse deployed against such an image. Spanos’s critique reveals the extraordinary relevance of Melville’s novel as a post-Cold War text, foreshadowing not only the self-destructive end of the historical formation of the American cultural identity in the genocidal assault on Vietnam, but also the reactionary labeling of the current era as "the end of history."This provocative and challenging study presents not only a new view of the development of literary history in the United States, but a devastating critique of the genealogy of ideology in the American cultural establishment.

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This study of imperialism stretches from ancient Rome to the post-Cold War world has the Vietnam War at its centre. It examines the language of expansion in Western philosophical discourse and its role in the violence of imperialism.'

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Redeemer Nation in the Interregnum interrogates the polyvalent role that American exceptionalism continues to play after 9/11. Whereas American exceptionalism is often construed as a discredited Cold War–era belief structure, Spanos persuasively demonstrates how it operationalizes an apparatus of biopolitical capture that saturates the American body politic down to its capillaries. The exceptionalism that Redeemer Nation in the Interregnum renders starkly visible is not a corrigible ideological screen. It is a deeply structured ethos that functions simultaneously on ontological, moral, economic, racial, gendered, and political registers as the American Calling. Precisely by refusing to answer the American Calling, by rendering inoperative (in Agamben’s sense) its covenantal summons, Spanos enables us to imagine an alternative America. At once timely and personal, Spanos’s meditation acknowledges the priority of being. He emphasizes the dignity not simply of humanity but of all phenomena on the continuum of being, “the groundless ground of any political formation that would claim the name of democracy.”

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Redeemer Nation in the Interregnum interrogates the polyvalent role that American exceptionalism continues to play after 9/11. Whereas American exceptionalism is often construed as a discredited Cold War–era belief structure, Spanos persuasively demonstrates how it operationalizes an apparatus of biopolitical capture that saturates the American body politic down to its capillaries. The exceptionalism that Redeemer Nation in the Interregnum renders starkly visible is not a corrigible ideological screen. It is a deeply structured ethos that functions simultaneously on ontological, moral, economic, racial, gendered, and political registers as the American Calling. Precisely by refusing to answer the American Calling, by rendering inoperative (in Agamben’s sense) its covenantal summons, Spanos enables us to imagine an alternative America. At once timely and personal, Spanos’s meditation acknowledges the priority of being. He emphasizes the dignity not simply of humanity but of all phenomena on the continuum of being, “the groundless ground of any political formation that would claim the name of democracy.”

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