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By Bruce A. Mcconachie

To be had December 2003 during this groundbreaking examine, Bruce McConachie makes use of the first metaphor of containment—what occurs once we categorize a play, a tv convey, or something we view as having an inside of, an out of doors, and a boundary among the two—as the dominant metaphor of chilly conflict theatergoing. Drawing at the cognitive psychology and linguistics of George Lakoff and Mark Johnson, he offers strange entry to the ways that spectators within the chilly battle years projected themselves into degree figures that gave them excitement. McConachie reconstructs those cognitive strategies by way of hoping on scripts, set designs, reports, memoirs, and different facts. After developing his theoretical framework, he makes a speciality of 3 archtypal figures of containment major in chilly battle tradition, Empty Boys, family members Circles, and Fragmented Heroes. McConachie makes use of more than a few performs, musicals, and smooth dances from the dominant tradition of the chilly warfare to debate those figures, together with The Seven 12 months Itch, Cat on a scorching Tin Roof; The King and I,A Raisin within the solar, evening trip, and The Crucible. In an epilogue, he discusses the legacy of chilly battle theater from 1962 to 1992. unique and provocative, American Theater within the tradition of the chilly warfare illuminates the brain of the spectator within the context of chilly struggle tradition; it makes use of cognitive reports and media conception to maneuver clear of semiotics and psychoanalysis, forging a brand new method of analyzing theater heritage.

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Additional resources for American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (Studies Theatre Hist & Culture)

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Analyzing the scripts, reviews, and designs of rhetorically successful theatrical genres can lead the historian to an understanding of the major cognitive mechanisms in any period that generated theatrical entertainment. ” 38 The argument of this book is not that early cold war spectators always processed their theatrical involvement through metaphors of containment. An analysis of representative popular performances and their historical context, however, shows that containment and other primary metaphors of the period shaped significant interactions between the stage and most spectators during the 1947– 1962 period.

Barfield interviewed several radio listeners who complained that the picture of Jack Benny’s vault on television was a letdown from the one in their minds created by the clanging chains, squeaking doors, safety alarms, and echo effects on the radio. The Platonic inducements of radio listening were sometimes more fun than the rematerialized reality of TV. But listening to the radio, especially to musical programming, continued through the 1950s. Further, its ontological effects, which had massively shaped the generation of Americans that came into prominence and power during the early Cold War, put ongoing pressure on other media and on the cognitive structure of the dominant culture.

Nonetheless, radiophony altered even as it replicated past cultural practices. The news, music, and drama might have had the ring of familiarity on the new medium, but radio put these old formats in a new space, both more abstract and more intimate than any before it. As communications historian Richard Butsch notes, “[By 1940] no longer did the announcer enter the listener’s home. 51 This imaginary space might spark family conversations, but it could also facilitate personal, inward journeys into the dreamland of the unconscious.

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