This dissertation examines how Latin American diplomacy helped shape U.S. officials’ response to revolutionary movements at the height of the Cold War. It explains the striking contrast between U.S. patronage of the Bolivian revolution and the profound antagonism with similar leftist nationalist movements in Cuba and Guatemala. Although U.S. policymakers worried that “Communists” were infiltrating the Bolivian Government, Bolivian diplomats convinced the Eisenhower administration to support their revolution. The dissertation demonstrates that even during the peak of McCarthyism, U.S. policymakers' vision extended far beyond Cold War dogmatism. This vision incorporated a subtle, if ultimately contradictory, appreciation of the power of nationalism, a wish to promote developmental liberalism, and a desire for hemispheric hegemony regardless of strategic and ideological competition with the Soviet Union. U.S. officials were eager to exploit the emerging force of third world nationalism and employ it to strengthen the “inter-American system.” The Bolivian revolutionaries presented their political project as copacetic to Washington’s wider regional goals, and thus managed to secure considerable freedom of movement to continue to pursue a radical revolutionary agenda and statist program of development, financed and enabled by hundreds of millions in U.S. aid dollars.

With the Second World War, the U.S. defense establishment attained a scale and permanence it never had before. The new strategic blueprint of the Cold War dictated constant readiness for military confrontation, but it was also clear that the country could not keep up wartime levels of total economic mobilization. Faced with the problem of managing this military behemoth, leaders in the defense bureaucracy looked to private industry for expertise to help them run the emerging national security state. The result was a remaking of defense administration in the image of the post-war corporation. This dissertation explains how and why reformers placed their faith in models of business enterprise, an approach that was neither self-evident nor readily accepted across the military leadership. In the decades after World War II, the reorganization of the defense bureaucracy around values of efficiency and productivity shaped U.S. military operations and affected millions of people around the world. In concrete terms, this dissertation tracks how managerial science changed the ways the military kept accounts, disciplined labor, trained officers, and handled government assets. Interest in improving military management exploded after 1950. In the realm of budgeting and finance, reformers set up transactions between units to imitate buyer-seller relationships, requiring officers to express their needs for supplies and labor in dollar terms. Drawing analogies between military and private industry, defense establishment reformers embraced methods like Taylorist work measurement, which they used to control work ranging from filing to the production of massive weapons systems. Borrowing directly from Harvard Business School’s Advanced Management Program, defense leaders established schools to train high-ranking military officers in the latest trends of business management. While these business-inspired reforms gained traction in many parts of the military bureaucracy, they were not accepted without controversy. After the Vietnam War, many military leaders questioned the dominance of “managerialism” and denounced it in favor of traditional concepts of command and leadership. By the 1970s, however, the language and values of management had become thoroughly embedded in the institutional structure of the military. I argue that the reorganization of the defense bureaucracy in the image of the profit-seeking firm changed the experience of work in the military, redefined what it meant to be an officer, and facilitated the privatization of many of the defense establishment’s functions. Further, I aim to show that understanding how the military governed and produced can reframe key historiographic debates about 20th century American political economy.

Focusing on transborder travel narratives by two German authors and one Polish author, “Cold War Crossings” investigates how their writing responds to the postwar demarcation of separate Eastern and Western spheres of influences. Central to each of their oeuvres is the topos of the border broadly conceived, from the material, ideological, and psychic boundaries of the Iron Curtain to the Saussurean bar of the linguistic sign. By presenting border-crossing as an act of both political and aesthetic transgression, these writers advance uniquely literary alternatives to the rigid geopolitical divisions of their age. This dissertation analyzes the way in which each author’s poetics of the border informs, among other things, their manipulation of narrative structure, their unique employment of figurative language, and their shared proclivity for intertextuality, all of which address and reorient different kinds of textual boundaries. In this way, it is a contribution to the ever-expanding field of border studies and other scholarly investigations of the discursive production of mental maps. At the same time, however, the dissertation argues by way of its three case studies for a closer examination of the formal elements of literary texts that often go overlooked in such analyses. Conceived as an interdisciplinary and comparative study, “Cold War Crossings” seeks to overstep barriers between national literatures as well as disciplines by combining cultural studies, literary criticism, and historical analysis. Furthermore, the dissertation’s joint study of German and Polish literatures also contributes to recent debates on Europe as it counteracts traditional Eurocentric approaches that disregard Eastern Europe.

This dissertation seeks to offer the first extensive account of Raymond Aron's critical interactions with major US academics and intellectuals during the Cold War. In doing so it demonstrates that Aron regularly criticized the liberal ideology of his American Cold War allies using language remarkably similar to his much more famous critiques of French Marxism. It demonstrates this by looking at Aron's thinking on neoliberalism, theories of global development and international relations realism. It also offers an alternative interpretation of Aron's role in the so-called French liberal revival of the 1970s.

Following the collapse of the Japanese Empire (1945) and the devastation of the Korean War (1950-1953), the question of how to represent and imagine “everyday life” or “way of life” (saenghwal, 生活) became a focal point of post-colonial and Cold War contestations. For example, President Syngman Rhee’s administration attempted to control the discourse of “New Life” (shinsaenghwal) by linking the spatio-temporality of the everyday to reconstruction and modernization. “Everyday life” was also a concept of strategic interest to the United States, whose postwar hegemonic ambitions in East Asia meant spreading “the truth” about an idealized vision of American way of life through government agencies such as the United States Information Service (USIS). These ideas and representations were designed to interpellate the South Korean people into a particular kind of regulatory relationship with their bodies and minds, their conduct of their day-to-day lives, their vision of themselves within the nation and the “Free World.” “Everyday life” became, in other words, part-and-parcel of Cold War governmentality’s mechanism of subjectification. Overly privileging these top-down discourses and techniques, however, can foreclose a nuanced understanding of a rich and complex set of negotiations over the meaning of saenghwal underway in both elite intellectual and popular imagination. Through my examination of literature, criticism, reportage, human-interest stories, government bulletins, philosophical essays, photography (artistic, popular, journalistic, archival, exhibition), cartoons, and educational and feature films, I characterize this period broadly in terms of “postwar crisis of modernity.” If “colonial modernity” in Korea had consisted of tensions and collaborations between colonialism, enlightenment, and modernization, then the emergent neocolonial order of the Cold War would give rise to a reconfiguration of this problematic: national division, South Korea’s semi-sovereignty vis-à-vis the U.S. and the denial of decolonization accompanied by the false promise of democratic freedom and American-style prosperity. Negotiations of this crisis can be found across urban and rural space, contesting the representation and dissemination of universalist and developmentalist “everyday life,” which was linked to the postwar restoration of the enlightenment subject. The stakes of these contestations through the framework of saenghwal could be ontological, aesthetic, economic, affective or universalist, and were articulated across popular and intellectual registers. While works of recent English-language scholarship in modern Korean history have productively explored the question of everyday life during the colonial period and in DPRK after liberation, no work thus far has examined the significance of the relationship between intermediality and saenghwal in the cultural field of ROK in the postwar 1950s. In addition to building on the current trend of scholarship that emphasizes the continuity between colonial and post-colonial cultural formations, my analysis of literature opens up future avenues of research for those interested in understanding literature’s intersection with modes of reportage, photography, and mass visuality. The chapter on the countryside draws from a diverse array of cultural productions to analyze a space that has traditionally been discussed within the limited geopolitical context of U.S. aid and development; no scholar to my knowledge has undertaken medium-specific inquiry to think through ontological and aesthetic negotiations unfolding in the countryside. My chapter on film culture reads the postwar debates around plagiarism/imitation, melodrama/sinp’a, and realism/neorealism through the gendering discourse of “everyday feelings” (saenghwal kamjŏng), and analyzes understudied films of the era with particular attention paid to their exploration of postwar sentiment. Finally, the last chapter intervenes on the wealth of existing scholarship on The Family of Man in visual studies by situating it within a broader formation of the postwar enlightenment subject as a democratic modernizing ideal. By focusing on the affective premise of this ideal, I contribute to the existing scholarship on theories of everyday life, sovereignty, and Cold War culture, which have tended to neglect the role of intermediation and affective interpellation in the governmentality of everyday life.

This dissertation offers a social history of death in post-World War II New York City and the ways in which social changes in the city shaped ideas about death, dying, and health among New Yorkers. During the period between 1946 and 1959, the city landscape would dramatically evolve as a result of new developments including changing disease patterns, increased prosperity, and anxiety over the unfolding Cold War. These changes were also instrumental in shaping how New Yorkers understood their mortality: death became an increasingly complex experience that could be interpreted and managed through advances in medical technology and individual efforts to stay healthy. Against the backdrop of the Cold War, health became an increasingly important arena to assert the power of the United States to the global world and death was designated as an unwanted outcome that was inevitable but not necessarily uncontrollable. Spurred on by the newfound significance given to the health of citizens, various actors such as the life insurance industry, cancer advocacy groups, and city health officials shifted the discourse on death by rejecting undue fatalism and highlighting human effort in preventing premature death. Drawing upon a wide array of archival sources that range from social service reports of terminal patients to annual reports of life insurance companies, this dissertation sheds light on how death became a complex conceptual construction that was commodified and modernized in the postwar period. The dissertation also explores the questions of social worth, namely whose lives mattered and whose deaths were concerning, and to whom these distinctions carried weight. The attempts to prolong the lives of individuals whose labor would contribute to society became a primary goal in post-WWII America, and these notions continue to shape contemporary public health debates in triaging the lives of people.

This dissertation explores how literary translators mediated cultural diplomacy between the U.S. and China during the Cold War period. Focusing on best-selling bilingual authors Lin Yutang, Eileen Chang, Hua-ling Nieh Engle, and Jade Snow Wong, I show how these “cold warriors” negotiated political boundaries, concepts, and agendas while they wrote and translated literary texts. Their works, usually divided into Asian vs. Asian American literature, are here productively read together as pawns in the same ideological struggle, even as they exceed the traditional bounds of Cold War periodization, polarized nation-states, and disciplinary canons. Together, they evince new forms of transnational cultural production that shaped policies of containment, propaganda, resistance, de-colonialism, and racialization. This project thus theorizes translation as its own process of ideology-formation, rather than overlooking it as a mere medium for communication. In the end, examining linguistic exchange in the Cold War redefines what we conceive of as Asian-American, by reconfiguring the outright ideological struggle between Democracy and Communism as an equivocal conflict in the space opened up by translation.

On May 9, 1950, President Truman declared that “all our international policies, taken together, form a program designed to strengthen and unite the free world.” My dissertation is the first history of the “free world,” a crucial concept that identified the object of U.S. leadership, drove the country to seek global preeminence, and shaped the American understanding of the Cold War. For much of the nineteenth century, American policymakers had envisioned a globe divided into a “new world” of freedom and an “old world” of tyranny. In 1917, Woodrow Wilson proposed a new global dichotomy, arguing for the creation of a trans-Atlantic coalition of democracies against aggressive autocracies whose very existence threatened the survival of freedom everywhere. A revised version of this logic prevailed during the Second World War. But it was only after the start of the Cold War in the late 1940s that American policymakers embraced the concept of an enduring and extra-hemispheric “free world.” Their efforts to lead, unite and strengthen this spatially defined “free world” prompted a massive expansion of American foreign policy and fundamentally transformed the country’s position in the international arena.

This thesis examines the use of design in the construction of Poland's national identity at the international exhibitions in the Cold War period. It is the first comprehensive study of Polish design discourse in any language that rests at the crossroads of design studies and cultural history. Based on original archival material, both written and visual, and oral interviews this thesis tracks the process of construction of Imagined Poland alongside the development of the design discipline during the three post-war decades. It charts the trajectory of these two narratives and examines their critical reception. In doing so this research casts new light on the relationship between design and political history in the Cold War Europe. However, it is not a thesis about designed objects or spaces per se, but rather about their discursive qualities and the way that they were put in work to narrate the nation. Versatile and embedded in the cultural, economic and social contexts, design understand here in its broadest sense proved to be well suited to this role: it allowed political authorities, trade representatives and creative intelligentsia to address timely issues on their agendas. This thesis closely examines eight exhibitions organised in the Soviet Union, Italy, Belgium and Poland. The narratives of these events, as the thesis argues, reflected the state's changing self-understanding towards international public opinion. It indicates that although Polish exhibitions were occasionally adjusted to the particular location, their themes were largely shaped in response to the political developments at home and in the Eastern Europe. By using exhibitions as a framework, this thesis offers a new perspective to study Polish international modernism and suggests a limited impact of ideology on the development of professional networks. Subsequently it provides a nuanced reading of Poland's relationship with the Soviet Union, the Eastern Bloc and the rest of Europe beyond reductive paradigm of totalitarianism.