Berserk Style in American Culture by Kirby Farrell

By Kirby Farrell
More than a habit, the "berserk" cultural kind is terrifying, but additionally appealing in its promise of entry to notable assets by way of overthrowing inhibitions. Berserk sort has formed many components of up to date American tradition, from battle and fiscal considering to politics and intimate existence. targeting post-Vietnam the US and utilizing views from psychology, anthropology, and body structure, Farrell demonstrates the necessity for feedback to unpack the confusions in language and cultural fable that force the nation’s fascination with the berserk style.

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The berserk final ten months of World War II claimed as many lives as all the preceding years of carnage. ” To “go into a rage about fine points of belief” is to be in the grip of “life-or-death” greed for meaning—and for survival. The problem is not that berserk fury eliminates meaning, but that it condenses and fixates on it. The moral world shrinks. Amok, the rampage killer hates globally, absolutely, and without mercy. For the seething rampage 30 B e r s e r k S t y l e i n A m e r i c a n C u lt u r e killer injustice comes to tyrannize identity.

It could also be that in the tacit world of the Internet Harris was experimenting with threat display, testing limits and reactions. Around the ninth anniversary of the World Trade Center attacks American media created a global storm over Florida Pastor Terry Jones’s self-aggrandizing threat to burn copies of the Koran. Discounting its seriousness paradoxically gave it substance for hotheads around the world looking for a pretext for victimization and blazing rage—maximum threat display. At the same time media ignored reports that the military was prosecuting a few American soldiers who were allegedly killing Afghan civilians and taking body parts as trophies: classic amok atrocity turned into an apparently organized style.

Y’know, I wanted—They wanted a fucking hero, so I gave it to them. They wanted fucking body count, so I gave them body count. I hope they’re fucking happy. But they don’t have to live with it. I do” (83). The man feels he was out of control, icily indifferent—“I didn’t give a fuck anymore”—yet he “couldn’t get enough” and was also guided by what “they” wanted: by the values and feelings of his culture, by the demands of home no less than of his superiors. “They” are tacitly a voice in his head shaping his behavior.

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