The debate and negotiation required to invoke it necessarily reduce the grievances and chauvinisms inolved in bilateral conflict.
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Isenberg reminds us that many of these chauvinisms were simply absorbed into the ethos of this new nation, expressed as a set of murky class prejudices.
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Yet it has also exacerbated deep chauvinisms without which the explosive success of Mr Trump's racist dog-whistling and the seething mood of his lily-white crowds cannot easily be explained.
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But if, in the 1980s, Hempel's compression registered as a kind of refusal or withdrawal, implicitly rejecting the longwinded chauvinisms of Updike and Roth, her economy today constitutes a form of resilience.
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J. D. Bourn considers his language to be "rather distasteful", while the academic Michael Denning observed that "Drummond is a bundle of chauvinisms, hating Jews, Germans, and most other foreigners".
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This is not to say that the Culture's motives are purely altruistic; a peaceful, enlightened universe full of good neighbours lacking ethnic, religious, and sexual chauvinisms is in the Culture's interest as well. Furthermore, the Culture's ideals, in many ways similar to those of the liberal perspective today, are to a much larger extent realised internally in comparison to the West.
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Throughout the Drummond stories, much of the language used by McNeile's characters relating to ethnic minorities or Jews is considered by the academic Joan DelFattore to be "intensely conservative by modern standards"; Green observes that while the characters of other contemporary writers, such as Agatha Christie, "exhibit the inevitable xenophobia and anti-semitism of the period, McNeile's go far beyond the 'polite' norms". J.D. Bourn considers his language to be "rather distasteful", while the academic Michael Denning observed that "Drummond is a bundle of chauvinisms, hating Jews, Germans, and most other foreigners". The author and publisher Ion Trewin comments that for the readers of the 1920s and '30s, McNeile was seen at the time as "simply an upstanding Tory who spoke for many of his countrymen".
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" The Houston Post ranked her "among the best SF writers, blessed with a mind capable of conceiving complicated futuristic situations that shed considerable light on our current affairs." Scholars, on the other hand, focus on Butler's choice to write from the point of view of marginal characters and communities and thus "expanded SF to reflect the experiences and expertise of the disenfranchised". While surveying Butler's novels, critic Burton Raffel noted how race and gender influence her writing: "I do not think any of these eight books could have been written by a man, as they most emphatically were not, nor, with the single exception of her first book, Pattern-Master (1976), are likely to have been written, as they most emphatically were, by anyone but an African American." Robert Crossley commended how Butler's "feminist aesthetic" works to expose sexual, racial, and cultural chauvinisms because it is "enriched by a historical consciousness that shapes the depiction of enslavement both in the real past and in imaginary pasts and futures.
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