By Jacqueline Foertsch
This ebook explores the foremost cultural varieties of Nineteen Forties the USA - fiction and non-fiction; tune and radio; movie and theatre; severe and well known visible arts - and key texts, tendencies and figures, from local Son to Citizen Kane, from Hiroshima to HUAC, and from Dr Seuss to Bob desire. After discussing the dominant rules that tell the Forties the e-book culminates with a bankruptcy at the 'culture of war'. instead of splitting the last decade at 1945, Jacqueline Foertsch argues persuasively that the Nineteen Forties will be taken as a complete, looking for hyperlinks among wartime and postwar American tradition. Key positive aspects: * targeted case experiences that includes key texts, genres, writers, artists and cultural tendencies * precise chronology of Forties American tradition * Bibliographies for every bankruptcy * 20 black and white illustrations
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Extra info for American Culture in the 1940s (Twentieth-Century American Culture)
Often, events themselves seem almost compliant in the scheme – the stock market crash of 1929, the Korean War of 1950, the World Trade Center 2 American Culture in the 1940s bombing of 11 September 2001 – though more often, the periodisation of world events (and in this case the American cultural response to these) is a necessary crutch to faulty memories and small minds otherwise unable to comprehend the enormity and significance of it all. Hence the impulse to look back upon a decade such as ‘the 1940s’, with an eye towards the numerous historical cultural phenomena occurring just at the turn of the decade which, indeed, shaped fundamentally the experience of the next ten years.
16 Mumford considered both appeasers (Britain) and isolationists (the United States) to be ‘passive barbarians’ who ‘no less than the more active ones . . have produced fascism . . ’17 Fromm observed that modern life had given humans too much freedom – a sense of responsibility and aloneness that frightened the weak-minded: We have seen that man cannot endure this negative freedom; that he tries to escape into new bondage which is to be a substitute for the primary bonds which he has given up.
S. Foreign Policy’, lest anyone get hurt. In August 1941, Geisel depicted ‘The Appeaser’ perched on a small rock in a vast ocean, doling out lollipops to the ring of menacing dragon-like figures (again, marked by the swastika) surrounding him. The caption here is ‘Remember . . One More Lollypop and Then you All Go Home’. Said Geisel of his polemical prewar stance, ‘I believed the USA would go down the drain if we listened to the Americafirst-isms of Charles Lindbergh and Senators Wheeler and Nye.
American Culture in the 1940s (Twentieth-Century American Culture) by Jacqueline Foertsch