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As garment workers, longshoremen, autoworkers, sharecroppers and clerks took to the streets, striking and organizing unions in the midst of the Depression, artists, writers and filmmakers joined the insurgent social movement by creating a cultural front. Disney cartoonists walked picket lines, and Billie Holiday sand 'Strange Fruit' at the left-wing cabaret, Café Society. Duke Ellington produced a radical musical, Jump for Joy, New York garment workers staged the legendary Broadway revue Pins and Needles, and Orson Welles and his Mercury players took their labor operas and anti-fascist Shakespeare to Hollywood and made Citizen Kane. A major reassessment of US cultural history, The Cultural Front is a vivid mural of this extraordinary upheaval which reshaped American culture in the twentieth century.
When Lenin asked, "Who will beat whom?" (Kto kogo?), he had no plan to wage revolutionary class war in culture. Many young Communists thought differently, however. Seeking in the name of the proletariat to wrest "cultural hegemony" from the intelligentsia, they turned culture into a battlefield in the 1920s. But was this, as Communist militants thought, a genuine class struggle between "proletarian" Communists and the "bourgeois" intelligentsia? Or was it, as the intelligentsia believed, an onslaught by the ruling Communist Party on the eternal principles of cultural autonomy and intellectual freedom? In this volume, one of the foremost historians of the Soviet Union chronicles the fierce battle on "the cultural front" from the October Revolution through the Stalinist 1930s. Sheila Fitzpatrick brings together ten of her essays—two previously unpublished and all revised for inclusion here—which illuminate key arenas of the prolonged struggle over cultural values and institutional control. Individual essays deal with such major issues as the Cultural Revolution, the formation of the new Stalinist elite, and socialist realism, as well as recounting colorful episodes including the uproar over Shostakovich's opera Lady Macbeth of the Mtsensk District, arguments over sexual mores, and the new consumerism of the 1930s. Closely examining the cultural elites and orthodoxies that developed under Stalin, Fitzpatrick offers a provocative reinterpretation of the struggle's final outcome in which the intelligentsia, despite its loss of autonomy and the debasement of its culture, emerged as a partial victor. The Cultural Front is essential reading for anyone interested in the formative history of the Soviet Union and the dynamic relationship between culture and politics.
Culture Front by Benjamin Nathans,Gabriella Safran Pdf
Bringing together contributions by historians and literary scholars, Culture Front explores how Jews and their Slavic neighbors produced and consumed imaginative representations of Jewish life in chronicles, plays, novels, poetry, memoirs, museums, and elsewhere.
How a group of artists and theorists turned to exhibition design as the only medium capable of synthesizing high and low in postwar culture. In 1950s London, a cadre of young artists, theorists, and popular culture aficionados known as the Independent Group (IG) came together for a series of pressing meetings. Their humble goal: to reimagine the structure of postwar culture by situating art in the midst of military-industrial technologies and pop pleasures. In this book, Kevin Lotery argues that the IG turned to the cross-disciplinary form of exhibition design as the only medium capable of getting the measure of these forces, the only technique that could integrate high and low, aesthetic and scientific, and redesign them in turn. At the heart of this story are the IG's most unruly members, including artists Richard Hamilton, Nigel Henderson, and Eduardo Paolozzi; architects Alison and Peter Smithson; and critics Lawrence Alloway and Reyner Banham. To these upstarts, art was no more privileged an activity than the streamlining of a helicopter blade or the screening of the latest cinema spectacle. In place of the old cultural hierarchies, they saw a continuum that Alloway termed “the long front of culture.” Only exhibition making could redirect this “long front” toward something genuinely, startlingly new. Lotery shows that the IG's exhibitions sought out temporary interfaces with technological invention and scientific research in a search for the form of the new itself. The IG exhibitions he examines drew on biological morphogenesis, anthropology and photography, human-machine prosthetics, American pop, abstraction, and theories of play. The IG is often described as the precursor to the pop art of the 1960s. Lotery shows that it was much more, as entangled with the histories of science, technology, and design as with the dialectics of modern art and mass culture
Popular Front Paris and the Poetics of Culture by Dudley Andrew,Steven Ungar Pdf
The authors highlight the new symbolic forces put in play by technologies of the illustrated press and the sound film - technologies that converged with efforts among writers, artists, and other intellectuals to respond to the crises of the decade.
This cultural history of the Japanese home front during the Asia-Pacific War challenges ideas of the period as one of unrelenting repression. Uchiyama demonstrates that 'carnival war' coexisted with the demands of total war to promote consumerist desire alongside sacrifice and fantasy alongside nightmare, helping mobilize the war effort.
We often picture life on the Canadian home front as a time of austerity, as a time when women went to work and men went to war. Graham Broad explodes this myth of home front sacrifice by bringing to light the contradictions of consumer society in wartime. Governments pressured Depression-weary citizens to save for the sake of the nation, but Canadians had money in their pockets, and advertisers tempted them with fresh groceries, glamorous movies, and new cars and appliances. Broad reveals that our "greatest generation" was not impervious to temptation but rather embarked on one of the biggest spending booms in our nation's history.
During the Second World War, as Canada struggled to provide its allies with food, public health officials warned that malnutrition could derail the war effort. Posters admonished Canadians to "Eat Right" because "Canada Needs You Strong" while cookbooks helped housewives become "housoldiers" through food rationing, menu substitutions, and household production. Ian Mosby explores the symbolic and material transformations that food and eating underwent as the Canadian state took unprecedented steps into the kitchens of the nation, changing the way women cooked, what their families ate, and how people thought about food. Canadians, in turn, rallied around food and nutrition to articulate new visions of citizenship for a new peacetime social order.
What is "cancel culture." A new phrase in popular circulation for less than two years, it has provoked passionate denunciations from observers concerned with civil liberties, especially rights of free speech and expression, and apologetic defenses from opponents who advocate equity and accountability in light of new mores. Still others deny that "cancel culture" exists at all, while many claim never to have heard of it. In Cancel Culture: Tales from the Front Lines, noted historian and critic Paul du Quenoy presents a series of case studies that reveal the new phenomenon known as "cancel culture" as experienced or claimed in media, academia, the arts, public space, and other areas of ideological controversy. More than a bald denunciation or frustrated description of an unfamiliar new concept, this groundbreaking approach seeks to understand "cancel culture" as a process - how it starts and stops, where it comes from and leads, and how and, indeed, whether it might one day end. This penetrating and highly original analysis sheds light on a society grappling feverishly with fundamental issues of freedom and liberty.
Continuing his exploration of popular American culture, Schroeder investigates how the front yard came to be, with its clipped lawns, shaped bushes, conventional flowers, noble shade trees, sidewalk frames, and other elements denoting respectability. He notes that it came into being between 1870 and 1890, and has persisted against the criticism, indeed the ridicule, of landscape designers, architects, urban planners, and other professionals and aesthetes. No index. Paper edition (unseen), $15.95. Annotation copyright by Book News, Inc., Portland, OR
The first study of the role of the newspaperwoman in American literary culture at the turn of the twentieth century, this book recaptures the imaginative exchange between real-life reporters like Nellie Bly and Ida B. Wells and fictional characters like Henrietta Stackpole, the lady-correspondent in Henry James's Portrait of a Lady. It chronicles the exploits of a neglected group of American women writers and uncovers an alternative reporter-novelist tradition that runs counter to the more familiar story of gritty realism generated in male-dominated newsrooms. Taking up actual newspaper accounts written by women, fictional portrayals of female journalists, and the work of reporters-turned-novelists such as Willa Cather and Djuna Barnes, Jean Marie Lutes finds in women's journalism a rich and complex source for modern American fiction. Female journalists, cast as both standard-bearers and scapegoats of an emergent mass culture, created fictions of themselves that far outlasted the fleeting news value of the stories they covered. Front-Page Girls revives the spectacular stories of now-forgotten newspaperwomen who were not afraid of becoming the news themselves—the defiant few who wrote for the city desks of mainstream newspapers and resisted the growing demand to fill women's columns with fashion news and household hints. It also examines, for the first time, how women's journalism shaped the path from news to novels for women writers.
National Academies of Sciences, Engineering, and Medicine,Division of Behavioral and Social Sciences and Education,Board on Science Education,Board on Behavioral, Cognitive, and Sensory Sciences,Committee on How People Learn II: The Science and Practice of Learning
Author : National Academies of Sciences, Engineering, and Medicine,Division of Behavioral and Social Sciences and Education,Board on Science Education,Board on Behavioral, Cognitive, and Sensory Sciences,Committee on How People Learn II: The Science and Practice of Learning Publisher : National Academies Press Page : 347 pages File Size : 43,8 Mb Release : 2018-09-27 Category : Education ISBN : 9780309459679
How People Learn II by National Academies of Sciences, Engineering, and Medicine,Division of Behavioral and Social Sciences and Education,Board on Science Education,Board on Behavioral, Cognitive, and Sensory Sciences,Committee on How People Learn II: The Science and Practice of Learning Pdf
There are many reasons to be curious about the way people learn, and the past several decades have seen an explosion of research that has important implications for individual learning, schooling, workforce training, and policy. In 2000, How People Learn: Brain, Mind, Experience, and School: Expanded Edition was published and its influence has been wide and deep. The report summarized insights on the nature of learning in school-aged children; described principles for the design of effective learning environments; and provided examples of how that could be implemented in the classroom. Since then, researchers have continued to investigate the nature of learning and have generated new findings related to the neurological processes involved in learning, individual and cultural variability related to learning, and educational technologies. In addition to expanding scientific understanding of the mechanisms of learning and how the brain adapts throughout the lifespan, there have been important discoveries about influences on learning, particularly sociocultural factors and the structure of learning environments. How People Learn II: Learners, Contexts, and Cultures provides a much-needed update incorporating insights gained from this research over the past decade. The book expands on the foundation laid out in the 2000 report and takes an in-depth look at the constellation of influences that affect individual learning. How People Learn II will become an indispensable resource to understand learning throughout the lifespan for educators of students and adults.
During the Second World War, American architecture was in a state of crisis. The rationing of building materials and restrictions on nonmilitary construction continued the privations that the profession had endured during the Great Depression. At the same time, the dramatic events of the 1930s and 1940s led many architects to believe that their profession--and society itself--would undergo a profound shift once the war ended, with private commissions giving way to centrally planned projects. The magazine Architectural Forum coined the term "194X" to encapsulate this wartime vision of postwar architecture and urbanism. In a major study of American architecture during World War II, Andrew M. Shanken focuses on the culture of anticipation that arose in this period, as out-of-work architects turned their energies from the built to the unbuilt, redefining themselves as planners and creating original designs to excite the public about postwar architecture. Shanken recasts the wartime era as a crucible for the intermingling of modernist architecture and consumer culture. Challenging the pervasive idea that corporate capitalism corrupted the idealism of modernist architecture in the postwar era, 194X shows instead that architecture's wartime partnership with corporate American was founded on shared anxieties and ideals. Business and architecture were brought together in innovative ways, as shown by Shanken's persuasive reading of magazine advertisements for Revere Copper and Brass, U.S. Gypsum, General Electric, and other companies that prominently featured the work of leading progressive architects, including Louis I. Kahn, Eero Saarinen, and Walter Gropius. Although the unexpected prosperity of the postwar era made the architecture of 194X obsolete before it could be built and led to its exclusion from the story of twentieth-century American architecture, Shanken makes clear that its anticipatory rhetoric and designs played a crucial role in the widespread acceptance
Defining Duty in the Civil War by J. Matthew Gallman Pdf
The Civil War thrust Americans onto unfamiliar terrain, as two competing societies mobilized for four years of bloody conflict. Concerned Northerners turned to the print media for guidance on how to be good citizens in a war that hit close to home but was fought hundreds of miles away. They read novels, short stories, poems, songs, editorials, and newspaper stories. They laughed at cartoons and satirical essays. Their spirits were stirred in response to recruiting broadsides and patriotic envelopes. This massive cultural outpouring offered a path for ordinary Americans casting around for direction. Examining the breadth of Northern popular culture, J. Matthew Gallman offers a dramatic reconsideration of how the Union's civilians understood the meaning of duty and citizenship in wartime. Although a huge percentage of military-aged men served in the Union army, a larger group chose to stay home, even while they supported the war. This pathbreaking study investigates how men and women, both white and black, understood their roles in the People's Conflict. Wartime culture created humorous and angry stereotypes ridiculing the nation's cowards, crooks, and fools, while wrestling with the challenges faced by ordinary Americans. Gallman shows how thousands of authors, artists, and readers together created a new set of rules for navigating life in a nation at war.
Religion and the Culture Wars by John Clifford Green Pdf
As the 20th Century draws to a close, cultural conflict plays an increasingly dominant role in American politics, with religion acting as a catalyst in the often bitter confrontations ranging from abortion to public education. These insightful essays by leading scholars in the field examine the role of religion in these 'culture wars' and present a mixed assessment of the scope and divisiveness of such conflicts.