By Jacqueline Foertsch
This ebook explores the main cultural varieties of Nineteen Forties the USA - fiction and non-fiction; track and radio; movie and theatre; critical and well known visible arts - and key texts, traits and figures, from local Son to Citizen Kane, from Hiroshima to HUAC, and from Dr Seuss to Bob desire. After discussing the dominant principles 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 Forties might be taken as an entire, searching out hyperlinks among wartime and postwar American tradition. Key positive aspects: * centred case reports that includes key texts, genres, writers, artists and cultural developments * exact chronology of Nineteen Forties American tradition * Bibliographies for every bankruptcy * 20 black and white illustrations
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Additional resources for American Culture in the 1940s (Twentieth-Century American Culture)
Pells observes that ‘Truman may well have triumphed because the electorate perceived him as the most conservative of the candidates . . ’53 Pells notes that Truman’s ‘Fair Deal’ programme, launched in 1949 and again probably inspired by the persuasive arguments of social activists such as White and Du Bois, was stalemated in Congress for seeming to threaten these ‘economic gains’, however unequally distributed they continued to be. 54 We might say that, following four years of unified total action, the nation was thrust back into modes of opinion, dissent, and debate as the war ended with the dropping of the atom bomb on Hiroshima on 6 August 1945, and on Nagasaki three days later (see the following case study).
Historian Richard H. Minear observes that Geisel drew for PM throughout 1941 and 1942; in the first eleven months of 1941, Geisel attacked isolationism per se; once the United States entered the war, he criticised the isolationist offshoots of complacency, over-optimism, and self-interest, all of which hampered maximum war effort. His cartoon images anticipate clearly the beaked, hunched, generically indeterminate creatures that for children and for adult readers have always rested provocatively on the threshold between the endearing and the grotesque.
Physicist and ‘father of the atom bomb’, J. Robert Oppenheimer, who directed bomb production in Los Alamos, New Mexico (known by its code name as The Manhattan Project), argued against attempting a demonstration on uninhabited land, because to foil the plans, the Japanese had only to move American prisoners of war to the site. Secretary of War, Henry L. 59 Finally, a dud would have been primarily very embarrassing, and United States leaders were as intent to save face as they constantly accused their Japanese counterparts of being.
American Culture in the 1940s (Twentieth-Century American Culture) by Jacqueline Foertsch