By Jacqueline Foertsch
This e-book explores the foremost cultural kinds of Nineteen Forties the US - 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 ebook 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 might be taken as an entire, searching out hyperlinks among wartime and postwar American tradition
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Extra resources for American Culture in the 1940s
Example text
34 Even an individual’s psychic disorders were alleviated or postponed on the occasion of national emergency, as noted by sociologist Francis E. Merrill just after the war: citizens find it comparatively easy ‘to act together toward a goal’ and thus purge the attitudes which cause men to work at cross purposes. Under these conditions, the individual tends to be diverted from his own problems, whose unsuccessful solution in peacetime may disorganise him. 35 Yet Executive Order 8802 and the Fair Employment Practices Committee created by it came into being only when African American labour leader A.
Robert Oppenheimer, Edward Teller and Albert Einstein – were disturbed by the damage they had wrought and spent much of the remainder of their lives speaking in favour of internationalising atomic science and preventing its ever being used as a weapon again. 61 Smith quotes Project consultant I. I. Rabi: I would say that we are frankly pleased, terrified, and to an even greater extent embarrassed when we contemplate our wartime efforts. 62 Eventually adding to this sense of embarrassment, two other Project scientists with deep leftist sympathies, Klaus Fuchs and Theodore Hall, managed to internationalise atomic knowledge by turning Soviet informant during the bomb’s construction phase in the mid-1940s.
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.