20th Century American

There was a consensus among liberals in the 1950s that race/national origins-based admissions policies had to go, but they faced powerfully entrenched congressmen and lukewarm public opinion. The legislation that emerges in the 1960s was one based upon the contributions of the prospective immigrant, rather than the country of birth.  In other words, merit would replace class and family reunification would replace race.  The political incentives for Democrats were found in the foreign stock voters who disproportionately supported them, completing the third element – power. Just as the accomplishments of immigrants and successes of their children were directly challenging old notions of selectivity and racial superiority, the electoral clout of naturalized immigrants and their children was beginning to alter the political landscape.

Greek-American identity, as it was conceptualized during the first quarter of the twentieth century, was not simply a reiteration of Greek nationalist discourse but rather the result of a long process inevitably bound to socio-political and cultural currents on both sides of the Atlantic as well as the social status of Greeks in the United States. While the Greek state had attempted to cultivate a pan-Hellenic identity among immigrants, not necessarily different from the ideological orientation of the Greek state, it was only after World War I that a Greek American ideology, and consequently a particular identity, was successfully framed. This identity, however, was a construction along the lines of American nationalism that was mainly supposed to serve as a bulwark against the xenophobic and racist climate prevalent in the United States during this period.

This essay is an effort to come to terms with a literature born of deep trauma. In my view, electric shock therapy (also known as ECT, or electro-convulsive therapy) had a fundamental role in Sylvia Plath's life as it effected her personally, when such material became not only the theme of her work but its very expression. The truth of what happened to her mind, and her response and attitude showed a phenomenal capacity to confront her total devastation which has only been partly understood. Through this barbaric intrusion into her mind and through the strictures and mesh of great art she forced a universal truth. It is her gift of language and her powers of naming in the face of desolation and indifference that have augmented her reputation: This is the city where men are mended.

My essay is about the Jazz Age, I’m currently studying Artistic Studies and doing a minor in
Modern Language thus the reason I picked this topic is to correlate my artistic educational
background with American Century history. My main goal in this work is to analyze the History
of Jazz age in the 20th century and its future influence in our contemporary world. Ill focus and try
to summarize “The Jazz Age”1 a term conceptualized by novelist F. Scott Fitzgerald.

Bertellini traces the origins of American cinema's century-long fascination with Italy and Italian immigrants to the popularity of the pre-photographic aesthetic—the picturesque. Once associated with landscape painting in northern Europe, the picturesque came to symbolize Mediterranean Europe through comforting views of distant landscapes and exotic characters. Taking its cue from a picturesque stage backdrop from The Godfather Part II, Italy in Early American Cinema shows how this aesthetic was transferred from 19th-century American painters to early 20th-century American filmmakers. Italy in Early American Cinema offers readings of early films that pay close attention to how landscape representations that were related to narrative settings and filmmaking locations conveyed distinct ideas about racial difference and national destiny.

Academic histories have focused on urban centers, overshadowing neighboring towns and agricultural areas as if they didn't matter. The formal archives that house the records of (white) leaders obscure the experiences and perspectives of migrant workers, communities of color, and others in places such as Southern California's Inland Empire, which are important to arriving at a fuller historical understanding. The author identifies as "Rebel Archives" sources created by those overlooked by mainstream accounts, including family photo albums, school records, popular media, oral histories, and "counter-mapping." Analysis of such diverse sources can reveal patterns that cause us to ask questions and rethink history. The article concludes with several noteworthy projects of "subversive history" that are uncovering an enriched history of the Inland Empire.

Jackson Pollock was famously reluctant to explain or interpret his work, yet there are a few writings and interviews in which he made an effort to discuss his intentions. In one of them, he describes his unusual pouring technique as “a means of arriving at a statement,” although he does not explain what it says, or what it means.  In spite of Pollock's aversion to talking about his work, interpretive clues can be found in his surviving written and oral statements. There is, however, some dispute about which of them are his alone, and which were scripted, or at least polished, by others. My paper is an effort to identify Pollock’s authentic voice, and to use his own words as tools to decipher what he thought was the meaning of his abstract imagery.

Minimalism as a cultural practice, analyzed in terms of Raymond Williams's concept of broadcast "flow" in television. Detailed consideration of temporal isomorphisms between 1970s television (as analyzed by contemporary critics and video artists) and the practice of musical minimalism. Also considers the rise of "post-modern" television practices (remote controls, zapping, MTV) in relation to post-minimalist musical styles. Works discussed include Philip Glass, /Koyaaniqatsi?; John Adams, /Chamber Symphony/.

European émigré fascist network with direct ties to former Nazi collaborators has penetrated the Republican Party through its ethnic outreach program. In this updated information the new National Socialism has a different dream than it had in the Second World War. Having new alliances and assistance (sometimes among the Mafias or Mafia like organizations) the messaging has changed. But, the end results remain the same to create the ethnocentric state. Paul Jackson Senior Lecturer in History, University of Northampton examines this change in an open access article. For more on national discourse analysis and the evolving nature of extremist ideology, crime, and Mafia like organizations view my profile and series Donald J. Trump An American Dilemma.

During World War II, the U.S. government, through the Writers’ War Board (WWB), co-opted comic books as an essential means of disseminating race-based propaganda to adult Americans, including members of the armed forces. Working with comic creators, the WWB crafted narratives supporting two seemingly incompatible wartime policies: racializing America’s enemies as a justification for total war and simultaneously emphasizing the need for racial tolerance within American society. Initially, anti-German and anti-Japanese narratives depicted those enemies as racially defective but eminently beatable opponents. By late 1944, however, WWB members demanded increasingly vicious comic-book depictions of America’s opponents, portraying them as irredeemably violent. Still, the Board embraced racial and ethnic unity at home as essential to victory, promoting the contributions of Chinese, Jewish, and African Americans.

The new designs for the US Paper Money between 1914 and 1918: Federal Reserve Notes and Federal Reserve Bank Notes during the Word War I. Contents:
BEFORE THE FED, THE FED, THE NEW NOTES, 12 BANK SEALS, THE NEW TRADITION, 2 TREASURY SEALS, DATES, FIVE-DOLLAR BILL, TEN-DOLLAR BILL, TWENTY-DOLLAR BILL, FIFTY-DOLLAR BILL, ONE HUNDRED-DOLLAR BILL, ONE-DOLLAR BILL, TWO-DOLLAR BILL, $500 BILL, $1,000 BILL, $5,000 BILL, $10,000 BILL, 4 AUTHORIZATIONS ON THE “FED” PAPER MONEY (1914-1918), FINAL WORDS.

An analysis on alternate histories/realities in five novels by Dick, i.e. The Cosmic Puppets, Time Out of Joint, The Man in the High Castle, The Simulacra and The Penultimate Truth, aiming at enhancing Carlo Pagetti's critical approach based on the interplay of three texts co-existing in the same novel.

This article studies bisexuality in terms of sexual instrumentality, instead of sexual orientation. In Silko's Almanac of the Dead, David's sexuality is not marked by a hetero timeline hinged on marriage, a homo timeline initiated by the “coming out” moment or a bi timeline validated by sexual experiences with both genders. Instead, David's paternal aspiration and his financial need govern his opposite-sex relationship with Seese and his same-sex relationship with Beaufrey. In this bisexual triangle, David's sexual instrumentality ultimately generates an epistemology of bisexuality with regard to time, paternity and prostitution. Reconfiguring bisexuality from a matter of sexual attraction to both genders to a desire for things that particular sexual objects can offer to the subject, this article, on account of filiation and finance, deconstructs the discourse of sexual orientation.

L’article a pour sujet la personnalité extraordinaire du kabbaliste le Rabbin Levi Isaac Krakovsky (1891–1966), un des étudiants oubliés du Rabbin Yehuda Leib Ashlag (1885–1955). Krakovsky diffusait l’enseignement de son maître en Amérique en anglais, écrivait des douzaines de livres et essayait d’établir des yeshivot de Kabbalistes. Contrairement à son maître, il présentait un enseignement exotérique et une vision de diffusion de la Kabbale dans le monde entier. Son influence était minime, mais un de ses élèves était Shraga Philip Berg qui continuait son chemin et le complétait de plusieurs points de vue. L’article se base sur de riches matières archivales, parmi lesquelles de longues essays de l’auteur en manuscrit qui sont décrits ici pour la premiere fois. D’une telle façon, nous décrivons le dévelopment de la Kabbale en Amérique du début du vingtième siècle jusqu’ aujourd’hui.

L’article a pour sujet la personnalité extraordinaire du kabbaliste le Rabbin Levi Isaac Krakovsky (1891–1966), un des étudiants oubliés du Rabbin Yehuda Leib Ashlag (1885–1955). Krakovsky diffusait l’enseignement de son maître en Amérique en anglais, écrivait des douzaines de livres et essayait d’établir des yeshivot de Kabbalistes. Contrairement à son maître, il présentait un enseignement exotérique et une vision de diffusion de la Kabbale dans le monde entier. Son influence était minime, mais un de ses élèves était Shraga Philip Berg qui continuait son chemin et le complétait de plusieurs points de vue. L’article se base sur de riches matières archivales, parmi lesquelles de longues essays de l’auteur en manuscrit qui sont décrits ici pour la premiere fois. D’une telle façon, nous décrivons le dévelopment de la Kabbale en Amérique du début du vingtième siècle jusqu’ aujourd’hui.

L’article a pour sujet la personnalité extraordinaire du kabbaliste le Rabbin Levi Isaac Krakovsky (1891–1966), un des étudiants oubliés du Rabbin Yehuda Leib Ashlag (1885–1955). Krakovsky diffusait l’enseignement de son maître en Amérique en anglais, écrivait des douzaines de livres et essayait d’établir des yeshivot de Kabbalistes. Contrairement à son maître, il présentait un enseignement exotérique et une vision de diffusion de la Kabbale dans le monde entier. Son influence était minime, mais un de ses élèves était Shraga Philip Berg qui continuait son chemin et le complétait de plusieurs points de vue. L’article se base sur de riches matières archivales, parmi lesquelles de longues essays de l’auteur en manuscrit qui sont décrits ici pour la premiere fois. D’une telle façon, nous décrivons le dévelopment de la Kabbale en Amérique du début du vingtième siècle jusqu’ aujourd’hui.

This essay examines relationships between men and the role patriarchal capitalism plays in the construction of sexuality in F. Scott Fitzgerald's The Great Gatsby(1925), a novel written during a critical period in the history of sexuality, as well as of gay and lesbian history. The ambivalence about male bonds—in particular the simultaneously loving and abusive dynamics of mentoring—depicted in this canonical work of American literature reveals the author's unease about his relationship with Catholic priest and teacher Sigourney Fay and provides insight into the author's well-known lifelong anxiety about his gender and sexuality.

Herlihy-Mera situates his argument within an apposite research framework from psychological studies on migration, anthropological examinations of cultural ceremony, and literary theory on the poetics of displacement. The analysis offers groundbreaking insights on the distribution of previously overlooked structural patterns (themes, motifs, and symbols) that are present throughout Hemingway’s novelistic corpus, and provides a compelling perspective on the aesthetics of the expatriate/immigrant writing process.

http://www.amazon.com/Paris-Paname-Hemingways-Expatriate-Nationalism/dp/9042034092"

This dissertation considers the first half of the life and times of Christopher Lasch. A leading historian, social critic, social theorist, and intellectual of the middle and late twentieth century, Lasch published widely, and for an eager public. His essays and books demonstrated the great potential of wedding history with social criticism, of diagnosing at
their broadest levels the social maladies afflicting America during the Cold War era. As this dissertation argues, Lasch's trenchant writings, occasionally coupled with radical prescriptions for his country, remain widely read and relevant today, to the point where they have become staples in the modern cultural canon.

The critical locus of this essay explores a binding element in all expatriate and immigrant literatures -the national displacement of the protagonist- in order to elucidate the manner in which ethic, linguistic, and social otherness affect the bilateral exchanges between immigrant and national (as well as immigrant-immigrant). Much of Chicano writing deals with the linguistic, societal, and cultural challenges of residing outside Latin America, and in The House on Mango Street (1984) by Sandra Cisneros, several significant thematic components relate to complications that derive from the characters’ distance from national origins1. My critical approach will consider contemporary psychological studies of immigrants as a measure of the action of the three principal groups of characters in the text: Latin American adults, Latin American adolescents, and Anglo Americans. A focus on the relationship that the Latin Americans have with their social context endeavors to elucidate how expatriation and distance from homeland - or status as a national - affects the character action in one of Cisneros’s most illuminative works.

Research Question: Discuss how women's role (e.g. as a mother, worker, wife etc.) in the society has changed throughout the last century (the 20th century). Choose a specific society to give examples. Since the beginning of human history, the differences in duty between men and women have been underlined. These duties differ from the rules of religion and law, traditions and the pressure of society. The main reason for these differences in the task is that women have different biological and psychological structure than men. Because of these different structures, men believe that women are more gentle and emotional and cannot make logical decisions. Therefore, it is believed that the woman should serve and listen to the woman's husband because of the duties imposed on him by society and religious rules. Because of all these beliefs and thoughts, women have been forced to remain in the background in society. The roles of women in society have changed until recently, and as a result of the necessity of life and defending the rights of women, the roles of women in society have become similar to those of men. In the twentieth century, American women changed their roles in society by participating in business life and gaining gender mainstreaming. Still continuing today, one of the main reasons for the problem of women staying in the background in the society and in the business life is the way boys and girls are raised. From the moment

This essay focuses on probing the complexities of Dostoevsky’s influence on Nabokov through the consideration of female characters in Laughter in the Dark and Lolita. The discussion centers on the development of characters and on the issue of the apotheosis of the Russian woman, which Nabokov inherits from Dostoevsky, as both are members of the ‘lesser tradition’ in Russian literature. Through the discussion of key concepts such as poshlost and the figure of pravednisa, the essay articulates the main intertextual similarities and differences between the writers, positing that Nabokov developed the stock female characters through adding dimensionality through them and giving them status as people in their own right, something that Dostoevsky did not aspire to in his Notes from the Underground and Crime and Punishment, despite his focus on morality. The discussion is focused mainly on mothers and children by way of exploring the central issue of cancelled children and mothers in both Laughter in the Dark and Lolita. I argue that despite Nabokov’s protestations against his precursor, Dostoevsky had a tangible impact on his works that informed the former’s portrayal of his heroines. Nabokov took the tradition further, however, by transporting and transplanting these figures into an American milieu, which imbues the notion of poshlost and the pravednitsa figure with new meanings, as the women have the possibility to encounter American consumerism of the mid-20th century.

Governments can be quick to regulate emerging technology, but slower at utilizing it for their own benefit. Such was the case with radio broadcasting in the early 20th century in the United States.

The earliest federal government stations intended to reach a domestic public audience were destined to be limited to those providing time signals and weather reports.

By the early 1920's, there had been discussions in the United State government for the government to beam shortwave transmissions to general audiences in Latin America. But direct government operations would not actually occur until World War II.

Cet ouvrage s’intéresse à trois romans – A la recherche du temps perdu de Marcel Proust, Die Schlafwandler (Les Somnambules) de Hermann Broch et U.S.A. de John Dos Passos – très marqués par la présence de théorie, au point qu’ils ont semblé remettre en question « l’équilibre traditionnel de la forme romanesque », alors qu’il est possible de démontrer, au contraire, la nature fictionnelle de passages généralement considérés comme « de l’essai » (ou « de la philosophie ») par les critiques.L’ouvrage envisage tout d’abord les raisons de cette assimilation, par une comparaison entre des essais publiés dans les domaines allemand, américain et français au cours des années 1910-1930 et les passages essayistiques des trois romans, pour conclure que les points de convergence ne permettent pas de considérer que ces passages théoriques relèvent d’un genre différent de celui de l’œuvre qui les accueille. Cet ouvrage propose alors de voir les séquences essayistiques comme des essais fictionnels, dont la fictionalité est mise en lumière par un examen des lois, de l’interaction entre passages diégétiques et essayistiques, des exemples empruntés à la diégèse par les séquences essayistiques, ou encore par la mise au jour d’une instance unique et fictionnelle prenant en charge récit fictionnel et discours essayistique. S’éclairent alors les enjeux de l’essai fictionnel, qui apparaît nécessaire, dans A la recherche du temps perdu, Die Schlafwandler (Les Somnambules) et U.S.A., en raison de son rapport à la modernité et à l’époque, de son mouvement vers la totalisation et de sa faculté à approcher la connaissance, par sa nature fictionnelle même.

The new designs for the US Paper Money between 1914 and 1918: Federal Reserve Notes and Federal Reserve Bank Notes during the Word War I. Contents:
BEFORE THE FED, THE FED, THE NEW NOTES, 12 BANK SEALS, THE NEW TRADITION, 2 TREASURY SEALS, DATES, FIVE-DOLLAR BILL, TEN-DOLLAR BILL, TWENTY-DOLLAR BILL, FIFTY-DOLLAR BILL, ONE HUNDRED-DOLLAR BILL, ONE-DOLLAR BILL, TWO-DOLLAR BILL, $500 BILL, $1,000 BILL, $5,000 BILL, $10,000 BILL, 4 AUTHORIZATIONS ON THE “FED” PAPER MONEY (1914-1918), FINAL WORDS.