By Jacqueline Foertsch
This e-book explores the foremost cultural types of Nineteen Forties the United States - fiction and non-fiction; song and radio; movie and theatre; critical and well known visible arts - and key texts, developments and figures, from local Son to Citizen Kane, from Hiroshima to HUAC, and from Dr Seuss to Bob wish. 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 could be taken as an entire, searching out hyperlinks among wartime and postwar American tradition
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Additional resources for American Culture in the 1940s
Having interviewed at length six survivors of the 6 August atomic bombing, Hersey related their stories in dispassionate prose, setting a vivid scene as he did. 77 The narrative follows six survivors – two doctors, two churchmen, a clerical worker, and a housewife selected by Hersey primarily for being ‘good interview subjects’78 – from the moment of the blast into the days and months of the early recovery period. Dr Fujii was enjoying a peaceful morning on the deck of his private hospital; Dr Sasaki walked along a hospital corridor, and Father Kleinsorge read the paper as he reclined in his underwear when the bomb struck.
20 Finally, ‘those who actively organise an anti-Nazi underground movement in Germany today would meet a speedy death if they failed to act and talk precisely like Nazis. ’21 In ‘Concentration Camps’, an essayreview published in Partisan Review in 1948, Arendt explored the jarring juxtaposition of unspeakable monstrousness and the indifferent bystander: ‘Without concentration camps, without the undefined fear they inspire and the very well-defined training they offer in totalitarian domination, .
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. Both thought it wrong that the United States and Great Britain shared atomic secrets while refusing to include their Soviet allies in the discussion.
American Culture in the 1940s by Jacqueline Foertsch