American Culture in the 1940s (Twentieth-Century American by Jacqueline Foertsch

By Jacqueline Foertsch

This booklet explores the most important cultural different types of Forties the US - fiction and non-fiction; song and radio; movie and theatre; critical and renowned visible arts - and key texts, tendencies and figures, from local Son to Citizen Kane, from Hiroshima to HUAC, and from Dr Seuss to Bob wish. After discussing the dominant rules 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 will be taken as an entire, looking for hyperlinks among wartime and postwar American tradition. Key gains: * concentrated case stories that includes key texts, genres, writers, artists and cultural developments * specific chronology of Forties American tradition * Bibliographies for every bankruptcy * 20 black and white illustrations

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E. B. Du Bois also saw race and the war – as he saw so much of life – in incisive internationalist terms. In his autobiographical Dusk of Dawn (1940), Du Bois, already over seventy, though he would live to ninety-five, looked back on the events of his life as these intersected with momentous racerelated landmarks nationally and internationally. ’48 In his journalism, academic writing and social commentary, Du Bois compared the records of colonial oppression and racial discrimination of Americans to other democracies, such as Second World War allies Great Britain and France, and even to autocracies such as Russia and China.

In Color and Democracy (1945) Du Bois daringly identified democracy within the socialist system of Stalin’s Soviet Union and hoped it would not fall to capitalism in the post-war period, as many speculated it might. ’49 16 American Culture in the 1940s Yet another egregious exception to the pose of national unity during this period regarded the plight of Japanese Americans, who were prevented from demonstrating their patriotism (and gleaning rewards for this demonstration) by a hostile, paranoid white mainstream.

White’s detailed and persuasive A Rising Wind (1945) documented the frustrations of willing, well-trained black soldiers sent to Europe and North Africa on combat missions, only to find themselves demoted to the status of port battalions and quartermasters – charged with unloading ships, transporting equipment and personnel, and moving supplies – upon arrival at the front. White observes this institutional discrimination and records numerous incidents of black soldiers attacked by white counterparts for dancing with, or accepting invitations from, European women in the villages they occupied.

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