Word: 1940s
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Dates: during 1970-1979
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...studying past movements, Degler's subject matter puts him at a disadvantage. While he may march through studies of Southern dissent predating the Nullification crisis of the 1830s and continuing until around 1900, he cannot take a census of the Other South. Like the "Southern liberals" in the 1940s and 50s, the majority of nineteenth century dissenting Southerners were silent and they had few spokesmen in the raging debates of their times. Those who left records of their views--writers, newspaper editors, business leaders or politicians--had some access to established channels of power. As such, they had some interest...
Hollywood was indeed, by the 1940s, consumed by a spirit not unlike the one which had so driven Gatsby: the golden dream of love and money. Though Gatsby's funeral was unattended, the devil of his opportunism rose as a phoenix in Hollywood, there to mainline his ambitions into the blood-stream of America, and to deposit his dreams in a substratum of the American mind...
...based his precise location on what seemed to be large stone walk-ways leading from the rivers, similar to those built by the Northmen in Iceland and Greenland. Those stones were pushed aside for highways in the 1940s and have never been dated. Perhaps this is a sinister plot to play with history perpetrated by a powerful Cambridge ethnic group, one that would rather celebrate Columbus...
Since the 1940s the United States has poured many millions of dollars into Russian and Chinese studies. Is this because our society had suddenly developed a passion for Tolstoi, Dostoevski and/or Ming vases? Or is it that we faced certain national needs in which the help of the universities was essential. If this is the meaning of political motivation, Afro-American studies undoubtedly fits the bill. At the same time, I would conclude that more political activity of this type would be highly desirable...
...their thinness and scarred surfaces, Giacometti's bronzes are not about anguish or loss, loneliness or the post-Hiroshima terrors. They are emotionally quite ineloquent. This may be one reason for their survival into a time when most of the angst-pushing European sculpture of the 1940s and '50s has vanished down the historical drain. In his obsession with the difficulty of seeing, Giacometti wished to get beyond style. He partially succeeded because - paradoxical as it may seem - he was culturally saturated, an artist of enormous erudition who boasted without much exaggeration of having visited the Louvre...