Word: europeanization
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Dates: during 1970-1979
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That not very funny Polish joke is even less of a laughing matter for Jerry Ford. It echoes his troubles among Polish Americans and other people of Eastern European descent who make up 10% or more of the population in such pivotal states as New York, New Jersey, Pennsylvania, Connecticut, Michigan, Illinois and Wisconsin. A loss of a relatively few ethnic votes in those battlegrounds could cost Ford dearly, and many of these voters were surprised and offended by his celebrated gaffe in the second debate with Jimmy Carter. "There is no Soviet domination of Eastern Europe," said the President...
Wounded Feelings. Ford obviously did not mean what he said. But his remark wounded the feelings of many Polish Americans and others of Eastern European extraction. The postwar immigrants in particular are bitter about the oppression of Communism, and they are inclined to regard their homelands with much the same fervor that American Jews feel for Israel. While people now living in Eastern Europe have generally made their accommodation with the regimes, the immigrants-and many first-and second-generation Americans - remain unalterably opposed to Communism and await, however forlornly, its overthrow...
Despite Ford's gaffe and Carter's extensive talk about the need for "morality" in U.S. foreign policy (a concern with which pragmatic Europeans have little patience) the race is widely viewed as a personality contest between two competent, but certainly not dazzling, politicians who scarcely differ in their approach to key issues. Most Western and Japanese political leaders are softly cheering for Ford. His main attraction: being a known quantity, v. the relatively unknown Jimmy Carter. West German Chancellor Helmut Schmidt makes it a point to note privately that Ford has "grown" into the presidency...
...welter of museum activity provoked by the Bicentennial seems to have produced only two shows likely to be of lasting value in the study of American culture. One was "The European Vision of America" (TIME, Dec. 12,1975), seen last winter at the National Gallery in Washington. The other-a collection of 153 paintings entitled "The Natural Paradise: Painting in America 1800-1950"-opened last week at New York's Museum of Modern Art. Organized by MOMA's painting curator Kynaston McShine, it sets out to expose a hidden thread in American art, the umbilical cord that connects...
Inevitably, the big 19th century landscapes furnish most of the drama of the show. Their medium is light, perceived in elaborately religious terms as the direct speech of God. Very little in 19th century European painting, except for J.M.W. Turner and John Martin, prepares us for the burst of patriarchal radiance that Ms Bierstadt's Sunset in the Yosemite Valley, 1868. The sun is hidden by a crag as though it were the unspeakable name of Yahweh. When Frederic Church painted Cotopaxi, 1862, he deliberately invoked the creation of the world-a panorama of sifting red light, boiling vapors...