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1
Bashilov, V. A., and V. I. Gulyaev. "A Bibliography of Soviet Studies of the Ancient Cultures of Latin America." Latin American Antiquity 1, no. 1 (1990): 5–22. http://dx.doi.org/10.2307/971707.
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The study in the Union of Soviet Socialist Republics of the earliest history of native Latin Americans falls into two distinct periods. The first, associated with an interest in the ancient Mexican and Peruvian civilizations, can be divided into two stages: the 1920s to the early 1940s, when Soviet scholars first acquainted themselves with antiquities from the region and used them for historical parallels; and the late 1940s and early 1950s, when Soviet historians turned to an analysis of Latin American materials. The second period went through three stages: the first, from the early 1950s to the early 1960s, mainly was dominated by Yury Knorozov, who was engaged in deciphering the language of the Maya, and Rostislav Kinzhalov, who studied their art and culture. During the second stage, the early 1960s to the mid-1970s, more scholars and research institutions undertook studies of the early cultures of Latin America. The thematic range became wider as well, covering—besides Mesoamerica and the central Andean region—the Intermediate region and the Caribbean. The third stage, which started in the late 1970s and continues to the present day, witnesses ethnographers and archaeologists pooling their efforts in studying the region. There were several conferences in which specialists engaged in various fields of Latin American studies participated. Their contacts with foreign colleagues became wider; Soviet archaeologists and ethnologists took part in fieldwork in Latin America. The primary aims today are to introduce Soviet readers to archaeological materials from a number of cultural-historical regions (such as the southern fringes of Mesoamerica, Amazonia, the southern Andes, etc.), to detail Soviet studies of cultural complexes and historical processes in ancient America, and to compare them to the processes that took place in the Old World, with the aim of establishing shared historical “laws” and patterns.
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Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.
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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a portrait of African American religiosity that was constantly “classical” and static—not quite primitive, but never appreciated as a modern aspect of black culture.This article examines several Ellington compositions from the late 1920s through the 1960s that exemplify his deployment of popular representations of African American religious belief and practice. Through the short filmBlack and Tanin the 1920s, the satirical popular song “Is That Religion?” in the 1930s, the long-form symphonic movementBlack, Brown and Beigein the 1940s, the lyricism of “Come Sunday” in the 1950s, and the dramatic prose of “My People” in the 1960s, Ellington attempted to capture a portrait of black religious practice without recognition of contemporaneous developments in black Protestant Christianity in the twentieth century's middle decades. Although existing Ellington scholarship has covered his “Sacred Concerts” in the 1960s and 1970s, this article engages themes and representations in Ellington's work prefiguring the religious jazz that became popular with white liberal Protestants in America and Europe. This discussion of religious narratives in Ellington's compositions affords an opportunity to reflect upon the (un)intended consequences of progressive, sympathetic cultural production, particularly on the part of prominent African American historical figures in their time. Moreover, this article attempts to locate the jazz profession as a critical site for the examination of racial and religious representation in African American religious history.
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GARCIA, JAY. "Stuart Hall's Discursive Turn." Journal of American Studies 53, no. 2 (2019): 556–63. http://dx.doi.org/10.1017/s002187581900029x.
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Recalling his work as cofounder and contributor toUniversities and Left Review, or the ULR group, in the lead-up to the founding of cultural studies during the 1950s, Stuart Hall noted that much of that work had to do with the United States. “In geopolitical terms we were of course neutralists, hostile to the politics emanating from the State Department in Washington,” Hall wrote, “but culturally we were nonetheless attracted by the vitality of American popular life, indeed to the domain of mass culture itself.” If the ULR group and similar collectives shared an “anxiety about the stupendous power of the booming consumer capitalism of post-war America,” they were also united by an appreciation for the ways the “vitality and raucousness of American culture certainly loosened England's tight-lipped, hierarchical class cultures and carried inside it possibilities – or the collective dream? – for a better future, which we felt was a serious political loss to deny.” Not unrelatedly, by the 1960s and 1970s, cultural studies and certain quarters of American intellectual life were proceeding along comparable tracks. Many American scholars and at least some working in cultural studies moved toward social history that emphasized the “hidden experiences of subordinated groups and classes.” Undertaken in concert with the new social movements of the 1960s and 1970s, this version of social history would ramify widely, furnishing the very questions and analytic habits of many fields, not least American studies.
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Pégram, Scooter. "Being Ourselves: Immigrant Culture and Self-Identification Among Young Haitians in Montréal." Ethnic Studies Review 28, no. 1 (2005): 1–20. http://dx.doi.org/10.1525/esr.2005.28.1.1.
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Since the early 1960s, large numbers of Haitians have emigrated from their native island nation. Changes in federal immigration legislation in the 1970s in both the United States and Canada enabled immigrants of colour a facilitated entry into the two countries, and this factor contributed to the arrival of Haitians to the North American continent. These newcomers primarily settled in cities along the eastern seaboard, in Boston, Miami, Montréal and New York. The initial motivator of this two-wave Haitian migration was the extreme political persecution that existed in Haiti under the iron-fisted rule of the Duvalier dictatorships and their secret police (popularly known as the “tontons macoutes”) over a thirty year period from the late 1950s to the mid 1980s.
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Sawangchot, Viriya. "Rebel without Causes: The 1960s Thai Pop Music and Bangkok Youth Culture." Communicare : Journal of Communication Studies 3, no. 2 (2018): 1. http://dx.doi.org/10.37535/101003220161.
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In this paper, I would like to acknowledge that 1960s to the 1970s American popular culture, particularly in rock ‘n’ roll music, have been contested by Thai context. In term of this, the paper intends to consider American rock ’n’ roll has come to function as a mode of humanization and emancipation of Bangkok youngster rather than ideological domination.
 
 In order to understand this process, this paper aims to focus on the origins and evolution of rock ‘n’ roll and youth culture in Bangkok in the 1960s to 1970s. The birth of pleng shadow
 and pleng string will be discussed in this context as well.
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LéCuyer, Christophe. "Making Silicon Valley: Engineering Culture, Innovation, and Industrial Growth, 1930–1970." Enterprise & Society 2, no. 4 (2001): 666–72. http://dx.doi.org/10.1017/s1467222700005310.
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The electronics manufacturing complex on the San Francisco Peninsula underwent enormous changes from the early 1930s to the late 1970s. Electronics firms in the area employed a few hundred machinists and even fewer engineers in the early 1930s. In the larger scheme of the entire American radio industry, they were marginal. They operated in the shadow of the Radio Corporation of America (RCA) and the other large eastern firms that had a virtual monopoly on the production and sale of electronic components and systems. Forty years later the Peninsula had become a major industrial center specializing in electronic components.
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Giles, Paul. "Reconstructing American Studies: Transnational Paradoxes, Comparative Perspectives." Journal of American Studies 28, no. 3 (1994): 335–58. http://dx.doi.org/10.1017/s0021875800027626.
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While American Studies continues to be a popular subject in universities and colleges on both sides of the Atlantic, several influential critics have recently expressed some sense that its methodological direction appears increasingly uncertain. To be sure, there never was a time when this field's methodology has not been problematic: arguments about what American Studies should include, and indeed whether its eclectic narratives could reasonably be said to constitute an academic discipline at all, have circulated many times since the rapid growth of the subject in the late 1940s. This development has been well documented over the last few years. Philip Gleason has shown how the end of the Second World War led to a patriotic desire to identify certain specifically American values and characteristics; this led to various mythic idealizations of the American spirit in seminal critical works of the 1950s; and this in turn was followed by a more empiricist reaction in the 1960s and 1970s, when social scientists and historians of popular culture were concerned to demystify those earlier, holistic images of a “virgin land” and an “American Adam.” These are old controversies, and I do not intend to rehearse them in detail here. From the perspective of the early 1990s, what is more urgent is to consider how, or indeed if, the field of American Studies might continue to make an important contribution to our understanding of the United States, as well as a significant intervention within the world of learning more generally.
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Tabarev, Andrey V., Yoshitaka Kanomata, Jorge G. Marcos, Alexander N. Popov, and Boris V. Lazin. "Insights into the Earliest Formative Period of Coastal Ecuador: New Evidence and Radiocarbon Dates from the Real Alto Site." Radiocarbon 58, no. 2 (2016): 323–30. http://dx.doi.org/10.1017/rdc.2015.23.
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AbstractOne of the most intriguing questions of South American archaeology is the time, place, and origin of the earliest pottery. Since the late 1950s, the earliest pottery has been attributed to the materials of the Early Formative Valdivia culture (5600–3500 BP), coastal Ecuador. Excavations at the Real Alto site conducted in the 1970s and 1980s allowed the rejection of the spectacular “Jomon–Valdivia” hypothesis and established a local origin of the phenomenon. Recent radiocarbon dates from a joint Russian–Japanese–Ecuadorian project at Real Alto open a new page in our knowledge of the transition from pre-ceramic Las Vegas to ceramic Valdivia cultures.
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Welsh, Jim. "American Culture in the 1970s by Will Kaufman." Journal of American Culture 32, no. 4 (2009): 343–44. http://dx.doi.org/10.1111/j.1542-734x.2009.00722_1.x.
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Buss, Carla Wilson. "Book Review: American Political Culture: An Encyclopedia." Reference & User Services Quarterly 55, no. 2 (2015): 174. http://dx.doi.org/10.5860/rusq.55n2.174.
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Anyone seeking reliable information on American political life since the 1970s will be pleased with Michael Shally-Jensen’s work, American Political Culture. This three-volume set covers topics from abortion to Israel Zangwill, the nineteenth-century author who coined the phrase “melting pot” and who appears in the entry for “Cultural Pluralism.”
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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.
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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.
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Petrzela, Natalia Mehlman. "“The Siren Song of Yoga”." Pacific Historical Review 89, no. 3 (2020): 379–401. http://dx.doi.org/10.1525/phr.2020.89.3.379.
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Yoga writ large helps illuminate the nature and the limits of evolving countercultures. Yoga in the 1960s and 1970s United States operated as a crucial vehicle for expressing critiques of patriarchy and sexual repression. Expressive forms of sexuality became pervasive in yoga culture, symptoms of the increased discursive and physical openness of the sexual revolutions. The broad-ranging spirituality associated with yoga often challenged rigid religiosity, frequently by pitting Eastern against Western belief systems, often oversimplifying this duality. The American encounter with yoga has been a vehicle for the rise of a capacious spirituality, often defined as “New Age” and more recently subsumed within the “spiritual-but-not-religious” movement, which today over 30 percent of Americans reportedly embrace. Yoga has been a crucial vehicle for expressing how Americans see themselves as spiritual, sexual, and physical beings, and the 1960s and 1970s represent a period in which these identities were articulated, if not always enacted, as distinctly countercultural. At the same time, this famously experimental era paradoxically corresponded to the incorporation of yoga into a popular mainstream fitness culture. The mainstreaming of yoga at times sapped this spiritual practice of a significant measure of radicalism and at others merely expressed that radicalism differently.
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Dhakal, Lekha Nath. "Musical Tradition and Cultural Vision in Langston Hughes’s Poetry." Literary Studies 33 (March 31, 2020): 41–45. http://dx.doi.org/10.3126/litstud.v33i0.38034.
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In American music, Langston Hughes is one of the literary figures that hold a place similar to the aforementioned luminaries. In the literary field, Hughes is respected as one of the most important figures of the twentieth century. With the rise of African American Studies as an academic field in the 1970s, his life, writing, and influence has received frequent attention. What has not been documented in more specific terms is his importance to America’s musical culture in the twentieth century. Whether directly or indirectly, Langston Hughes has been a fixture in American musical culture, both popular and concert music, since the 1920s. In addition to his personal affinity for blues, jazz and other specifically African American musical forms such as gospel music, his vast contribution to American music specifically and American music culture in a broader sense can be separated into four general categories.
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Meek, Michele. "Exposing Flaws of Affirmative Consent through Contemporary American Teen Films." Girlhood Studies 14, no. 1 (2021): 101–16. http://dx.doi.org/10.3167/ghs.2021.140109.
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The discursive shift during the twenty-first century from “no means no” to “yes means yes” clearly had an impact on contemporary American teen films. While teen films of the 1970s and 1980s often epitomized rape culture, teen films of the 2010s and later adopted consent culture actively. Such films now routinely highlight how obtaining a girl’s “yes” is equally important to respecting her “no.” However, the framework of affirmative consent is not without its flaws. In this article, I highlight how recent teen movies expose some of these shortcomings, in particular how affirmative consent remains a highly gendered discourse that prioritizes verbal consent over desire.
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Riess, Steven A. "The Impact of Poverty and Progress on the Generation of Historians Trained in the Late 1960s and Early 1970s." Social Science History 10, no. 1 (1986): 23–32. http://dx.doi.org/10.1017/s0145553200015248.
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In an era of extreme specialization among American historians, it is rare for a monograph to have had the major impact of Poverty and Progress. While there have been previous studies of social mobility, American ethnic groups, and urban communities, Thernstrom’s study was pathbreaking in his use of research techniques and interpretation, and it established a major agenda for the “New Social History.” The questions he raised and his success in writing history “from the bottom up” captured the imagination of the new generation of historians who attended graduate school in the late 1960s and early 1970s. His ability to explore the experience of the inarticulate working class drew the attention of radical or New Left historians who were seeking to write a different type of labor history that focused less on unions and more on working-class culture, as well as of the traditionally oriented consensus historians who wanted to expand the horizons of social and cultural history to encompass the experiences of the greatest numbers of Americans. Thernstrom’s impact on the latest cohort of historians was felt in their methodology and their studies of ethnic subcommunities, working-class culture, and geographic and social mobility.
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Wiarda, Howard J. "The Political Sociology of a Concept: Corporatism and the “Distinct Tradition”." Americas 66, no. 01 (2009): 81–106. http://dx.doi.org/10.1017/s0003161500004430.
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The field of Latin American Studies owes much to Professor Howard J. Wiarda, whose pioneering work on “corporatism” and political culture during the 1960s and 1970s helped establish a new conceptual paradigm for interpreting the persistence of corporately defined, institutional identities throughout Latin America, despite the purported triumph of the “Liberal Tradition.” A child of Dutch parents, his early travels throughout Africa, Asia, and Latin America sparked a keen interest in the question of “third world development.” Entering graduate school in the early 1960s, Professor Wiarda gravitated to the newly emergent field of modernization studies at the University of Florida, where he received his masters and doctorate degrees in Latin American politics. It was a time of tremendous social ferment in Latin America and his early fieldwork took him to the Dominican Republic, Mexico and Brazil, among other places. In each instance, he found recognizable patterns that transcended geographic locations, patterns that seemed to directly challenge the predominant arguments set forth in the modernization literature at the time.
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Wiarda, Howard J. "The Political Sociology of a Concept: Corporatism and the “Distinct Tradition”." Americas 66, no. 1 (2009): 81–106. http://dx.doi.org/10.1353/tam.0.0155.
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The field of Latin American Studies owes much to Professor Howard J. Wiarda, whose pioneering work on “corporatism” and political culture during the 1960s and 1970s helped establish a new conceptual paradigm for interpreting the persistence of corporately defined, institutional identities throughout Latin America, despite the purported triumph of the “Liberal Tradition.” A child of Dutch parents, his early travels throughout Africa, Asia, and Latin America sparked a keen interest in the question of “third world development.” Entering graduate school in the early 1960s, Professor Wiarda gravitated to the newly emergent field of modernization studies at the University of Florida, where he received his masters and doctorate degrees in Latin American politics. It was a time of tremendous social ferment in Latin America and his early fieldwork took him to the Dominican Republic, Mexico and Brazil, among other places. In each instance, he found recognizable patterns that transcended geographic locations, patterns that seemed to directly challenge the predominant arguments set forth in the modernization literature at the time.
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Ariel, Yaakov. "Hasidism in the Age of Aquarius: The House of Love and Prayer in San Francisco, 1967–1977." Religion and American Culture: A Journal of Interpretation 13, no. 2 (2003): 139–65. http://dx.doi.org/10.1525/rac.2003.13.2.139.
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In the late 1960s and early 1970s, Americans encountered an unexpected group of people who, at first sight, seemed unreal: Hasidic hippies. Conceiving of Hasidic Judaism as being incompatible with the spirit of the era and of hippie culture as being far removed from the Jewish tradition, most Jews could not comprehend how anyone could try to amalgamate two such opposing cultures.Many of the young Hasidic hippies were affiliated with or influenced by the House of Love and Prayer (HLP), a Jewish outreach center that operated in San Francisco between 1967 and 1977 and promoted the mixture of traditional Hasidic Judaism with the counter-culture. It represented a new generation in American religious life: the baby boomers, with their spiritual journeys and cultural preferences, which included attempts to unite religious traditions and cultural trends that just a few years earlier had seemed too different to bridge. The HLP promoted the return to tradition and the embracing of the mystical and supernatural elements of Judaism. Together with other groups that emerged in the late 1960s and 1970s, the HLP helped bring about a revolution in the practicing of the Jewish tradition, one that gave expression to the style and values of the Jewish members of the counterculture.
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Tong, Darlene. "Contemporary art and fashion: from Pop to Populist." Art Libraries Journal 14, no. 4 (1989): 17–21. http://dx.doi.org/10.1017/s0307472200006477.
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During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.
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Weissbrod, Rachel. "Linguistic Interference in Literary Translations from English into Hebrew of the 1960s and 1970s." Target. International Journal of Translation Studies 2, no. 2 (1990): 165–81. http://dx.doi.org/10.1075/target.2.2.03wei.
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Abstract In the years leading up to the 1960s and in the beginning of that decade the system of non-canonized literature in Hebrew was inundated with translations from English. These were usually characterized by strong interference of that language. In the system of canonized literature, on the contrary, linguistic interference in translations from English was rather restricted. The gap between the two systems in this respect gradually narrowed during the 1970s. The dynamics in translated literature as regards the interference of English may be explained as deriving from processes of change in Israeli culture and in its redeployment with respect to the West, especially with respect to American culture.
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Cuneo, Michael W. "Of demons and Hollywood: Exorcism in American culture." Studies in Religion/Sciences Religieuses 27, no. 4 (1998): 455–65. http://dx.doi.org/10.1177/000842989802700407.
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As the related phenomena of exorcism and deliverance ministry vividly attest, the popular entertainment industry in the United States possesses a tremendous capacity for influencing religious beliefs and behaviours. Since the early 1970s, cinematic and popular literary treatments of demonic possession and affliction have helped create recurrent demands for exorcism within various sectors of American society. This paper examines the peculiar dynamics by which markets for exorcism have been created and sustained by the entertainment industry, and also the various ways in which these markets have been satisfied by religious entrepreneurs within the respective worlds of neo-Pentecostalism, Protestant evangelicalism and Roman Catholicism.
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Pitzulo, Carrie. "Wallowing in Sex: The New Sexual Culture in 1970s American Television." Journal of Popular Culture 41, no. 1 (2008): 173–75. http://dx.doi.org/10.1111/j.1540-5931.2008.00497_9.x.
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Dhaenens, Frederik. "Wallowing in Sex: the new sexual culture of 1970s American television." Historical Journal of Film, Radio and Television 30, no. 2 (2010): 252–54. http://dx.doi.org/10.1080/01439681003779333.
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Kelly, Mary E. "Ethnic Conversions: Family, Community, Women, and Kinwork." Ethnic Studies Review 19, no. 1 (1996): 81–100. http://dx.doi.org/10.1525/esr.1996.19.1.81.
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According to the straight-line theory of assimilation, ethnic groups by the third or fourth generation should be entirely assimilated into mainstream society and should identify themselves as “Americans.” Yet there has been a resurgence of ethnicity among white ethnics in the United States that has led to a renewed interest in particular ethnic groups and their cultures. Third- and fourth-generation European Americans claim an ethnic identity even though their ties to their ancestral homeland may be tenuous. Lithuanian Americans in Kansas City, Kansas, in the 1950s, 1960s and 1970s would seem to provide support for the straight-line theory of assimilation, yet since the 1980s they have reconstituted themselves through the Lithuanians of America organization and are experiencing a renewal of their ethnic identity. The Lithuanian American community in Seattle, Washington, also experienced ebbs and flows in the activism and unity of its members. The community was active at the turn of the twentieth century, next revitalized by Lithuanian emigres following World War II, and then became active again in the late 1970s after a decade of inaction. Members of the two groups were given questionnaires in the early 1990s to address the ethnic identity fluctuations as well as the role of non-ethnics in the organizations. One of the more exciting findings from the surveys and from participant observation was the extensive role of “ethnic converts” in the Kansas City organization, and their lesser (but still significant) role in the Seattle Lithuanian-American community.
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Fiebach, Joachim. "Cultural Identities, Interculturalism, and Theatre: On the Popular Yoruba Travelling Theatre." Theatre Research International 21, no. 1 (1996): 52–58. http://dx.doi.org/10.1017/s0307883300012700.
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Intercultural processes have become a major concern of European theatre people and critics since the 1970s. They serve to bolster the postmodern discourse marked by endlessly alterable and changing cultures and, therefore, by essentially elusive cultural identities. But the aggressive global expansion of audiovisually mediated performing culture, primarily American television, film, and video, is being viewed as a menace to received cultural identities. There are fears that European cultures are being submerged and disfigured by an ever increasing inundation of overpowering American cultural productions and may even disintegrate altogether.
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Burns, Sean. "Going Public: Archie Green's Lifelong Commitment to Laboring Culture." International Labor and Working-Class History 76, no. 1 (2009): 164–79. http://dx.doi.org/10.1017/s0147547909990147.
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AbstractKnown as the “Dean of Laborlore,” Archie Green, who died this past March, spent much of the twentieth century developing innovative public sector projects at the intersection of labor history, occupational folklore, and cultural studies. In 1971, for example, he helped initiate the Working Americans Exhibition on the Washington Mall of the United States Capitol. Using this exhibit as a starting point, this article examines Green's orientation to publicly presenting labor culture and history. I draw from Robert McCarl's reflections on the challenges of the Working Americans Exhibit and suggest that several life experiences uniquely qualified Archie Green to meet these challenges. Excerpting from interviews with Green, I explore how his childhood in East Los Angeles combined with his years as a union shipwright in San Francisco to develop a strong analysis of, and civic commitment to, public workers' folklife. Central to this commitment is a generative, if uneasy, pairing of syndicalist ideals with pragmatic New Deal-inspired politics. I examine how immigrant Scottish shipwrights, educated in the militant syndicalist and Marxist tradition of John Maclean, particularly influenced Green. Raising questions of historiography, I conclude by suggesting we should view Green's integration of scholarly and public sector work as vitally contributing to the emergent cultural sensibility in New Labor History, folklore, American Studies, and public history in the late 1960s and 1970s.
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McFalls, Laurence. "Political Culture and Political Change in Eastern Germany: Theoretical Alternatives." German Politics and Society 20, no. 2 (2002): 75–92. http://dx.doi.org/10.3167/104503002782385426.
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In the past century, Germany, for better and for worse, offered itselfas a natural laboratory for political science. Indeed, Germany’sexcesses of political violence and its dramatic regime changes largelymotivated the development of postwar American political science,much of it the work of German émigrés and German-Jewishrefugees, of course. The continuing vicissitudes of the German experiencehave, however, posed a particular challenge to the concept ofpolitical culture as elaborated in the 1950s and 1960s,1 at least inpart to explain lingering authoritarianism in formally democraticWest Germany. Generally associated with political continuity or onlyincremental change,2 the concept of political culture has been illequippedto deal with historical ruptures such as Germany’s “breakwith civilization” of 1933-1945 and the East German popular revolutionof 1989. As well, even less dramatic but still important and relativelyrapid cultural changes such as the rise of a liberal democraticVerfassungspatriotismus sometime around the late 1970s in West Germany3and the emergence of a postmodern, consumer capitalist culturein eastern Germany since 19944 do not conform to mainstreampolitical culture theory’s expectations of gradual, only generationalchange. To be sure, continuity, if not inertia, characterizes much ofpolitics, even in Germany. Still, to be of theoretical value, the conceptof political culture must be able not only to admit but toaccount for change.
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Davis, Wendy. "Review: Wallowing in Sex: The New Sexual Culture of 1970s American Television." Media International Australia 125, no. 1 (2007): 145–46. http://dx.doi.org/10.1177/1329878x0712500126.
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Demers, Joanna. "Sampling the 1970s in hip-hop." Popular Music 22, no. 1 (2003): 41–56. http://dx.doi.org/10.1017/s0261143003003039.
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Musical borrowings, or samples, have long been a means of creating lineage between hip-hop and older genres of African-American music such as funk, soul, and rhythm and blues. DJs who sample from this so-called ‘Old School’ attempt to link hip-hop to older, venerable traditions of black popular music. This article investigates the importance of 1970s pop and culture to hip-hop music. This era is depicted as a time in which African-American identity coalesced, and a new political consciousness was born. The primary source for images of the 1970s was and continues to be blaxploitation film, a genre of low-budget, black-oriented crime and suspense cinema. This article will detail how blaxploitation distilled certain societal concerns of the 1970s, and how in turn hip-hop feeds off blaxploitation both dramatically and musically, reusing its story lines and sampling its soundtracks.
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Curtis, Jesse. "White Evangelicals as a “People”: The Church Growth Movement from India to the United States." Religion and American Culture 30, no. 1 (2020): 108–46. http://dx.doi.org/10.1017/rac.2020.2.
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ABSTRACTThis article begins with a simple question: How did white evangelicals respond to the civil rights movement? Traditional answers are overwhelmingly political. As the story goes, white evangelicals became Republicans. In contrast, this article finds racial meaning in the places white evangelicals, themselves, insisted were most important: their churches. The task of evangelization did not stop for a racial revolution. What white evangelicals did with race as they tried to grow their churches is the subject of this article. Using the archives of the leading evangelical church growth theorists, this article traces the emergence and transformation of the Church Growth Movement (CGM). It shows how evangelistic strategies created in caste-conscious India in the 1930s came to be deployed in American metropolitan areas decades later. After first resisting efforts to bring these missionary approaches to the United States, CGM founder Donald McGavran embraced their use in the wake of the civil rights movement. During the 1970s, the CGM defined white Americans as “a people” akin to castes or tribes in the Global South. Drawing on the revival of white ethnic identities in American culture, church growth leaders imagined whiteness as pluralism rather than hierarchy. Embracing a culture of consumption, they sought to sell an appealing brand of evangelicalism to the white American middle class. The CGM story illuminates the transnational movement of people and ideas in evangelicalism, the often-creative tension between evangelical practices and American culture, and the ways in which racism inflected white evangelicals’ most basic theological commitments.
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Spalding, Susan Eike. "Written Out of History: Black Square Dance Traditions." Congress on Research in Dance Conference Proceedings 2015 (2015): 168–73. http://dx.doi.org/10.1017/cor.2015.26.
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Old time square dancing (in a big circle) was an early-twentieth-century home- and community-based recreation among all ethnicities in the Central Appalachian region. It disappeared in most places by the 1940s, re-emerging in white rural communities in the 1960s. By contrast, one Virginia African American community continued square dancing until the early 1970s, much longer than others. Their last dances were held just as square dancing again became popular in white communities. The movement of the dance itself, its context and meaning to the dancers, and elements of regional and national society and culture may have contributed both to its longevity and to its demise. The presentation is based on interviews and movement analysis as well as on bibliographic research. It is based upon research for the author's book Appalachian Dance: Creativity and Continuity in Six Communities (University of Illinois Press, 2014).
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Stephens, Randall J. "Making Sense of American Culture in the 1970s: An Interview with Thomas Hine." Historically Speaking 9, no. 6 (2008): 38–39. http://dx.doi.org/10.1353/hsp.2008.0008.
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ChÁvez-GarcÍa, Miroslava. "The Interdisciplinary Project of Chicana History." Pacific Historical Review 82, no. 4 (2012): 542–65. http://dx.doi.org/10.1525/phr.2013.82.4.542.
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Chicana history has come a long way since its inception in the 1960s and 1970s. While initially a neglected area of study limited to issues of labor and class, today scholars in history, literature, anthropology, and sociology, among others, study topics of gender, culture, and sexuality, as well as youth culture, reproductive rights, migration, and immigration. In the process, these scholars contribute to the collective project of Mexican and Mexican American women’s history in the United States, making it diverse in its analytical themes, methodologies, and sources. Indeed, Chicana history is not confined by disciplinary boundaries. Rather, its cross-disciplinary nature gives it life. This article charts that interdisciplinarity and demonstrates its significance in expanding and recasting Chicano history more broadly.
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Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.
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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.
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SAUNDERS, NATHAN. "Conservative Chick? Conservative Culture Warriors at War." Journal of American Studies 52, no. 3 (2017): 738–65. http://dx.doi.org/10.1017/s0021875816002012.
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The American New Right that grew to prominence during the second half of the twentieth century consists of three major ideological strands – traditionalism, libertarianism, and anticommunism. The New Christian Right (NCR) that rose to prominence in the 1970s fell within the traditionalist camp. At the same time, not all theological conservatives or social traditionalists joined the NCR. The work of comic book artist Jack Chick demonstrates the phenomenon of opposition to the NCR among some theological and social conservatives. Beginning in the early 1960s, Chick published tracts and comic books that espoused extreme social conservatism while at the same time opposing government enforcement of social norms. He frequently criticized politically active or well-connected preachers such as Jerry Falwell and Billy Graham and opposed prayer in schools. Chick, along with many other fundamentalists, opposed the NCR because it involved cooperation with Roman Catholics. For Chick, doctrinal purity is more important than having a “Christian” nation. This essay concludes by noting how, as evangelicals lose ground in key battles of the culture wars, there are signs that Chick's antipolitics is gaining ground among conservative Protestants.
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Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)." Ad Americam 22 (March 28, 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.
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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)
 As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.
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Koch, Ulrich. "‘Cruel to be kind?’ Professionalization, politics and the image of the abstinent psychoanalyst, c. 1940–80." History of the Human Sciences 30, no. 2 (2017): 88–106. http://dx.doi.org/10.1177/0952695116687239.
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This article investigates the changing justifications of one of the hallmarks of orthodox psychoanalytic practice, the neutral and abstinent stance of the psychoanalyst, during the middle decades of the 20th century. To call attention to the shifting rationales behind a supposedly cold, detached style of treatment still today associated with psychoanalysis, explanations of the clinical utility of neutrality and abstinence by ‘classical’ psychoanalysts in the United States are contrasted with how intellectuals and cultural critics understood the significance of psychoanalytic abstinence. As early as the 1930s, members of the Frankfurt School discussed the cultural and social implications of psychoanalytic practices. Only in the 1960s and 1970s, however, did psychoanalytic abstinence become a topic within broader intellectual debates about American social character and the burgeoning ‘therapy culture’ in the USA. The shift from professional and epistemological concerns to cultural and political ones is indicative of the changing appreciation of psychoanalysis as a clinical discipline: for psychoanalysts as well as cultural critics, I argue, changing social mores and the professional decline of psychoanalysis infused the image of the abstinent psychoanalyst with nostalgic longing, making it a symbol of resistance against a culture seen to be in decline.
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HANLON, HEATHER, JUDY FARNSWORTH, and JUDY MURRAY. "Ageing in American Comic Strips: 1972–1992." Ageing and Society 17, no. 3 (1997): 293–304. http://dx.doi.org/10.1017/s0144686x97006466.
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A comparison between humour and ageing from the 1970s to the 1990s and findings from a historical study of how American artists portray older adults showed what appears to be little change in stereotypical representations of older people in one of the most widely read forms of humour in American popular culture, the comic strip. Variables were age, gender, and roles of people 56 years and over in strips published in the Washington Post during April of 1972, 1977, 1982, 1987, and 1992.The number of older characters in American comic strips declined in the last ten years of the study. Men were more frequently represented than women. Women were almost equal to men in strong, positive roles despite the fact that they were represented 870 times and men 1511 times. Most women were portrayed in either positive or negative roles while a quarter of men were portrayed in indeterminate roles. The negative roles of women were double those of positive or strong roles, while the number of negative roles for men was three times the number of positive roles.
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Richert, Lucas, and Erika Dyck. "Psychedelic crossings: American mental health and LSD in the 1970s." Medical Humanities 46, no. 3 (2019): 184–91. http://dx.doi.org/10.1136/medhum-2018-011593.
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This article places a spotlight on lysergic acid diethylamide (LSD) and American mental health in the 1970s, an era in which psychedelic science was far from settled and researchers continued to push the limits of regulation, resist change and attempt to revolutionise the mental health market-place. The following pages reveal some of the connections between mental health, LSD and the wider setting, avoiding both ascension and declension narratives. We offer a renewed approach to a substance, LSD, which bridged the gap between biomedical understandings of ‘health’ and ‘cure’ and the subjective needs of the individual. Garnering much attention, much like today, LSD created a cross-over point that brought together the humanities and arts, social sciences, health policy, medical education, patient experience and the public at large. It also divided opinion. This study draws on archival materials, medical literature and popular culture to understand the dynamics of psychedelic crossings as a means of engendering a fresh approach to cultural and countercultural-based healthcare during the 1970s.
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Sharon Marie Ross. "Wallowing in Sex: The New Sexual Culture of 1970s American Television (review)." American Studies 48, no. 4 (2007): 185–86. http://dx.doi.org/10.1353/ams.0.0162.
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Whitney Strub. "Wallowing in Sex: The New Sexual Culture of 1970s American Television (review)." Journal of the History of Sexuality 19, no. 2 (2010): 347–51. http://dx.doi.org/10.1353/sex.0.0095.
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Kazyuchits, Maxim F. "Counterculture and Its Impact upon American Rock Music Documentaries in 1960-1970s." Journal of Flm Arts and Film Studies 9, no. 4 (2017): 106–18. http://dx.doi.org/10.17816/vgik94106-118.
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The author focuses on the most significant documentaries and TV-movies employing rock music of the 1960s-1970s, and highlights the aesthetic modes of their social correlation with mass culture. Special attention is drawn to the creative synthesis of the aesthetics of direct cinema, exemplified by the group R. Drew (B. Leacock, D. Pennebaker, A. Maizels, D. Maizels, etc.) as well as individual filmmakers and rock music in the intense socio-cultural context associated with it. Rock music greatly differs in its interaction of a performer and audience: there is often a systematic violation of the boundaries between audience space and scene. Direct cinema uses different strategies for presenting the character in the frame. Long-term observation, usage of atypical size and angles in the established television and cinematic tradition of documentary in many ways made the traditional essays and reports specifically spectacular. Within this strategy fans become being represented and perceived as a collective character, that is, public with all the features of its ethos becomes an integral part of the image of the artist, inseparable from it. The general decline of the artistic diversity of documentaries about rock music is largely the result of the active integration of this subgenre into the commercial sphere of TV and film industry, characteristic for the style emerged within the television. Creative pursuits of the group drew were directed not so much against the revolution in screen arts, but for modernization of the outdated artistic approaches to documentary filmmaking. Anyhow rock music as well as rock culture expressed through the means of direct cinema testify to the efficiency of the basic methodological goals.
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Eloit, Ilana. "American lesbians are not French women: heterosexual French feminism and the Americanisation of lesbianism in the 1970s." Feminist Theory 20, no. 4 (2019): 381–404. http://dx.doi.org/10.1177/1464700119871852.
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This article examines the ways in which 1970s French feminists who participated in the Women’s Liberation Movement (Mouvement de libération des femmes – MLF) wielded the spectre of lesbianism as an American idiosyncrasy to counteract the politicisation of lesbianism in France. It argues that the erasure of lesbian difference from the domain of French feminism was a necessary condition for making ‘woman’ an amenable subject for incorporation into the abstract unity of the French nation, wherein heterosexuality is conceived as a democratic crucible where men and women harmoniously come together and differences are deemed divisive. Looking at the history of feminism from the standpoint of a lesbian perspective reveals unforeseen continuities between French ‘feminist’ and ‘anti-feminist’ genealogies insofar as they rest on common heterosexual and racial foundations. Finally, the article demonstrates that the alleged un-Frenchness ascribed to the word ‘lesbian’ in the 1970s feminist movement spectrally returned in the 1990s when the word ‘gender’ was, in its turn, deemed radically foreign to the French culture by feminist researchers. Fiercely reactionary constituencies against the legalisation of same-sex marriage have more recently taken up this rhetorical weapon against sexual and racial minorities.
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Gubert, Betty Kaplan. "Research Resources for the Study of African-American and Jewish Relations." Judaica Librarianship 8, no. 1 (1994): 162–64. http://dx.doi.org/10.14263/2330-2976.1262.
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Several libraries in New York City have exceptionally rich resources for the study of relations between African Americans and Jewish Americans. The holdings of and access to these collections are discussed; some sources in other parts of the U.S. are mentioned as well. The most important collection is in the Schomburg Center for Research in Black Culture, The New York Public Library. Besides books, there is a vast Clipping File, the unique Kaiser Index, manuscript collections, and some audio and visual materials. The Jewish Division of The New York Public Library has unparalleled holdings of Jewish newspapers from around the world, from which relevant articles can be derived. The libraries of the Jewish Theological Seminary and the VIVO Institute ,are also both fine sources. Their book holdings are up-to-date, and YIVO's clipping file is also, including such items as publicity releases from Mayors Koch and Dinkins. YIVO's archives have such important historical holdings as the American Jewish Committee Records (1930s to the 1970s), and some NAACP materials from the thirties and forties. Children's books on this top ic and ways of acquiring information are noted. A list of the major libraries, with addresses, telephone numbers, and hours is in an appendix.
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Power, Patricia A. "Blurring the Boundaries: American Messianic Jews and Gentiles." Nova Religio 15, no. 1 (2011): 69–91. http://dx.doi.org/10.1525/nr.2011.15.1.69.
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Messianic Judaism is usually equated with Jews for Jesus, an overtly missionizing form of ethnically Jewish Evangelical Christianity that was born in the American counter-culture revolution of the 1970s. The ensuing and evolving hybrid blend of Judaism and Christianity that it birthed has evoked strong objections from both the American Jewish and mainline Christian communities. What begs an explanation, though, is how a Gentile Protestant missionary project to convert the Jews has become an ethnically Jewish movement to create community, continuity, and perhaps a new form of Judaism. This paper explores the way in which Messianic Jews have progressively exploited the space between two historically competitive socio-religious cultures in order to create an identity of their own in the American religious landscape. It also introduces Messianic Israelites, non-Jewish but sympathetic believers who are struggling with the implications of an ethnically divided church where Jews are the categorically privileged members.
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ASH, MITCHELL G. "AMERICANIZING PSYCHOANALYSIS." Modern Intellectual History 14, no. 2 (2015): 607–17. http://dx.doi.org/10.1017/s1479244315000402.
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The general theme that unites the works to be discussed here is the history of psychoanalysis in America over the past hundred years, particularly during the heyday of its public impact from the 1950s through the 1970s. The broad outlines of this story have been well known for some time. Interesting about the volumes discussed here is the step that each book takes in its own way beyond a narrow focus on Freud and his followers or the institutional history of the psychoanalytic profession to examinations of so-called neo-Freudianism and of the entry of psychoanalytic discourse into American middle- and highbrow popular culture. The question whether, how, or to what extent psychoanalysis became “Americanized” in the course of all this is addressed explicitly in the volume by Elizabeth Lunbeck, and implicitly in the other books under review. In the following I will discuss each volume in turn, pointing to linkages among them along the way.
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Katz, Maya Balakirsky. "On the Master-Disciple Relationship in Hasidic Visual Culture: The Life and Afterlife of Rebbe Portraits in Habad, 1798–2006." IMAGES 1, no. 1 (2007): 55–79. http://dx.doi.org/10.1163/187180007782347683.
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AbstractScholarship on Hasidism typically utilizes literary source material of the dynastic leaders and their top disciples, while the more typical master/disciple relationship has escaped attention. Hasidic movements have produced, distributed, and voraciously consumed visual portraits of their leaders throughout the nineteenth and twentieth centuries. The most visually productive Hasidic community is the Belarusian HabadLubavitch, which has produced images of five of its seven generations of leaders. Indeed, portraits of its leaders have been integral to the development of Habad both in Eastern Europe and its post-Shoah rejuvination in the United States. This paper begins with Habad's visual history from the 1880s release of portrait paintings of the first and third Habad leaders in the effort to establish a unified group identity at a time of factionalism. The survey then moves to Yosef Yitzchak Schneersohn, the sixth Rebbe of Habad, who rallied his followers with the medium of photography. Photography became a central component of his leadership in the 1930s and 1940s. The study then moves to the seventh and last Habad leader, Menachem Mendel Schneerson, who expanded the use of visual culture in Habad and used his own image to forge a post-Shoah group identity around a distinctly American leader who was also the spiritual repository of the six preceding Russian leaders. Schneerson's image production and reproduction began to model American celebrity culture in the early 1970s as part of a public campaign to inaugurate the Messianic Age. This broad dissemination of Schneerson's image inadvertantly created an elastic Schneerson portrait, whose reflexivness, in some respects, transcended its subject.
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AUGST, THOMAS. "LITERARY PRACTICES AND THE SOCIAL LIFE OF TEXTS." Modern Intellectual History 5, no. 3 (2008): 643–55. http://dx.doi.org/10.1017/s1479244308001844.
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Throughout the twentieth century, as literary texts circulated through high-school and college classrooms, reading became a specialized skill. Especially with the dominance of the “new criticism” in the 1930s, literature acquired an autonomous life as “text,” demanding intensive “close reading” of its verbal complexity and formal coherence as an aesthetic object. Beginning in the 1970s, with the proliferation of programs devoted to African-American culture, gender studies, sexuality studies, and ethnic studies programs, the literary canon became more diverse. In the mid-1980s new historicism helped push aesthetic formalism further from the agenda of literary education in the university, promoting new interest in historical contexts even as psychoanalytic, deconstructive, and reader-response approaches continued to fetishize “textuality” as their primary object of inquiry. Whatever the vagaries of theory, method, and subdisciplinary turf battles through which scholars have wandered over the last few decades, we have remained in our professional practices of reading and teaching committed to a hermeneutics of interpretation. Even as scholars developed arguments about history or culture, the teaching and criticism of literature has continued to rely on the institutional and psychological isolation of reading, as an individual exercise in mastery of the text fostered by silence and solitude.
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Eisenach, Eldon J. "Emerging Patterns in America's Political and Religious Self-Understanding." Studies in American Political Development 18, no. 1 (2004): 44–59. http://dx.doi.org/10.1017/s0898588x04000033.
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Parallel statements through the 1970s and 1980s can be found regarding study of the religious elements in early modern liberal political thought, notably that of Hobbes and Locke. By any measure, the study of religion in American politics, history, and culture, and in political philosophy today, is not only flourishing, it threatens to overwhelm us. This is true not only in the bureaucratic sense of the Religion and Politics Section of the APSA, but in the focus on religion across the discipline and in the use by these political scientists of the work of political, social, cultural, racial, and gender historians and literary critics. And where enough entrepreneurial academics go, grant-giving foundations are sure to follow.
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Hall, Vanessa. ""It All Fell in on Him": Masculinities in Raymond Carver's Short Stories and American Culture during the 1970s and 1980s." Journal of Men's Studies 17, no. 2 (2009): 173–88. http://dx.doi.org/10.3149/jms.1702.173.
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