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Journal articles on the topic 'Early postwar American fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

FROMER, YOAV. "THE LIBERAL ORIGINS OF JOHN UPDIKE’S LITERARY IMAGINATION." Modern Intellectual History 14, no. 1 (August 27, 2015): 187–216. http://dx.doi.org/10.1017/s147924431500030x.

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This article, through a close engagement with John Updike's work, explores the manner in which the postwar liberal temper shaped American fiction. By contextualizing the novelist's early writings within the changing intellectual climate of the period, it demonstrates how his liberal sensibilities deeply informed his literary imagination. The essay employs new archival material about Updike's Harvard education and sketches his political biography—the first of its kind—to offer a fresh and more nuanced understanding of Updike as not only a gifted writer but also a political thinker. Although he chose the less traveled road of fiction to do so, Updike expressed a particular temperament pervasive among many liberal intellectuals at the time. By challenging the widely held view of him as an apolitical writer, the article also enriches our understanding of the meanings and complexities of postwar liberalism while illuminating the often overlooked link between literature and politics.

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Scheibach, Michael. "Faith, Fallout, and the Future: Post-Apocalyptic Science Fiction in the Early Postwar Era." Religions 12, no. 7 (July 10, 2021): 520. http://dx.doi.org/10.3390/rel12070520.

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In the early postwar era, from 1945 to 1960, Americans confronted a dilemma that had never been faced before. In the new atomic age, which opened with the atomic bombings of Hiroshima and Nagasaki, Japan, in August 1945, they now had to grapple with maintaining their faith in a peaceful and prosperous future while also controlling their fear of an apocalyptic future resulting from an atomic war. Americans’ subsequent search for reassurance translated into a dramatic increase in church membership and the rise of the evangelical movement. Yet, their fear of an atomic war with the Soviet Union and possible nuclear apocalypse did not abate. This article discusses how six post-apocalyptic science fiction novels dealt with this dilemma and presented their visions of the future; more important, it argues that these novels not only reflect the views of many Americans in the early Cold War era, but also provide relevant insights into the role of religion during these complex and controversial years to reframe the belief that an apocalypse was inevitable.

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3

DENTON, STACY. "Nostalgia, Class and Rurality in Empire Falls." Journal of American Studies 45, no. 3 (April 27, 2011): 503–18. http://dx.doi.org/10.1017/s0021875811000119.

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In American society, rural spaces – particularly those of the working class – are seen as stagnant holdovers from a temporal past that “modern” society has evolved beyond. As a result, working-class rurality and those living within these places are viewed as static, ignorant, insular and so on: whatever places do not conform to the appearance of “modern” progress and development simply must be regressed, on both socioeconomic and cultural levels. While scholars in some disciplines are attempting to redress this misconception, other disciplines (like literary studies) largely align with the mainstream perspective that rurality represents a regressed past to our evolved present. However, despite the critical lack of attention to rurality as a viable space in the present, we can see in various fictional works that working-class rural spaces can effectively show us the interrelationship of rural spaces with “modern” society and culture in the present, the continuing relevance and deep history alike of said spaces, and the potential of these fictional working-class rural places to confront America's norms of progress and development within and without their fictional borders. Richard Russo's fiction illustrates the potential to bring out this critical working-class rural voice. Russo's fictional treatments afford the reader an opportunity to witness the ever-changing complexity (not the temporal and cultural regression) of working-class rurality. In turn, Russo's fictional working-class rural spaces offer a counterperspective to the mainstream (defined here as middle-class and (sub)urban) notions of progress that otherwise dismiss these perspectives. In his book Empire Falls, Russo uses nostalgia to assert this counterperspective. This nostalgia not only reaffirms the postwar and early twenty-first-century working-class rural identity of Empire Falls, but it also offers a critique of dominant conceptions of progress and development that continue into our present.

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4

Mart, Michelle. "The “Christianization” of Israel and Jews in 1950s America." Religion and American Culture: A Journal of Interpretation 14, no. 1 (2004): 109–46. http://dx.doi.org/10.1525/rac.2004.14.1.109.

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AbstractIn the 1950s, the United States experienced a domestic religious revival that offered postwar Americans a framework to interpret the world and its unsettling international political problems. Moreover, the religious message of the cold war that saw the God-fearing West against atheistic communists encouraged an unprecedented ecumenism in American history. Jews, formerly objects of indifference if not disdain and hatred in the United States, were swept up in the ecumenical tide of “Judeo-Christian” values and identity and, essentially, “Christianized” in popular and political culture. Not surprisingly, these cultural trends affected images of the recently formed State of Israel. In the popular and political imagination, Israel was formed by the “Chosen People” and populated by prophets, warriors, and simple folk like those in Bible stories. The popular celebration of Israel also romanticized its people at the expense of their Arab (mainly Muslim) neighbors. Battling foes outside of the Judeo-Christian family, Israelis seemed just like Americans. Americans treated the political problems of the Middle East differently than those in other parts of the world because of the religious significance of the “Holy Land.” A man such as Secretary of State John Foster Dulles, who combined views of hard-nosed “realpolitik” with religious piety, acknowledged the special status of the Middle East by virtue of the religions based there. Judaism, part of the “Judeo-Christian civilization,” benefitted from this religious consciousness, while Islam remained a religion and a culture apart. This article examines how the American image of Jews, Israelis, and Middle Eastern politics was re-framed in the early 1950s to reflect popular ideas of religious identity. These images were found in fiction, the press, and the speeches and writings of social critics and policymakers. The article explores the role of the 1950s religious revival in the identification of Americans with Jews and Israelis and discusses the rise of the popular understanding that “Judeo-Christian” values shaped American culture and politics.

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5

Donahue, William. "The Impossibility of the Wenderoman: History, Retrospective, and Conciliation." Konturen 4 (May 13, 2013): 167. http://dx.doi.org/10.5399/uo/konturen.4.0.3191.

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“The Impossibility of the Wenderoman” argues against the conventional conception of the Wenderoman (and of thematically related films and plays) that views it essentially as a kind of cultural document of the German “Wende.” Placing the question within the larger problematic of historical fiction and political literature, this paper notes first that the very genre is itself an impossibility insofar as its boundaries are ever-expanding. The quintessential contribution of the genre, this paper argues, is twofold: retrospective and “conciliatory.” It is the first insofar as we are willing to look beyond literature and film that focuses principally on the Wende per se, and instead take Unification as a juncture from which truly to look back (taking advantage of the new temporal perspective given us by “the turn”), and thus reevaluate Cold War conventions, specifically those governing German-German and German-American cultural relations that often went unquestioned in the postwar period. In other words, the Wenderoman dimension I elaborate (drawing especially on Kempowski’s Letzte Gruesse) may contribute to a more profound understanding of the period it “closes” than the one it ostensibly celebrates and inaugurates. Secondly, the Wenderoman functions as a prominent vehicle of cultural memory, preserving various moments of a Marxist-inspired social agenda for future generations. Agamben’s notion of “the contemporary” as well as foundational concepts of “cultural memory” are useful here. The discussion features well-known films (Good Bye, Lenin! and Das Leben der Anderen), theater (Brussig’s Leben bis Maenner), as well as several novels. Whether this process of cultural “sifting” will remain purely elegiac, or serve as a resource for imagining alternative social possibilities in the future is of course impossible to know—both because it is far too general of a hypothesis, and still far too early to tell.

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6

Genter, Robert. "Constructing a Plan for Survival: Scientology as Cold War Psychology." Religion and American Culture: A Journal of Interpretation 27, no. 2 (2017): 159–90. http://dx.doi.org/10.1525/rac.2017.27.2.159.

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AbstractDeveloped in the early 1950s by science fiction writer L. Ron Hubbard, Scientology was part of the larger postwar therapeutic culture that blended religion and psychology in a search for mental well-being. Unlike contemporaneous self-help gurus such as Norman Vincent Peale and Harry Overstreet, however, Hubbard painted a much bleaker portrait of modern life, one rife with forces of psychological and social control. Railing against communists, homosexuals, and feminists as well as against the decay of the family and the rise of the welfare state, Hubbard argued that Americans suffered from a waning sense of ontological security, living in a world that provided no support for self-identity. Hubbard refused, however, to shrink from such changes and lapse into nostalgia for a pre-modern, pre-technological world like Peale and others did; instead, he offered a way for individuals to appropriate the dynamism of modernity for themselves. As advanced industrialization erased distances between societies, revolutionized transportation, and computerized information systems, Hubbard reimagined the self as spiritual being possessing precisely those powers to manipulate time and space and to remake the world at large. Borrowing freely from Eastern religious ideas, cybernetic theory, and German idealism, Hubbard produced a philosophy that was staunchly libertarian, spiritual, and future-oriented, one that tapped into Cold War fears about psychological manipulation and waning personal autonomy and into dreams about the immanent power of human beings.

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7

McGurl. "The Program Era: Pluralisms of Postwar American Fiction." Critical Inquiry 32, no. 1 (2005): 102. http://dx.doi.org/10.2307/3651477.

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McGurl, Mark. "The Program Era: Pluralisms of Postwar American Fiction." Critical Inquiry 32, no. 1 (September 2005): 102–29. http://dx.doi.org/10.1086/498006.

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9

Alvarez, David. "American Clandestine Intelligence in Early Postwar Europe." Journal of Intelligence History 4, no. 1 (June 2004): 7–24. http://dx.doi.org/10.1080/16161262.2004.10555091.

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10

JEWETT, ANDREW. "PARSING POSTWAR AMERICAN RATIONALITY." Modern Intellectual History 13, no. 2 (April 22, 2015): 555–68. http://dx.doi.org/10.1017/s1479244314000894.

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The “long 1950s,” once written off as a conservative era, now figure in many histories as the height of American “high modernity,” the apogee of a scientific outlook rooted in instrumental reason. This portrait suggests that the “Enlightenment project” took firm hold of American thought and culture in the early Cold War years, having finally defeated those who sought to yoke scientific rationality to one or another system of moral restraints. Despite nascent movements of opposition, the story goes, a rationalistic, technocratic form of liberalism dominated national life until the left and right mobilized against it in the 1960s.

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11

WOOD, SARAH F. "HISTORICAL CAMEOS IN EARLY AMERICAN FICTION." Notes and Queries 47, no. 3 (September 1, 2000): 328–29. http://dx.doi.org/10.1093/nq/47-3-328.

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12

WOOD, SARAH F. "HISTORICAL CAMEOS IN EARLY AMERICAN FICTION." Notes and Queries 47, no. 3 (2000): 328–29. http://dx.doi.org/10.1093/nq/47.3.328.

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13

Larbalestier, Justine. "The New York Nexus and American Science Fiction in the Postwar Period." Extrapolation 43, no. 3 (January 2002): 277–87. http://dx.doi.org/10.3828/extr.2002.43.3.05.

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14

Arora, Anupama, and Rajender Kaur. "Writing India in Early American Women’s Fiction." Early American Literature 52, no. 2 (2017): 363–88. http://dx.doi.org/10.1353/eal.2017.0029.

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15

Strychacz, T. "A Novel Marketplace: Mass Culture, the Book Trade, and Postwar American Fiction * A Novel Marketplace: Mass Culture, the Book Trade, and Postwar American Fiction * Frantic Panoramas: American Literature and Mass Culture, 1870-1920." American Literature 83, no. 3 (January 1, 2011): 678–80. http://dx.doi.org/10.1215/00029831-1339971.

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16

Callahan, Cynthia. "Bad Seeds and Wayward Boys in Postwar Adoption Fiction." Twentieth-Century Literature 67, no. 1 (March 1, 2021): 75–99. http://dx.doi.org/10.1215/0041462x-8912286.

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The concept of the “bad seed,” a child whose negative hereditary traits will unleash chaos on an unsuspecting family, has to this day informed responses to adoption, a relic of William March’s 1954 novel, The Bad Seed, and its 1956 film adaptation. A closer look at other mid-twentieth-century American adoption narratives suggests, however, that inherited traits were not the only concerns, an argument this essay pursues by considering March’s novel and its film adaptation alongside Richard Wright’s posthumously published novella Rite of Passage. All of the texts share certain formal features, such as the adopted/fostered characters’ abrupt discovery of their adoptive status and the presence of psychological discourses in representing the distress of learning that new information. They come to very different conclusions, however, about the root cause of the adopted characters’ tragic outcomes. While The Bad Seed novel and film imagine an adoptee compelled by violent ancestral urges, in Wright’s text the fate of the adopted/foster child is most profoundly shaped by the structures of the social system itself. Rite of Passage provides a useful corrective to the stubborn endurance of the bad seed narratives’ determinism, drawing on many of the same discourses that inform both novel and film to offer an alternative perspective on race, gender, heredity, and adoption from the 1940s and 1950s.

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17

Wilkens, Matthew. "Nothing as He Thought It Would Be: William Gaddis and American Postwar Fiction." Contemporary Literature 51, no. 3 (2010): 596–628. http://dx.doi.org/10.1353/cli.2010.0022.

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18

Ryan, James Emmett. "Imaginary Friends: Representing Quakers in Early American Fiction." Studies in American Fiction 31, no. 2 (2003): 191–220. http://dx.doi.org/10.1353/saf.2003.0001.

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19

Demos, John. "Reenacting an Early American Life: Fiction as History." Early American Literature 55, no. 1 (2020): 7–19. http://dx.doi.org/10.1353/eal.2020.0002.

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20

Tobeck, Janine. "Brier, Evan. 2010. ANovel Marketplace: Mass Culture, the Book Trade, and Postwar American Fiction." Textual Cultures 7, no. 1 (April 2012): 210–13. http://dx.doi.org/10.2979/textcult.7.1.210.

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21

TEATHER, ELIZABETH KENWORTHY. "Early postwar Sydney: a comparison of its portrayal in fiction and in official documents." Australian Geographical Studies 28, no. 2 (October 1990): 204–23. http://dx.doi.org/10.1111/j.1467-8470.1990.tb00613.x.

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22

Martin, Theodore. "War-on-Crime Fiction." PMLA/Publications of the Modern Language Association of America 136, no. 2 (March 2021): 213–28. http://dx.doi.org/10.1632/s003081292100002x.

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AbstractThis essay tells the story of how the War on Crime helped remake American crime fiction in the 1960s and 1970s. Amid starkly racialized public anxieties about rising crime rates and urban uprisings, Lyndon B. Johnson officially launched the War on Crime in 1965. The cultural logic of Johnson's crime war infiltrated various kinds of crime writing in the ensuing decade. Tracking the crime war's influence on the police procedurals of Joseph Wambaugh; the Black radical novels of Sam Greenlee, John A. Williams, and John Edgar Wideman; and the vigilante fiction of Donald Goines and Brian Garfield, I argue that crime fiction in the War-on-Crime era emerged as a key cultural site for managing divergent political responses to a regime of social control that worked by criminalizing both race and revolt. By studying how novelists responded to the formative years of the War on Crime, we can begin to understand the complex role that literature played in alternately contesting and abetting the postwar transformation of the United States into a carceral state.

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23

Wilhelm, Thorsten. "Historical Contemporaneity and Contemporaneous Historicity: Creation of Meaning and Identity in Postwar Trauma Narratives." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 19–35. http://dx.doi.org/10.5195/contemp.2017.206.

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This paper contends that traumatic memories are not inherently memories of an experienced trauma. It explores a new perspective on post-1945 Jewish-American fiction. Analyzing Jewish-American novels from three generations—survivors, their children, and their grandchildren—the author traces the trajectories and changing perspectives in the narrative productions of these three generations. The analysis uses Jeffrey Alexander’s theory of cultural trauma to analyze generational trajectories in identity formations.

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24

ELMER, J. "Melancholy, Race, and Sovereign Exemption in Early American Fiction." Novel: A Forum on Fiction 40, no. 1-2 (March 1, 2006): 151–70. http://dx.doi.org/10.1215/ddnov.040010151.

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25

Russell, Patrick. "Dust and Shadows … A Progress Report." Journal of British Cinema and Television 10, no. 3 (July 2013): 415–29. http://dx.doi.org/10.3366/jbctv.2013.0148.

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This article considers postwar British documentary films in light of recent curatorial initiatives and wider historiographical issues. The article places the BFI's 2010 Shadows of Progress project in the context of a wider and substantial shift of perception of non-fiction film in the early twenty-first century, which has caused the canon of British documentaries to increase in size, scope and profile. The article argues that archivists, media producers and the general public have played at least as large a role in these developments as scholars of the documentary film. The article summarises some of the key features of postwar British documentary as it is now understood and mentions other aspects of postwar, and other, British factual film meriting future research.

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26

Sweeney, Meghan M. "Junior Brides in Junior Novels: Teen Wedding Dreams and Female Agency in Postwar American Girls' Fiction." Lion and the Unicorn 43, no. 3 (2019): 367–86. http://dx.doi.org/10.1353/uni.2019.0041.

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27

West, K. "The Web of Iniquity: Early Detective Fiction by American Women." American Literature 74, no. 1 (March 1, 2002): 148–49. http://dx.doi.org/10.1215/00029831-74-1-148.

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Schofield, Mary Anne, and Catherine Ross Nickerson. "The Web of Iniquity: Early Detective Fiction by American Women." Journal of American History 87, no. 3 (December 2000): 1027. http://dx.doi.org/10.2307/2675324.

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Wardley, Lynn, and Catherine Ross Nickerson. "The Web of Iniquity: Early Detective Fiction by American Women." South Central Review 18, no. 3/4 (2001): 126. http://dx.doi.org/10.2307/3190362.

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30

Bradley, Andrea, and Catherine Ross Nickerson. "The Web of Iniquity: Early Detective Fiction by American Women." Tulsa Studies in Women's Literature 19, no. 1 (2000): 151. http://dx.doi.org/10.2307/464419.

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31

Klimasmith, B. "Perfecting Friendship: Politics and Affiliation in Early American Literature; Beautiful Enemies: Friendship and Postwar American Poetry." American Literature 81, no. 3 (January 1, 2009): 615–17. http://dx.doi.org/10.1215/00029831-2009-029.

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32

Mulhern, Chieko Irie. "Japanese Harlequin Romances as Transcultural Woman's Fiction." Journal of Asian Studies 48, no. 1 (February 1989): 50–70. http://dx.doi.org/10.2307/2057664.

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My country “is now wholly given over to a d—d mob of scribbling women,” goes one of the most frequently quoted gender-related adages. Japanologists might be tempted to attribute this uncourtly utterance to a learned nobleman of Heian Japan (794–1185) embittered by the outpouring of vernacular narratives from women's writing brushes that were eclipsing male endeavors to emulate Chinese classics, or to an exasperated modern Japanese novelist in reference to the neo-Heian phenomenon, namely, the renaissance of women's literature in postwar Japan. Actually it was Nathaniel Hawthorne (1855:141) who made the now infamous sexist remark in chagrin at American women who were churning out best-sellers in force. Thereafter, this phenomenon abated for a full century, but since the 1960s, Western women writers have made a glorious resurgence, marked by unprecedented degrees of output and worldwide market domination in a genre known as the romance fiction. The title of the first romance series and the name of its publisher, Harlequin, has become something like a generic term with multiple signification.

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33

Quendler, Christian. "Framing National, Literary, and Gender Identities in Early American Epistolary Fiction." Polysèmes, no. 11 (January 1, 2011): 87–113. http://dx.doi.org/10.4000/polysemes.642.

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34

Peplinski, Maciej. "Gatunek na usługach doktryny. Ideologia w polsko-enerdowskiej koprodukcji Milcząca gwiazda." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 77–97. http://dx.doi.org/10.14746/i.2020.37.05.

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The East German-Polish co-production The Silent Star (1960, Kurt Maetzig) belongs to the group of early postwar Eastern European science fiction films which still remain barely examined by film and genre historians. The article summarizes the existing research on the film and investigates not only the specific formal character of Maetzig’s unprecedented project, but also the numerous ideological and political motivations which stood behind it.

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35

Krause, Scott H. "Neue Westpolitik: The Clandestine Campaign to Westernize the SPD in Cold War Berlin, 1948–1958." Central European History 48, no. 1 (March 2015): 79–99. http://dx.doi.org/10.1017/s0008938915000047.

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AbstractThis article focuses on the joint campaign of “remigrés” and American authorities to “westernize” the local Social Democratic Party (SPD) in Berlin during the early Cold War. The years 1948 to 1958 witnessed one of postwar Germany's most bitter intraparty struggles for leadership within the Berlin SPD, where a faction of remigrés led by Ernst Reuter and Willy Brandt wrestled for control with the so-calledKeulenriegearound Franz Neumann. Examining clandestine American support for the remigré faction, which included favorable media coverage and considerable financial contributions, this article focuses in particular on the political maneuvering of a German-American network around Shepard Stone, political advisor to U.S. Commissioner John McCloy. An investigation of the postwar power struggle within the Berlin SPD offers fresh perspectives on three related subjects: the role of remigrés in postwar Germany history; the political clout of informal German-American networks; and West Berlin as an alternative laboratory of German democratization.

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36

Castiglia, Christopher. "Revolution Is a Fiction: The Way We Read (Early American Literature) Now." Early American Literature 51, no. 2 (2016): 397–418. http://dx.doi.org/10.1353/eal.2016.0033.

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37

Evans, Taylor. "The Race of Machines: Blackness and Prosthetics in Early American Science Fiction." American Literature 90, no. 3 (September 1, 2018): 553–84. http://dx.doi.org/10.1215/00029831-6994805.

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38

polan, dana. "James Beard's Early TV Work: A Report on Research." Gastronomica 10, no. 3 (2010): 23–33. http://dx.doi.org/10.1525/gfc.2010.10.3.23.

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Through the discovery at the Library of Congress of some surviving audio tapes and of NBC log books, this essay seeks to provide more detailed description than hitherto available of James Beard's contributions to cooking pedagogy on American television in the immediate postwar period (specifically, 1946––47). The essay examines the style and content of Beard's pedagogy on three series, Radio City Matinee, For You and Yours, and I Love to Eat. Beard's television efforts are situated in relation to his first efforts as a public propagandist for good American cuisine in his cookbooks of the first part of the 1940s.

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39

Ahokas, Pirjo. "Jewish/Christian symbolism in Bernard Malamud's novel God's grace." Nordisk Judaistik/Scandinavian Jewish Studies 7, no. 2 (September 1, 1986): 84–91. http://dx.doi.org/10.30752/nj.69408.

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Besides being one of the major American authors of the postwar period, Bernard Malamud is also one of the leading representatives of contemporary Jewish fiction. When God's Grace was published, it received very mixed reviews and the novel is likely to remain one of Malamud’s most controversial books. Part of the audience’s puzzlement derives from the fact that with its grotesque characters and strange events God’s Grace seems to defy definition. The novel is filled with literary references and biblical symbolism that mainly draws on Genesis and on the apocalyptic tradition fused with elements of Messianism. The author discusses the genre problem of God’s Grace by outlining some of its background in contemporary America fiction and then analyzing the meaning and effect of Malamud’s use of Jewish/Christian symbolism to enhance the valuable aspects of the Jewish inheritance.

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40

Mastanduno, Michael. "Trade as a strategic weapon: American and alliance export control policy in the early postwar period." International Organization 42, no. 1 (1988): 121–50. http://dx.doi.org/10.1017/s0020818300007153.

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The study of postwar American foreign economic policy recently has been informed by a dual conventional wisdom: that the American state is relatively weak domestically, yet powerful internationally. Domestic weakness refers to the ability of private actors to penetrate and influence the state; to the institutional fragmentation and decentralization of the state apparatus; and to the difficulties state officials encounter in extracting resources from domestic society and in achieving their policy preferences in the face of domestic opposition. International strength, on the other hand, refers to the high degree of resources controlled by the United States relative to other nation-states, and to the ability of state officials to translate those resources into influence over international outcomes. In the early postwar period, America's external strength more than compensated for its internal weakness, and enabled state officials to pursue effectively their primary foreign economic policy objective: the creation of a liberal international economic order, characterized by the free movement of goods and capital across borders and by stable exchange rates.

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41

MACKINTOSH, JONATHAN D. "Bruce Lee: A visual poetics of postwar Japanese manliness." Modern Asian Studies 48, no. 6 (October 23, 2013): 1477–518. http://dx.doi.org/10.1017/s0026749x13000437.

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AbstractFist of Fury, starring Bruce Lee, debuted in Japan in 1974. Whilst its critical reception reflected its box-office success, a complex emotional reaction is nevertheless detectable towards the film's unsympathetic portrayal of the Japanese. This paper will explore this reaction and suggest that a post-colonial angst was piqued, one that betrayed fundamental shifts in current racial, erotic, cultural, moral, and historical understandings of Japanese manliness. At one level, the response to Lee is a hermeneutic cue into the manifold ways that this angst was constructed through contesting understandings of an emergent China and unresolved memories concerning failed imperial Japanese adventure. At another level, the phenomenon of Lee's Japanese reception points to longer-term shifts in the visual-cultural representation of masculinity: vulnerability as articulated in the cinema's ‘new man’, male nudity as ‘discovered’ in women's magazines, and most potently, modern Japanese manliness to challenge American neo-colonial hegemony. It is this panorama of masculinity that this paper seeks to open through an inter-disciplinary survey of a variety of media—film, pulp fiction, women's magazines, andhomoporn; a panorama into which Bruce Lee exploded on screen, alerting us to the images and contradictory aspirations that script a visual poetry of Japanese manliness.

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42

Seed, David. "The Flight from the Good Life: Fahrenheit 451 in the Context of Postwar American Dystopias." Journal of American Studies 28, no. 2 (August 1994): 225–40. http://dx.doi.org/10.1017/s0021875800025470.

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Surveying the American scene in 1958, Aldous Huxley recorded his dismay over the speed with which Brave New World was becoming realized in contemporary developments: “The nightmare of total organization, which I had situated in the seventh century After Ford, has emerged from the safe, remote future and is now awaiting us, just around the next corner.” Having struck a keynote of urgency Huxley then lines up a series of oppositions between limited disorder, individuality and freedom on the one hand, and order, automatism and subjection on the other in order to express his liberal anxieties that political and social organization might hypertrophy. Huxley sums up an abiding fear which runs through American dystopian fiction of the 1950s that individuals will lose their identity and become the two-dimensional stereotypes indicated in two catch-phrases of the period: the “organization man” and the “man in the grey flannel suit. ” William H. Whyte's 1956 study diagnoses the demise of the Protestant ethic in American life and its replacement by a corporate one which privileges “belongingness. ” The result might be, he warns, not a world controlled by self-evident enemies familiar from Nineteen Eighty-Four, but an antiseptic regime presided over by a “mild-looking group of therapists who, like the Grand Inquisitor, would be doing what they did to help you.”

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Seltzer, Andrew. "Causes and Consequences of American Minimum Wage Legislation, 1911–1947." Journal of Economic History 55, no. 2 (June 1995): 376–78. http://dx.doi.org/10.1017/s0022050700041139.

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Although in the last two decades there have been literally hundreds of studies of postwar minimum wage legislation, there have been but a handful of studies of the first federal minimum wage, the Fair Labor Standards Act of 1938 (FLSA), and no studies of the state laws that preceded it.1 My dissertation attempts to bridge this gap by examining the political economy and effects of early American minimum wage legislation.

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King, Don. "The Early Writings of Joy Davidman." Journal of Inklings Studies 1, no. 1 (April 2011): 47–67. http://dx.doi.org/10.3366/ink.2011.1.1.6.

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Joy Davidman’s place in the canon of twentieth century American literature deserves more attention than it has heretofore received. For instance, in her role in the late 1930’s as poetry editor for New Masses (the weekly voice of the Communist Party of the United States of America), Davidman published poets such as Langston Hughes, Margaret Walker, Alexander Bergman, and Aaron Kramer. At the same time, her poems in Letter to a Comrade (1938) touting a Communist agenda, while clearly written in the tradition of “proletarian literature,” are nonetheless well done; although a political agenda drives her selection of subject matter in these poems, they are not simply set pieces. She uses irony effectively and her imagery is evocative and striking. In fact, Davidman was very much a conscious craftswoman, spending the summers of 1938, 1940, 1941, and 1942 at the MacDowell Colony, a writers’ retreat in New Hampshire, where she honed her skills. For instance, her best piece of fiction, Anya (1940), is a direct result of her time at the colony. She understood the intellectual energy it takes to become an effective writer of poetry, fiction, and non-fiction, and she never backed away from hard work. Her commitment to writing—especially her voice, her rhetoric, her style, and the literary influences informing her work—merit more scholarly attention. In this essay I explore Davidman’s early devotion and commitment to the craft of writing; in addition, I evaluate the poems, fiction, and non-fiction she produced before she wrote for New Masses and published Letter to a Comrade.

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Bashevkin, Sylvia. "Rethinking Retrenchment: North American Social Policy during the Early Clinton and Chrétien Years." Canadian Journal of Political Science 33, no. 1 (March 2000): 7–36. http://dx.doi.org/10.1017/s0008423900000020.

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Since the mid–1990s, comparative research on welfare state evolution has contrasted the contours of postwar social policy expansion with the parameters of contemporary programme retrenchment. Paul Pierson's 1994 account of pension, housing and income support policies in the United Kingdom and the United States during the Thatcher and Reagan years proposed two core arguments with this literature: first, welfare state expansion and contraction were governed by fundamentally different dynamics; and second, even conservative, ideologically committed political executives found it hard to impose radical social policy changes. Because “the welfare state has proved to be far more resilient than other key components of national political economies.” Pierson has maintained, “retrenchment is a distinctive and difficult political enterprise.”

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Biggs, James. "Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs." LUX 3, no. 1 (November 13, 2013): 1–24. http://dx.doi.org/10.5642/lux.201303.02.

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Joengmeen Gye. "Gender, Crime, (Woman) Detective: Sexual Politics of Early British and American Detective Fiction." Journal of English Language and Literature 56, no. 5 (December 2010): 931–46. http://dx.doi.org/10.15794/jell.2010.56.5.007.

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Barth, Josie Torres. "Sitting Closer to the Screen: Early Televisual Address, the Unsettling of the Domestic Sphere, and Close Reading Historical TV." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 31–61. http://dx.doi.org/10.1215/02705346-7772375.

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This article makes a case for formal analysis of historical TV through close readings that demonstrate the ways in which postwar television unsettled the domestic sphere. While scholars of historical television have dismissed formal criticism for its ignorance of contexts of production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment and the private sphere of the home. These newly blurred boundaries had profound implications for postwar conceptions of gender, home, and family. Through both form and content, programs as wide-ranging as the science-fiction anthology The Twilight Zone (CBS, 1959–64) and domestic sitcoms The George Burns and Gracie Allen Show (CBS, 1950–58) and The Adventures of Ozzie and Harriet (ABC, 1952–66) developed modes of address to articulate and work through their viewers’ anxieties. In order to probe the wide-reaching implications of the new medium’s intimate address, I argue that scholars of historical television must be as attentive to program content, textuality, and form as they are to technological and industrial developments.

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LOHMAN, LAURA. "Singing “Past, Present and Future”: Music in Early American Commemoration." Journal of the Society for American Music 15, no. 2 (May 2021): 192–223. http://dx.doi.org/10.1017/s1752196321000031.

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AbstractConstantly fearful about the fragility of the young republic in the decades following the Revolutionary War, Americans assiduously organized commemorative rituals. While historians have examined these commemorations, music's place in them has yet to be fully understood. By highlighting key themes in cross-regional, cross-racial discourse on commemoration and drawing on rich records preserved from Bennington, Vermont, this article exposes the varied purposes for which Americans used music in commemorations from the 1780s to the 1810s. In early postwar commemorations, Benningtonians used music to emphasize gratitude and virtue and educate local youth about proper behavior. As political rifts developed in the 1790s, community members also used music to articulate contemporary politics in terms of the revolutionary past and exhort their neighbors to take political action. To sustain these practices as new generations matured without firsthand experience of the war, locals used music to cultivate stronger ties to the battle. As Bennington illustrates, music provided a powerful means of shaping Americans’ perceptions of the past to urge them to action in the present for outcomes envisioned in the future, compellingly anchored in terms of gratitude, virtue, and memory.

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HEATH, WILLIAM. "Human, All Too Human: Thomas Berger's Crazy in Berlin." Journal of American Studies 53, no. 1 (May 2, 2017): 172–96. http://dx.doi.org/10.1017/s0021875817000421.

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Thomas Berger is best known for his western, Little Big Man, made into a film starring Dustin Hoffman, yet his Reinhart tetralogy is at least as important an achievement. Crazy in Berlin (1958), the first volume and the author's first novel, is a very ambitious work that captures postwar Berlin in telling detail. Based on Berger's experiences in the American Army during the occupation, the book displays his tragicomic vision of the human condition. The opening sections of the essay provide information about Berger's German American background while growing up in Cincinnati, a discussion of how Berger studied the political novels of his time to shape his craft, and a succinct account of the harrowing situation in postwar Berlin that Berger witnessed firsthand. Having established the most relevant contexts, the latter half of the essay provides an interpretation of the novel's central themes as well as an aesthetic evaluation of its merits as a work of fiction. While Crazy in Berlin is not without significant flaws, it is in the last analysis an impressively accomplished work, distinguished both by its memorable characters and by the author's philosophical depth. It deserves to be much better known as one of the most challenging works of his distinguished career.

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