The 1970s

2020 ◽  
Author(s):  
L. Benjamin Rolsky
Keyword(s):  
Culture Wars ◽  
Transitional Period ◽  
American People ◽  
Late 20Th Century ◽  
The Sixties ◽  
History Of ◽  
Formative Experiences ◽  
The 1960S ◽  
Nervous Breakdown ◽  
Governing Institutions

Few decades in the history of America resonate more with the American people than the 1960s. Freedom, justice, and equality seemed to define the immediate futures of many of America’s historically most ostracized citizens. Despite the nostalgia that tends to characterize past and present analyses of the sixties, this imaginative work is important to consider when narrating the subsequent decade: the 1970s. Such nostalgia in considering the 1960s speaks to a sense of loss, or something worked at but not quite achieved in the eyes of the nation and its inhabitants. What happened to their aspirations? Where did they retreat to? And, perhaps more importantly, to what extent did “the spirit” of the 1960s catalyze its antithesis in the 1970s? In many ways the 1970s was a transitional period for the nation because these years were largely defined by various instances of cultural, or tribal, warfare. These events and their key actors are often under-represented in histories of late-20th-century America, yet they were formative experiences for the nation and their legacy endures in contemporary moments of polarization, division, and contestation. In this sense the 1970s were neither “liberal” nor “conservative,” but instead laid the groundwork for such terms to calcify into the non-negotiable discourse now known simply as the culture wars. The tone of the time was somber for many, and the period may be best understood as having occasioned a kind of “collective nervous breakdown.” For some, the erosion of trust in America’s governing institutions presented an unparalleled opportunity for political and electoral revolution. For others, it was the stuff of nightmares. America had fractured, and it was not clear how the pieces would be put back together.

German New Lefts

2019 ◽  
Vol 46 (2) ◽  
pp. 117-149
Author(s):  
Terence Renaud
Keyword(s):  
New Left ◽  
Social Protest ◽  
West Germany ◽  
New Paradigm ◽  
Generational Conflict ◽  
German Student ◽  
The Sixties ◽  
Transnational Connections ◽  
History Of ◽  
The 1960S

AbstractThe New Left that arose in West Germany during the 1960s mimicked the antifascist reformations of the 1930s. For grassroots campaigns, extraparliamentary opposition groups, and radical student organizations of the postwar decades, the Marxist humanist theories and revolutionary socialist splinter groups of the interwar years served as attractive models. At the same time, the Sixty-eighter generation rebelled against a political establishment now represented by that earlier generation of neoleftist pioneers, their parents. But generational conflict was just the symptom of a deeper problem in the history of the midcentury Left: a succession of radical new lefts arose out of periodic frustration at institutionalized politics. This article explores the missing link between Germany’s antifascist and antiauthoritarian new lefts: the so-called left socialists of the 1950s. In particular, Ossip K. Flechtheim’s science of futurology and Wolfgang Abendroth’s theory of antagonistic society translated antifascism’s legacies into a new paradigm of social protest. The left socialists’ support for the embattled Socialist German Student League laid the organizational and intellectual foundation for the sixties New Left. Recent studies of the “global sixties” have shown the transnational connections between new lefts across space; this article explains their continuity across time.

The Problem of the History of Religion in America

1970 ◽  
Vol 39 (2) ◽  
pp. 224-235 ◽  
Author(s):  
Sydney E. Ahlstrom
Keyword(s):  
American Academy ◽  
Moral Dilemmas ◽  
Subject Area ◽  
Religious History ◽  
Program Committee ◽  
American Religious History ◽  
American People ◽  
History Of Religion ◽  
The Sixties ◽  
History Of

Half a year before this paper was read before a plenary session of the American Academy of Religion (26 October 1969), the program committee had requested an essay dealing in some comprehensive way with the field of American religious history. Because I would in any case have to be thinking about the introduction to my own “religious history of the American people,” I agreed.The title was sufficiently broad; and goodness knows the problems of this subject area are sufficiently large.1 Aside from innumerable large and small questions of fact there are the countless questions of emphasis and interpretation, not to mention the problem of discerning an overarching theme. I also confess great sympathy with Max Lerner's comment on the ten years he spent on America as a Civilization (1957). “I found when I came to the end of the decade,” he said, “that a number of things I had written about America were no longer valid. The American civilization had been changing drastically right under my fingertips as I was writing about it.”2 The present-day historian's predicament is, if anything, more difficult than Lerner's in that the sixties, by contrast with the fifties, have experienced a veritable earthquake of revisionism which has profoundly altered our interpretation of the entire course of American history. By reason of its screaming moral dilemmas, moreover, the decade had an especially rude impact on long accepted views of religious history. But enough of this: let us consider the substantive questions.

scholarly journals Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1

2021 ◽  
pp. 11-22
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
20Th Century ◽  
Main Idea ◽  
Social Processes ◽  
Research Subject ◽  
Late 20Th Century ◽  
Detailed Consideration ◽  
Russian Music ◽  
The Sixties ◽  
History Of ◽  
The Times

The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9.  The author considers in detail such aspects of the topic as Tishchenko’s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large orchestra compositions, the significant impact of literary concepts on the development of his symphonism. Special attention is given to Tishchenko succeeding to the great Russian symphonic tradition. The main idea of the article is that Tishchenko is one of the few in his generation who remained committed to the genre of a large “pure” symphony and succeeded to his genius teacher D. Shostakovich. A special author’s contribution to the development of the topic is a detailed consideration of all symphonic works by Tischenko. Such a research has never been held in the history of Russian music before. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonism with his time and the controversial cultural and social processes suffered by the composers of the sixties.  

Building the Black Arts Movement

2019 ◽  
Author(s):  
Jonathan Fenderson
Keyword(s):  
Critical Role ◽  
Culture Wars ◽  
Black Arts Movement ◽  
Institution Building ◽  
Black Arts ◽  
Editorial Work ◽  
History Of ◽  
The 1960S ◽  
Creative Artists

This book is the first to document and analyze Hoyt Fuller’s profound influence on the Black Arts movement. Using historical snapshots of Fuller’s life and activism as a means to rethink the period, Building the Black Arts Movement provides a fresh take on the general trajectory of African American literary (and cultural) studies as the field developed over the course of two explosive decades in the mid-twentieth century. The book argues that the Black Arts movement can be understood as a pivotal and volatile moment in the long history of America’s culture wars. Moreover, by shifting our focus from creative artists and repositioning Fuller at the center of the movement--as one of its most underappreciated architects--the book grants new insights into the critical role of editorial work, the international dimensions of the movement, the complexities of sexuality, and the challenges of Black institution building during the 1960s and ’70s.

scholarly journals Requiem for Akhmatova

2021 ◽  
pp. 1-13
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
Research Subject ◽  
Quality Performance ◽  
Late 20Th Century ◽  
Modern Language ◽  
Russian Music ◽  
Symphonic Orchestra ◽  
History Of ◽  
The 1960S ◽  
The Church

The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko “Requiem” with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the “Requiem” was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the symphonic form of the “Requiem”, differences in the interpretations of the poetic theme in the works of Tischenko and Akhmatova, the role of the symphonic orchestra and the leading singers; the author also considers an important issue of a high-quality performance of the hardest scores created by Tischenko. The main conclusion of the research is the fact that Tischenko’s “Requiem” has become an important element in the process of renovation of Russian symphonic style of the 1960s - the 1970s. As a composition, written in a modern language, it has become one of the drivers of this renovation. As such, the composition is a vocal symphony, and the composer develops the symphonic form step-by-step. The scientific novelty of the research consists in the fact that it is the first work in Russian musicology to consider Tischenko’s “Requiem” in detail, to reveal the contensive aspect of the composition, and to analyze the difficulties of performing the composition. The author reasonably reckons the symphonic composition by Tischenko among the most significant pieces in the history of Russian music.   

7. Under the Shadow of Stagflation

2017 ◽  
Author(s):  
Richard T. Griffiths
Keyword(s):  
Economic Growth ◽  
European Integration ◽  
International Monetary System ◽  
Case Law ◽  
Transitional Period ◽  
Economic Downturn ◽  
Monetary System ◽  
European Court ◽  
History Of ◽  
The 1960S

This chapter examines European integration during the 1970s. The 1970s is often portrayed as a dismal decade in the history of European integration, when the European Community (EC) experienced severe turbulence as it digested Britain's accession and was buffeted by the global economic downturn. Stagflation and Eurosclerosis — sluggish economic growth combined with institutional immobility — ensued. At the same time, however, the Community developed in important ways. The European Court of Justice generated an impressive body of case law, and the EC coped with the challenges of enlargement, the break-up of the international monetary system, and the consequences of slower economic growth. The chapter rejects the notion that the 1970s was a dismal decade in the history of European integration and describes it as a transitional period between the launch of the Community in the 1960s and the acceleration of European integration in the 1980s.

Reconciling overfishing and climate change with stock dynamics of Atlantic cod (Gadus morhua) over 500 years

2004 ◽  
Vol 61 (9) ◽  
pp. 1553-1557 ◽  
Author(s):  
G A Rose
Keyword(s):  
Little Ice Age ◽  
Gadus Morhua ◽  
Atlantic Cod ◽  
Ice Age ◽  
Production Model ◽  
Late 20Th Century ◽  
Climate Effects ◽  
Lower Productivity ◽  
History Of ◽  
The 1960S

To examine overfishing and climate effects on depleted cod (Gadus morhua) stocks, a surplus production model based on reconstructions of cod catch in Newfoundland was used to describe biomass dynamics from 1505 to 2004. Productivity parameters r (population growth rate) and K (carrying capacity) were assigned by fitting model to survey biomass. Assumptions of fishery-only influences inferring constant, random, or depensatory parameters fared poorly (did not mimic history), as did climate influences indexed by tree ring growth. However, a model using both climate and depensation fared well, mimicking much documented history of Newfoundland cod, including declines during the Little Ice Age (mid- to late 19th century) and the stock collapses of the late 20th century, with a good fit to recent scientific surveys (r2 = 0.80). This model suggests temporal differentiation between fishing and climate effects, including (i) declines during the Little Ice Age (1800–1880) caused by lower productivity, (ii) collapses in the 1960s caused by overfishing, (iii) collapses in the late 1980s caused by both, and (iv) rebuilding now hindered by depensatory effects of low numbers.

The Problem of the History of Religion in America

1988 ◽  
Vol 57 (S1) ◽  
pp. 127-138
Author(s):  
Sydney E. Ahlstrom
Keyword(s):  
American Academy ◽  
Moral Dilemmas ◽  
Subject Area ◽  
Religious History ◽  
Program Committee ◽  
American Religious History ◽  
American People ◽  
History Of Religion ◽  
The Sixties ◽  
History Of

Half a year before this paper was read before a plenary session of the American Academy of Religion (26 October 1969), the program committee had requested an essay dealing in some comprehensive way with the field of American religious history. Because I would in any case have to be thinking about the introduction to my own “religious history of the American people,” I agreed. The title was sufficiently broad; and goodness knows the problems of this subject area are sufficiently large. Aside from innumerable large and small questions of fact there are the countless questions of emphasis and interpretation, not to mention the problem of discerning an overarching theme. I also confess great sympathy with Max Lerner's comment on the ten years he spent onAmerica as a Civilization(1957). “I found when I came to the end of the decade,” he said, “that a number of things I had written about America were no longer valid. The American civilization had been changing drastically right under my fingertips as I was writing about it.” The present-day historian's predicament is, if anything, more difficult than Lerner's in that the sixties, by contrast with the fifties, have experienced a veritable earthquake of revisionism which has profoundly altered our interpretation of the entire course of American history. By reason of its screaming moral dilemmas, moreover, the decade had an especially rude impact on long accepted views of religious history. But enough of this: let us consider the substantive questions.

Jewish American Cinema

2021 ◽  
Author(s):  
Marat Grinberg
Keyword(s):  
Civil Rights ◽  
Civil Rights Movement ◽  
Culture Wars ◽  
American Jews ◽  
David Mamet ◽  
Woody Allen ◽  
American Cinema ◽  
History Of ◽  
The 1960S ◽  
The One

There is an intricate, long, and rich history of Jewish presence in Hollywood, from executives to producers to directors to screenwriters to performers. It starts with the Jewish moguls who were at the helm of most major studios in the 1920s and 30s and tried to separate as much as possible from their Jewish heritage and past. This preponderance of Jews prompted an anti-Semitic response in the American entertainment scene which could hardly be ignored. The result was an overt timidity in the representation of Jews and Jewish topics on screen, with some Jewish actors perceived as “too Jewish” for the general taste. The changes in the perception of identity in the 1960s, marked by culture wars and the Civil Rights movement, on the one hand, and the flourishing of American Jewish literature and the pride many American Jews took in Israel’s triumph in the Six-Day War of 1967, on the other, enabled a much more open and unabashed embrace of Jewishness in Hollywood. Consequently, the late 1960s usher in the New Jewish Wave, when the issues of Jewish identity and experience start to dominate the screen and are defined by such auteurs as Woody Allen, Mel Brooks, Sidney Lumet, and Paul Mazursky, and such actors as Dustin Hoffman, Barbra Streisand, Richard Dreyfuss, Eliot Gould, George Seagal, and Woody Allen throughout the 1970s and 80s. The Jewish representation grows in the 1990s and 2010s with such directors as the Coen brothers, Darren Aronofsky, David Cronenberg, David Mamet, Jonathan Glazer, Stephen Spielberg, and the Safdie brothers.

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