Yours, Herman Hupfeld

2020 ◽  
pp. 282-295
Author(s):  
Steven C. Smith
Keyword(s):  
World War Ii ◽  
Mark Twain ◽  
World War ◽  
The Sublime ◽  
The Subject ◽  
Josef Stalin

Amid Casablanca’s many justly celebrated aspects is its soundtrack—the subject of much of this chapter. Surprisingly, Steiner hated the 1931 song “As Time Goes By,” which producer Hal Wallis insisted be featured in the underscoring (Max wanted to pen an original tune for Bogart and Bergman). But Steiner’s consummate professionalism is demonstrated by the ingenious ways he adapted Herman Hupfeld’s melody into one of the movies’ greatest love themes, in a score with many other musical highlights. This chapter also examines the ways in which Steiner’s music became part of Hollywood’s propaganda efforts during World War II, from the controversial, pro-Russia Mission to Moscow (which required the personal approval of Josef Stalin), to the sublime Americana of The Adventures of Mark Twain, one of Steiner’s most underappreciated scores.

“The heart above the ruins”: Miriam Waddington’s Poetry, the Spanish Civil War, and Jewish Canadian Literature

1969 ◽  
Vol 26 ◽  
Author(s):  
Emily Robins Sharpe
Keyword(s):  
Human Rights ◽  
World War Ii ◽  
Civil War ◽  
Spanish Civil War ◽  
World War ◽  
Canadian Literature ◽  
The Earth ◽  
The Holocaust ◽  
The Subject ◽  
War Consequences

The Jewish Canadian writer Miriam Waddington returned repeatedly to the subject of the Spanish Civil War, searching for hope amid the ruins of Spanish democracy. The conflict, a prelude to World War II, inspired an outpouring of literature and volunteerism. My paper argues for Waddington’s unique poetic perspective, in which she represents the Holocaust as the Spanish Civil War’s outgrowth while highlighting the deeply personal repercussions of the war – consequences for women, for the earth, and for community. Waddington’s poetry connects women’s rights to human rights, Canadian peace to European war, and Jewish persecution to Spanish carnage.

scholarly journals Preface: The Historical Geography of the Hungarian Nation

1996 ◽  
Vol 24 (3) ◽  
pp. 371-376
Author(s):  
Andrew Ludanyi
Keyword(s):  
World War Ii ◽  
World War I ◽  
Status Quo ◽  
World War ◽  
East Central Europe ◽  
East Central ◽  
East European ◽  
The Past ◽  
French And English ◽  
The Subject

The fate of Hungarian minorities in East Central Europe has been one of the most neglected subjects in the Western scholarly world. For the past fifty years the subject—at least prior to the late 1980s—was taboo in the successor states (except Yugoslavia), while in Hungary itself relatively few scholars dared to publish anything about this issue till the early 1980s. In the West, it was just not faddish, since most East European and Russian Area studies centers at American, French and English universities tended to think of the territorial status quo as “politically correct.” The Hungarian minorities, on the other hand, were a frustrating reminder that indeed the Entente after World War I, and the Allies after World War II, made major mistakes and significantly contributed to the pain and anguish of the peoples living in this region of the “shatter zone.”

Direct Legislation: Some Implications of Open Housing Referenda

1970 ◽  
Vol 64 (1) ◽  
pp. 124-137 ◽  
Author(s):  
Howard D. Hamilton
Keyword(s):  
World War Ii ◽  
Direct Democracy ◽  
The United States ◽  
World War ◽  
American Government ◽  
The Subject ◽  
Pass Through ◽  
Direct Legislation ◽  
Direct Government ◽  
Open Housing

Any middle-aged member of the political science guild in a retrospective mood might ponder a question: “What ever happened to direct democracy?” In our halcyon student days the textbooks discussed the direct democracy trinity—initiative, referendum, and recall—described their mechanics and variations, explained their origin in the Progressive Era, told us that the United States, Australia, and Switzerland were leading practitioners of direct democracy, cited a few eccentric referenda, gave the standard pro and con arguments, and essayed some judgments of the relative merits of direct and representative democracy. Latter day collegians may pass through the portals innocent of the existence of the institutions of direct government. Half of the American government texts never mention the subject; the others allocate a paragraph or a page for a casual mention or a barebones explanation of the mechanics.A similar trend has occurred in the literature. Before 1921, every volume of this Review had items on the referendum, five in one volume. Subsequently there have been only seven articles, all but two prior to World War II. “The Initiative and Referendum in Graustark” has ceased to be a fashionable dissertation topic, only four in the last thirty years. All but two of the published monographs antedate World War II.

scholarly journals Jesse Shera, The Wars and The Pietá

2017 ◽  
Vol 11 (2) ◽  
Author(s):  
Rodrigo Porto Bozzetti ◽  
Gustavo Saldanha
Keyword(s):  
World War Ii ◽  
Social Epistemology ◽  
Information Science ◽  
World War ◽  
Social Approach ◽  
Theoretical Formulation ◽  
Social Nature ◽  
The Future ◽  
Before And After ◽  
The Subject

The purpose of this paper, considering the relevance of Shera thoughts and its repercussions, is to reposition, in epistemological-historical terms, Jesse Shera’s approaches and their impacts according to a relation between life and work of the epistemologist. Without the intention of an exhaustive discussion, the purpose is to understand some unequivocal relations between the Shera critique for the context of its theoretical formulation and the consequences of this approach contrary to some tendencies originating from the technical and bureaucratic roots of the field (before and after World War II). It is deduced that Shera, rather than observing the sociopolitical reality and technical partner in which the texture of alibrary-based thought (but visualized by him as documentaryinformational), establishes, in his own praxis, social epistemology as a sort of "critique of the future," that is, as a praxis of the reflexive activity of the subject inserted in this episteme. In our discussion, the epistemological-social approach represents a vanguard for the context of its affirmation, a reassessment for the immediate decades to its presentation(years 1960 and 1970) and a critique for the future of what was consolidated under the notion of information Science, anticipating affirmations of "social nature" of the 1980s and 1990s in the field of information.

Constructing the Subject: South African Psychological Research before World War II

1993 ◽  
Vol 23 (2) ◽  
pp. 59-63 ◽  
Author(s):  
Johann Louw ◽  
Julie Binedell ◽  
Welmoet Brimmer ◽  
Pindi Mabena ◽  
Annemarie Meyer ◽  
...  
Keyword(s):  
World War Ii ◽  
South African ◽  
Scientific Knowledge ◽  
Psychological Research ◽  
Journal Articles ◽  
World War ◽  
The Subject ◽  
Methodological Guidelines

Thirty-three journal articles reporting empirical findings published by South African psychologists before 1939 were examined to establish the dominant research models of the time. Danziger's study provided the initial impetus as well as methodological guidelines. Findings indicate that three models of research were present, but that one, the Galtonian form of experimentation, soon dominated the field. One possible explanation is to be found in the early involvement of South African psychologists in applied and practical matters. Thus an investigative practice which enabled psychologists to develop knowledge which was relevant to the needs of socially important markets, and still be acceptable as ‘scientific’ knowledge, had significant advantages over rival investigative practices.

Ruger’s ‘Old Model’ Single-action Revolvers: A Cautionary Tale of Reproducing Historical Firearms in a Litigious Age

2021 ◽  
Vol VII (1) ◽  
pp. 61-76
Author(s):  
Ashley Hlebinsky
Keyword(s):  
World War Ii ◽  
Product Liability ◽  
Cautionary Tale ◽  
World War ◽  
Single Action ◽  
Handling Characteristics ◽  
History Of ◽  
Safety Precaution ◽  
The Subject ◽  
Initial Line

In 1953, Ruger released a single-action revolver—patterned after the original Colt Single Action Army. Whilst some changes had been made, this firearm possessed, for all intents and purposes, the handling characteristics of the original Colt design. As a result, the safety precaution was as per the original: the revolver should be loaded with five rounds, rather than six, and the hammer positioned such that it rested over an empty chamber. Despite outlining the recommended carry methods in their instruction manual, Ruger became the subject of product liability lawsuits from purchasers who incorrectly loaded and carried the firearm, resulting in negligent discharges. This article explores the history of Colt-type single-action revolvers in the post-World War II period, analyses the availability of historic mechanical safety mechanisms for double-action revolvers in the 19th and 20th centuries, and summarises the patents on single-action safeties that Ruger had received by 1973. That year, the company discontinued their initial line of Single Action Army-style revolvers—known as ‘Old Models’—for a visibly similar, but mechanically different, ‘New Model’ line of single-action revolvers featuring newly developed safety mechanisms.

Antiphonal Arts

2019 ◽  
pp. 233-266
Author(s):  
Paul Giles
Keyword(s):  
World War Ii ◽  
Visual Arts ◽  
World War ◽  
Robert Lowell ◽  
Literary Representation ◽  
The Sublime ◽  
Verse Drama ◽  
Similar Kind ◽  
Representation Of Time

This chapter considers how the literary representation of time after World War II was shaped by intersections with music and the visual arts. Taking its title from Djuna Barnes’s verse drama The Antiphon (1958), it argues that an antiphonal quality was implicit within works of canonical modernism, which similarly involve interplays between proposition and response, high and low. It suggests how a similar kind of recursive pattern informs Samuel Beckett’s narratives, organized as they are around a dialectic between nostalgia for the sublime and a cathexis of bathos. In relation to Patrick White’s burlesque styles, it argues that this can be seen not as marginal to constructions of modernism, but as endemic to modernism’s antiphonal arts. It also considers the mutual influences of White and Australian painter Sidney Nolan, while discussing the significance of the latter’s collaboration with Boston poet Robert Lowell.

Drysdale, Russell (1912–1981)

2018 ◽  
Author(s):  
Anne Gray
Keyword(s):  
World War Ii ◽  
Indigenous People ◽  
Subject Matter ◽  
New South ◽  
New South Wales ◽  
World War ◽  
Railway Stations ◽  
South Wales ◽  
The Subject ◽  
The 1960S

Russell Drysdale was an Australian artist who created an original vision of the Australian landscape from the 1940s to the 1960s, portraying the emptiness and loneliness of the Australian outback and country townships in his paintings, drawings, and photographs. During World War II, he depicted everyday subjects, including groups of servicemen waiting at railway stations. He traveled numerous times to the interior of Australia, including a trip to record the drought devastation in South Western New South Wales in 1944, where he created images that convey the environmental degradation of the landscape. In 1947, he explored the Bathurst region with Donald Friend where he discovered Sofala and Hill End, an area that served as the subject matter for his art for a number of years. Drysdale painted many images of deserted country towns as well as brooding landscapes peopled with stockmen and station hands. In his paintings of Aborigines, Drysdale expressed a deep concern for the Indigenous people, often placing them within his paintings in a manner that conveys a sense of dispossession. His work was singled out by Kenneth Clark in 1949 as being among the most original in Australian art, and his exhibition at the Leicester Galleries, London, in 1950 convinced British critics that Australian artists had an original vision.

You're a Better Filipino than I Am, John Wayne: World War II, Hollywood, and U.S.-Philippines Relations

2002 ◽  
Vol 71 (3) ◽  
pp. 389-414 ◽  
Author(s):  
Charles V. Hawley
Keyword(s):  
World War Ii ◽  
The Philippines ◽  
Turn Of The Century ◽  
Power Relationship ◽  
Colonial Rule ◽  
Colonial Power ◽  
World War ◽  
Government Officials ◽  
History Of ◽  
The Subject

Between 1939 and 1945 several Hollywood studios produced significant films set in the war-torn Philippines, including Bataan (MGM, 1943), So Proudly We Hail (Paramount, 1943),and Back to Bataan (RKO,1943). Although these films immediately preceded Philippines independence in 1946, they do not position the Philippines as a soon-to-be autonomous nation. Instead, these films reaffirm, and even celebrate, the unequal colonial power relationship that marked the history of U.S. occupation of the archipelago. A careful reading of these films, which is the subject of this article, reveals the stamina of this colonial ideology (colonial uplift, tutelage, and nation-building) that legitimized U.S. colonial rule in the Phillapines and dates back to the turn of the century. What the perpetuation of this ideology suggests is the postwar neocolonial relationship between the two nations that U.S. government officials anticipated. This revised neocolonial ideology is expressed through the racialized and gendered images of Filipino characters and their interaction with U.S. American characters. The U.S. government attempted to control such images as part of its wartime propaganda, but had to rely on the voluntary compliance of the major Hollywood studios. While the Filipinos in films like Back to Bataan, made at the war's end, appear to challenge the racist stereotypes of prior films, they are re-inscribed by a neocolonial form of U.S. supremacy—— framed as wartime U.S. guidance and Filipino dependency.

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