Kairos and Void

2020 ◽  
pp. 223-240
Author(s):  
Robert H. Abzug

This chapter recounts the intertwined dramas of May’s personal and professional life in the early 1960s, one that sees him participating in the founding of the Association for Humanistic Psychology and participation in the arts scene of New York even as his marriage deteriorates and reflects in some sense trends in the culture.

Author(s):  
Andrea Harris

This chapter takes a biographical approach to Lincoln Kirstein’s creation of a modernist theory of ballet to situate its development in the 1930s cultural wing of the Popular Front and explore its evolution through and after World War II. Fueled by the cultural front’s belief in the role of the arts in social revolution, Kirstein seized the opportunity to decouple ballet from existing biases about its elitism and triviality, and formulate new ideas about its social relevance in the Depression period. After exploring the development of Kirstein’s social modernism in the cultural front, chapter 2 then turns to the challenges posed to the 1930s belief that art could be productively combined with politics through two major turning points in Kirstein’s life. These are his experiences in World War II, and the erosion of his own artistic role in the ballet company after the formation of the New York City Ballet and the ascendance of George Balanchine’s dance-for-dance-sake aesthetic in the late 1940s. The chapter illustrates Kirstein’s attempts to negotiate the social modernist aesthetic he crafted under the wing of the cultural front within the volatile political, economic, and artistic circumstances of World War II, anticommunism, and the Cold War.


Author(s):  
Andrea Harris

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.


PEDIATRICS ◽  
1996 ◽  
Vol 98 (2) ◽  
pp. 268-268
Author(s):  
C. P. Darby

We must be aware that freedom from organic disease alone can not be our goal. The optimal functioning of the individual must be our aim, and that it occur in an environment conducive to a fuller life. We must be aware that man does not live by bread alone, nor by his antihypertensive pill alone. We must be citizens of the community, helping to make it a better place for the raising of our children, for a fuller educational opportunity, for the development of the arts and other cultural aspects which help raise man above the level of animal life. Thus, the making of a doctor almost begins at his mother's knee. Nurtured further by society and its educational and Cultural institutions, he is finally given a privilege by society, to act in a responsible way in furthering the health, both physical and mental, of those he calls his patients. (Delivered to medical students and faculty, School of Medicine, University of South Dakota, May 1976 by Mitchell I. Rubin, MD, Emeritus Professor of Pediatrics, State University of New York at Buffalo, and Consultant in Pediatrics, Medical University of South Carolina).


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