We Were Beautiful Gods

Max Eastman ◽  
2017 ◽  
Author(s):  
Christoph Irmscher
Keyword(s):  
New York ◽  
World War I ◽  
World War ◽  
Sense Of Humor ◽  
Military Recruitment ◽  
Charlie Chaplin ◽  
Personal Risk ◽  
Recruitment Effort ◽  
The Masses ◽  
The Military

This chapter is devoted to Max Eastman’s tempestuous relationship with the radical actress Florence Deshon (Florence Danks, 1893–1922). On behalf of the People’s Council of America for Democracy and Terms of Peace, Max lectures at great personal risk to large audiences across the nation against American involvement in World War I. Along with fellow contributors to The Masses, he survives two trials for obstructing the military recruitment effort and founds The Liberator, with Crystal as co-editor. He pays tribute to Deshon in a second volume of poetry, Colors of Life (1918), lives with her in Croton, and, after her move to Hollywood, bombards her with love letters. During a visit he introduces her to Charlie Chaplin as well as to Margrethe Mather, who takes significant photographs of Deshon and Max. Florence has an affair with Chaplin, while Max takes up with the dancer Lisa Duncan. Frustrated with Hollywood and Max, Deshon returns to New York, where she dies, likely by her own hand, on February 4, 1922. Max’s book on The Sense of Humor is dedicated to Deshon and evokes her memorable smile.

Experimental Drama and Soviet Constructivist Theater

2019 ◽  
pp. 11-24
Author(s):  
Lisa Nanney
Keyword(s):  
New York ◽  
World War I ◽  
World War ◽  
Visual Aesthetics ◽  
Political Ideas ◽  
War Novels ◽  
Literary Forms ◽  
The Press ◽  
Individual Self ◽  
The Military

By the time he served in World War I, Dos Passos was well-versed in classical and contemporary visual art and a practiced painter. The war revealed to him how organizations and forces—such as governments, corporations, the press, and the military—could subvert individual self-determination, so he brought his visual aesthetics to bear on his early writing to seek artistic methods that could combine non-verbal aesthetics with political ideas, could transcend current literary forms, and could move readers to engaged interaction and activism. Like his early anti-war novels One Man’s Initiation: 1917 (1920) and Three Soldiers (1921), his experimental plays and set designing with the New Playwrights Theatre group, which he co-founded in New York in the mid-1920s, responded to the expanded aesthetic potentials of modernism. His early dramas, such as The Garbage Man (1927), reflect his increasing awareness that the theater had to create an innovative, immersive experience to compete as a cultural and political force with film, which was rapidly assuming unparalleled power as public entertainment both in the U.S. and Russia.

Cinema's Military Industrial Complex

2018 ◽  
Keyword(s):  
World War Ii ◽  
World War I ◽  
Mobile Technologies ◽  
Industrial Complex ◽  
Physical And Mental Health ◽  
World War ◽  
Film Exhibition ◽  
Record Keeping ◽  
Military Industrial Complex ◽  
The Military

Cinema’s Military Industrial Complex examines how the American military has used cinema and related visual, sonic, and mobile technologies to further its varied aims. The essays in this book address the way cinema was put to work for purposes of training, orientation, record keeping, internal and external communication, propaganda, research and development, tactical analysis, surveillance, physical and mental health, recreation, and morale. The contributors examine the technologies and types of films that were produced and used in collaboration among the military, film industry, and technology manufacturers. The essays also explore the goals of the American state, which deployed the military and its unique modes of filmmaking, film exhibition, and film viewing to various ends. Together, the essays reveal the military’s deep investment in cinema, which began around World War I, expanded during World War II, continued during the Cold War (including wars in Korea and Vietnam), and still continues in the ongoing War on Terror.

he designs of the Russian war memorials from the World War I in the Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia: Ideas, symbols, realization

2020 ◽  
pp. 204-227
Author(s):  
Milana Živanović ◽  
Keyword(s):  
World War I ◽  
World War ◽  
War Memorials ◽  
The World ◽  
The Will ◽  
Kingdom Of Yugoslavia ◽  
The Military

The paper deals with the actions undertaken by the Russian emigration aimed to commemorate the Russian soldiers who have been killed or died during the World War I in the Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia. The focus is on the erection of the memorials dedicated to the Russian soldiers. During the World War I the Russian soldiers and war prisoners were buried on the military plots in the local cemeteries or on the locations of their death. However, over the years the conditions of their graves have declined. That fact along with the will to honorably mark the locations of their burial places have become a catalyst for the actions undertaken by the Russian émigré, which have begun to arrive in the Kingdom of Serbs, Croats and Slovenes (Kingdom of SCS) starting from the 1919. Almost at once after their arrival to the Kingdom of SCS, the Russian refugees conducted the actions aimed at improving the conditions of the graves were in and at erecting memorials. Russian architects designed the monuments. As a result, several monuments were erected in the country, including one in the capital.

Transition of the Rusins of Austria-Hungary to the bosom of Orthodoxy in the end of 19th - beginning of 20th century: Lost perspective for Russia

2020 ◽  
Vol 2020 (10-4) ◽  
pp. 196-205
Author(s):  
Vadim Mikhailov ◽  
Konstantin Losev
Keyword(s):  
World War I ◽  
Cultural Identity ◽  
Russian Empire ◽  
Orthodox Church ◽  
Negative Consequences ◽  
World War ◽  
The Russian Empire ◽  
The 19Th Century ◽  
The Military ◽  
Church Policy

The article is devoted to the issue of Church policy in relation to the Rusyn population of Austria-Hungary and the Russian Empire. In the second half of the 19th century, the policy of the Austro-Hungarian administration towards the Rusyn Uniate population of the Empire underwent changes. Russia’s victories in the wars of 1849 and 1877-1878 aroused the desire of the educated part of the Rusyns to return to the bosom of the Orthodox Church. Nevertheless, even during the World War I, when the Russian army captured part of the territories inhabited by Rusyns, the military and officials of the Russian Empire were too cautious about the issue of converting Uniates to Orthodoxy, which had obvious negative consequences both for the Rusyns, who were forced to choose a Ukrainophile orientation to protect their national and cultural identity, and for the future of Russia as the leader of the Slavic and Orthodox world.

International Opera in Nineteenth-century New York

2020 ◽  
pp. 244-269
Author(s):  
Karen Ahlquist
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
World War I ◽  
Buenos Aires ◽  
Considerable Extent ◽  
World War ◽  
Metropolitan Opera ◽  
The City

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”

scholarly journals History of the Military Nurse Corps and the 1918 Influenza Pandemic: Lessons for the 2019 Coronavirus Pandemic

2020 ◽  
Author(s):  
Laura A Talbot ◽  
E Jeffrey Metter ◽  
Heather King
Keyword(s):  
World War I ◽  
Patient Outcomes ◽  
Influenza Pandemic ◽  
Treatment Options ◽  
Primary Therapy ◽  
World War ◽  
Military Nursing ◽  
History Of ◽  
1918 Influenza ◽  
The Military

ABSTRACT During World War I, the 1918 influenza pandemic struck the fatigued combat troops serving on the Western Front. Medical treatment options were limited; thus, skilled military nursing care was the primary therapy and the best indicator of patient outcomes. This article examines the military nursing’s role in the care of the soldiers during the 1918 flu pandemic and compares this to the 2019 coronavirus pandemic.

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