A Global Crisis

The New Deal ◽  
2016 ◽  
Author(s):  
Kiran Klaus Patel
Keyword(s):  
United States ◽  
Great Depression ◽  
The United States ◽  
Economic Nationalism ◽  
Global Crisis ◽  
American Experience ◽  
Global Event ◽  
The Great Depression ◽  
The Way

This chapter sets the stage and interprets the Great Depression as a global event, as a time of testing for both democracy and capitalism. The Great Depression was not solely an American experience, even if the United States was one of its main origins and particularly hard-hit by its consequences. The slump had global repercussions, and it fundamentally changed the way that Americans and others were connected to and interacted with the wider world. While political reactions tended to separate and segregate, the suffering was shared across latitude and longitude. By 1933, it was still unclear whether the crisis would destroy or fundamentally transform capitalism along with the fabric of capitalist societies. In the wake of the Depression, this ambivalence reverted to economic nationalism, protectionism, and a rather parochial attitude.

scholarly journals The Nation in Depression

1993 ◽  
Vol 7 (2) ◽  
pp. 19-39 ◽  
Author(s):  
Christina D Romer
Keyword(s):  
United States ◽  
Great Depression ◽  
Aggregate Demand ◽  
The United States ◽  
Demand Shocks ◽  
American Experience ◽  
The Great Depression ◽  
The U.S

This paper examines the American Great Depression and the ways in which the U.S. experience during the 1930s resembled that of other countries in some regards and fundamentally differed in other aspects. I also evaluate the evidence on the causes of the Great Depression in the United States and the sources of the eventual recovery. The picture painted of the American Great Depression is one that stresses the importance of national, rather than international, aggregate demand shocks. The experience of the United States during the 1930s differed in important ways from that of other countries because the American experience had many uniquely American roots.

War and the Next Lesson

Money ◽  
2017 ◽  
Author(s):  
John Kenneth Galbraith ◽  
James K. Galbraith
Keyword(s):  
United States ◽  
Monetary Policy ◽  
World War Ii ◽  
Fiscal Policy ◽  
World War I ◽  
Great Depression ◽  
The United States ◽  
World War ◽  
John Maynard Keynes ◽  
The Great Depression

This chapter examines the lessons of World War II with respect to money and monetary policy. World War I exposed the fragility of the monetary structure that had gold as its foundation, the great boom of the 1920s showed how futile monetary policy was as an instrument of restraint, and the Great Depression highlighted the ineffectuality of monetary policy for rescuing the country from a slump—for breaking out of the underemployment equilibrium once this had been fully and firmly established. On the part of John Maynard Keynes, the lesson was that only fiscal policy ensured not just that money was available to be borrowed but that it would be borrowed and would be spent. The chapter considers the experiences of Britain, Germany, and the United States with a lesson of World War II: that general measures for restraining demand do not prevent inflation in an economy that is operating at or near capacity.

Our Daily Bread: ‘Cooperation’, ‘Independence’ and Politics in Mid-1930s Cinema

2016 ◽  
Author(s):  
Brian Neve
Keyword(s):  
United States ◽  
Great Depression ◽  
The United States ◽  
The State ◽  
The Great Depression ◽  
Box Office ◽  
Production History ◽  
History Of ◽  
Cooperative Activity ◽  
The Relationship

This chapter revisits and explores the production history of director King Vidor’s independently made movie, Our Daily Bread (1934), its ideological and aesthetic motifs, and its exhibition and reception in the United States and beyond, not least its apparent failure at the box office. It further considers the relationship between the film and contemporary advocacy of cooperative activity as a response to the Great Depression, notably by the California Cooperative League, Franklin D. Roosevelt’s New Deal, and Upton Sinclair’s End Poverty in California campaign for the state governorship. It also assesses the movie in relation to Vidor’s own cooperative vision through its emphasis on individuals and community as a solution to the Great Depression and the significant absence of the state in this agency.

Introduction

2017 ◽  
Author(s):  
Alanís Enciso Fernando Saúl ◽  
Russ Davidson
Keyword(s):  
United States ◽  
Great Depression ◽  
The United States ◽  
Historical Overview ◽  
The Great Depression

The introduction provides the reader with an historical overview of the Cardenas administration’s attempts to orchestrate an organized repatriation of its citizens from the United States during the years of the Great Depression. The introduction also endeavours to describe how Alanis Enciso’s overview of Mexican repatriation under the Cardenas administration differs from similar analyses, and how each of these works has influenced but ultimately differs from Enciso’s own book.

Precisionism

2018 ◽  
Author(s):  
Colin Root
Keyword(s):  
United States ◽  
Great Depression ◽  
The United States ◽  
The Great Depression ◽  
Charles Sheeler ◽  
Georgia O'keeffe ◽  
Ambivalent Attitude ◽  
Industrial Landscapes

Precisionism was a modernist art movement during the 1920s and 1930s in the United States, in which painters produced a ‘‘machine aesthetic’’ by rendering precise, geometrical forms in their works. A group of American painters originally called ‘‘The Immaculates,’’ the Precisionists celebrated new industrial landscapes of skyscrapers, factories, bridges, and other mechanized phenomena. Although they were never a formalized school and worked without a manifesto, Precisionism reflected both the exciting dynamism of the ‘‘Roaring Twenties’’ as well as the streamlined simplicity of the Great Depression. Their images produced an ambivalent attitude toward mechanization, at once praising its efficiency while condemning its dehumanization. Appearing immediately after a host of other influential modernist movements such as Cubism and Futurism, Precisionists merged the impulse toward abstraction with a photographically realistic eye. While no artist worked exclusively as a Precisionist, there were several for whom it was a formative style. Perhaps the most prolific artists who produced Precisionist works were Charles Sheeler, Charles Demuth, and Georgia O’Keeffe. Together, these three painters and several others created a distinctly American brand of imagery that was a celebration of nationhood as much as a celebration of mechanization.

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