scholarly journals DIASPORA TRANSITION-THE GERMAN REFUGEE BY BERNARD MALAMUD – INTRODUCTION AND ANALYSIS

2020 ◽  
Vol 3 (1) ◽  
pp. 43-47
Author(s):  
Preeti Oza ◽  
Ashmi Sheth
Keyword(s):  
New York ◽  
New York City ◽  
Short Stories ◽  
World War Ii ◽  
Social Realism ◽  
World War ◽  
Bernard Malamud ◽  
The Social ◽  
Favorite Color ◽  
Talented Artist

Malamud emerged as a talented artist, depicting the life of the Jewish poor in New York. His creative works are appreciated for his allegory and mastery in the art of storytelling. Malamud was the son of Jewish grocers and he grew up in a predominantly Jewish neighborhood in Brooklyn. Some argue that this was the reason that he wrote stories "set in small, prisonlike stores of various kinds" Malamud explores the social realism and ethnic identity in most of his short stories – ‘The Jew Bird,’ ‘Black is my Favorite Color’, ‘The German Refugee’. Malamud's fictional works also include themes of compassion, redemption, new life, the potential of meaningful suffering and self-sacrifice, all of which can be found in “The German Refugee” "The German Refugee" concludes Bernard Malamud's second collection of short stories, Idiots First (1963). The setting is New York City in the summer of 1939, just before the outbreak of World War II.

scholarly journals Police Misconduct, Community Opposition, and Urban Governance in New York City, 1945–1965

2015 ◽  
Vol 44 (4) ◽  
pp. 643-668 ◽  
Author(s):  
Themis Chronopoulos
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
Urban Governance ◽  
Police Department ◽  
Police Misconduct ◽  
World War ◽  
Police Reform ◽  
Black Freedom

In the post–World War II period, the police department emerged as one of the most problematic municipal agencies in New York City. Patrolmen and their superiors did not pay much attention to crime; instead they looked the other way, received payoffs from organized crime, performed haphazardly, and tolerated conditions that were unacceptable in a modern city with global ambitions. At the same time, patrolmen demanded deference and respect from African American civilians and routinely demeaned and brutalized individuals who appeared to be challenging their authority. The antagonism between African Americans and the New York Police Department (NYPD) intensified as local and national black freedom organizations paid more attention to police behavior and made police reform one of their main goals.

“The Child Is Never Basically Bad”

2019 ◽  
pp. 13-38
Author(s):  
Carl Suddler
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
Juvenile Justice System ◽  
Youth Crime ◽  
World War ◽  
Criminal Behaviors ◽  
Depression Era ◽  
The City

This chapter focuses on the juvenile justice system and its related efforts to address youth crime in New York City before World War II. From the 1930s to the onset of the war, there was a nationwide tension about how to address crime. In New York City, this debate had racial, political, and social implications that persisted beyond the period. On one side, there were those, such as New York City mayor Fiorello La Guardia, who believed crime in the city was rampant and that an increased carceral sovereignty, including preventive policing, was critical to establish order. On the other side, there were those, such as Jane M. Bolin, who rejected such logic and aspired to advance a neo-Progressive rationale that emphasized the correction of social ills contributing to criminal behaviors—regardless of the numbers. This chapter provides a sketch of Harlem during the Depression era, with an emphasis on black youths and various crime-prevention effortsthey encountered.

Florence Jaffray Harriman

2019 ◽  
pp. 54-77
Author(s):  
Philip Nash
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
Democratic Party ◽  
World War ◽  
The Face ◽  
Party Activist ◽  
Franklin Roosevelt

This chapter looks at the tenure of Florence Jaffray Harriman, minister to Norway (1937–1941). Harriman was a prominent New York City socialite and Democratic Party activist. President Franklin Roosevelt agreed to send the sixty-six-year-old Harriman to Norway because it was a small, neutral country unlikely to become involved in a European war. When World War II broke out in 1939, Harriman was caught in the midst of it. She performed admirably in the episode involving the City of Flint, a US merchant vessel captured by the Germans, and even more so when the Nazis invaded Norway in April 1940. Harriman risked her life trying to keep up with the fleeing Norwegian leadership, which was being pursued by German forces. Her performance in the face of such danger earned her widespread praise, further strengthening the case for female ambassadors.

The Swash and the Buckler

2017 ◽  
Author(s):  
Alan K. Rode
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
Santa Fe ◽  
World War ◽  
Santa Fe Trail

Curtiz directed The Sea Hawk, an epic swashbuckler starring Errol Flynn. Shot on the studio’s Stage 21, which could be flooded with water and included two hydraulically operated ship sets, the picture was personally crafted by Curtiz, who shot unauthorized action scenes instead of relying on stock footage that Hal Wallis wanted to use. The picture was a smash, although Flynn had become increasingly upset about his typecasting and working with Curtiz. Also explored is a famous Curtiz anecdote that illustrates the director’s total focus on realism and disregard for the safety of performers. After a whirlwind trip to New York City, Curtiz directed the notoriously inaccurate Santa Fe Trail, with Flynn and de Havilland, and an outstanding version of Jack London’s The Sea Wolf, starring Edward G. Robinson, Ida Lupino, and John Garfield. Curtiz and Flynn had a final falling-out during Dive Bomber, a Technicolor tribute to the aerial navy. Flynn physically attacked the director, and the pair never worked together again.Although bereft of Warner’s top male star, Curtiz would move on to his greatest films as World War II began.

Epilogue

2017 ◽  
Author(s):  
Simone Cinotto
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
Cultural Difference ◽  
American Identity ◽  
The Self ◽  
Food Culture ◽  
World War ◽  
Italian American ◽  
Italian Immigrants

This epilogue examines how the distinctiveness of Italian food has been shaped by continuous transformations and adaptations to a changing Italian America and American culture since World War II. From domestic kitchens to luxurious restaurants, Italian immigrants framed a food culture that created a nation and shaped their self-representation as a group. However, Italian American food culture underwent various changes. The meanings of Italian American food were reworked in the neoliberal landscape of deindustrialization, globalization, and a postmodern culture in which “the self” was created through consumption and where cultural difference became just another commodity. A new group of middle-class Italian immigrants to New York City started to reshape Italian food in America by detaching it from its immigrant origins and relocating it within the “authentic” traditions of Italian regional cuisine. Despite all these changes, and even as the ground for Italian American identity has shifted, Italian American food continues to convey a lifestyle, a taste, and a history.

New Wind

2018 ◽  
Author(s):  
Andrew Cornell
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
College Graduates ◽  
Occupy Wall Street ◽  
World War ◽  
Wall Street ◽  
Little Magazines ◽  
New Generation

Something of a revolution in anarchist thought occurred during the 1940s and early 1950s, much of it centered in New York City. World War II divided the small contingent of U.S. anarchists active during the Depression years, as many movement veterans reluctantly endorsed the Allies as the only viable means of defeating fascism. However, a new generation of activists -- many of them recent college graduates -- established journals and organizations that rejected participation in the war, often on pacifist grounds, and that began to reevaluate central tenets of anarchist theory. This chapter explores the milieu that developed in New York City, Woodstock, NY, and rural New Jersey at mid-century, focusing on three "little magazines" that supported and influenced one another: Politics, Why?, and Retort. Although anarchism was at a numerical nadir during these years, a tight-knit community of artists, theorists, and radical pacifists developed ideas, tactics, and aesthetics that reshaped anarchism so fundamentally that they remain prominent today in the Occupy Wall Street demonstrations.

Interview with Mike Leigh

2017 ◽  
Author(s):  
Sean O'Sullivan
Keyword(s):  
New York ◽  
New York City ◽  
World War Ii ◽  
York City ◽  
Italian Cinema ◽  
World War ◽  
The Third ◽  
German Cinema ◽  
British Cinema

This chapter presents a distillation of a series of interviews conducted by the author. Two of these took place in London in July 2004; the third took place in New York City in October 2004. Topics discussed in these interviews include Mike Leigh's views about generations of film movements based in certain countries, such as Italian cinema during and after World War II, or German cinema in the twenties; three clear clusters in British cinema; whether he has ever felt the urge to be more literal about being a northern filmmaker; how he turns improvisations into a story; how the visual, or cinematic, enters into his process; if there is anything he misses about working in television; and the issue of closure in his films.

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