Passionate political disagreement is as old as the American Republic, and the antebellum era—the thirty years before the Civil War—was as rife with partisan discord as any in our history. From 1834 to 1856, the Whigs battled their opponents, the Jacksonian Democrats, for offices, prestige, and power. The partisan expression of America's rising middle class, the Whigs boasted such famous members as Henry Clay, Daniel Webster, and William Henry Seward, and the party supported tariffs, banks, internal improvements, moral reform, and public education. In The Whigs' America, Joseph W. Pearson explores a variety of topics, including the Whigs' understanding of the role of the individual in American politics, their perceptions of political power and the rule of law, and their impressions of the past and what should be learned from history. Long dismissed as a party bereft of ideas, Pearson provides a counterbalance to this trend through an attentive examination of writings from party leaders, contemporaneous newspapers, and other sources. Throughout, he shows that the party attracted optimistic Americans seeking achievement, community, and meaning through collaborative effort and self-control in a world growing more and more impersonal. Pearson effectively demonstrates that, while the Whigs never achieved the electoral success of their opponents, they were rich with ideas. His detailed study adds complexity and nuance to the history of the antebellum era by illuminating significant aspects of a deeply felt, shared culture that informed and shaped a changing nation.
A multifaceted portrait of "El Rey", the king of Latin music, this is the first in-depth historical, musical, and cultural study to trace the career and influence of Tito Puente. 57 photos.
The perils of equating notions of freedom with artistic vitality Eloquently extolled by President John F. Kennedy, the idea that only artists in free societies can produce great art became a bedrock assumption of the Cold War. That this conviction defied centuries of historical evidence--to say nothing of achievements within the Soviet Union--failed to impact impregnable cultural Cold War doctrine. Joseph Horowitz writes: “That so many fine minds could have cheapened freedom by over-praising it, turning it into a reductionist propaganda mantra, is one measure of the intellectual cost of the Cold War.” He shows how the efforts of the CIA-funded Congress for Cultural Freedom were distorted by an anti-totalitarian “psychology of exile” traceable to its secretary general, the displaced Russian aristocrat/composer Nicolas Nabokov, and to Nabokov’s hero Igor Stravinsky. In counterpoint, Horowitz investigates personal, social, and political factors that actually shape the creative act. He here focuses on Stravinsky, who in Los Angeles experienced a “freedom not to matter,” and Dmitri Shostakovich, who was both victim and beneficiary of Soviet cultural policies. He also takes a fresh look at cultural exchange and explores paradoxical similarities and differences framing the popularization of classical music in the Soviet Union and the United States. In closing, he assesses the Kennedy administration’s arts advocacy initiatives and their pertinence to today’s fraught American national identity. Challenging long-entrenched myths, The Propaganda of Freedom newly explores the tangled relationship between the ideology of freedom and ideals of cultural achievement.
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