Anti-Communism in Twentieth-Century America
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Tseng 2003.10.24 14:06 6655 Olmsted / RED SPY QUEEN / sheet 1 of 284 QUEEN RED SPY Tseng 2003.10.24 14:06 6655 Olmsted / RED SPY QUEEN / sheet 2 of 284 3 of 284 6655 Olmsted / RED SPY QUEEN / sheet RED SPY QUEEN A Biography of ELIZABETH BENTLEY Kathryn S.Olmsted The University of North Carolina Press Chapel Hill and London Tseng 2003.10.24 14:06 4 of 284 © 2002 6655 Olmsted / RED SPY QUEEN / sheet The University of North Carolina Press All rights reserved Set in Charter, Champion, and Justlefthand types by Tseng Information Systems, Inc. Manufactured in the United States of America The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Library of Congress Cataloging-in-Publication Data Olmsted, Kathryn S. Red spy queen : a biography of Elizabeth Bentley / by Kathryn S. Olmsted. p. cm. Includes bibliographical references and index. isbn 0-8078-2739-8 (cloth : alk. paper) 1. Bentley, Elizabeth. 2. Women communists—United States—Biography. 3. Communism—United States— 1917– 4. Intelligence service—Soviet Union. 5. Espionage—Soviet Union. 6. Informers—United States—Biography. I. Title. hx84.b384 o45 2002 327.1247073'092—dc21 2002002824 0605040302 54321 Tseng 2003.10.24 14:06 5 of 284 To 6655 Olmsted / RED SPY QUEEN / sheet my mother, Joane, and the memory of my father, Alvin Olmsted Tseng 2003.10.24 14:06 Tseng 2003.10.24 14:06 6655 Olmsted / RED SPY QUEEN / sheet 6 of 284 7 of 284 Contents Preface ix 6655 Olmsted / RED SPY QUEEN / sheet Acknowledgments xiii Chapter 1. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
The Pacific Coast and the Casual Labor Economy, 1919-1933
© Copyright 2015 Alexander James Morrow i Laboring for the Day: The Pacific Coast and the Casual Labor Economy, 1919-1933 Alexander James Morrow A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: James N. Gregory, Chair Moon-Ho Jung Ileana Rodriguez Silva Program Authorized to Offer Degree: Department of History ii University of Washington Abstract Laboring for the Day: The Pacific Coast and the Casual Labor Economy, 1919-1933 Alexander James Morrow Chair of the Supervisory Committee: Professor James Gregory Department of History This dissertation explores the economic and cultural (re)definition of labor and laborers. It traces the growing reliance upon contingent work as the foundation for industrial capitalism along the Pacific Coast; the shaping of urban space according to the demands of workers and capital; the formation of a working class subject through the discourse and social practices of both laborers and intellectuals; and workers’ struggles to improve their circumstances in the face of coercive and onerous conditions. Woven together, these strands reveal the consequences of a regional economy built upon contingent and migratory forms of labor. This workforce was hardly new to the American West, but the Pacific Coast’s reliance upon contingent labor reached its apogee after World War I, drawing hundreds of thousands of young men through far flung circuits of migration that stretched across the Pacific and into Latin America, transforming its largest urban centers and working class demography in the process. The presence of this substantial workforce (itinerant, unattached, and racially heterogeneous) was out step with the expectations of the modern American worker (stable, married, and white), and became the warrant for social investigators, employers, the state, and other workers to sharpen the lines of solidarity and exclusion. -
“Salt of the Earth”. Strike Movement in Defense of Workers’ Dignity and the Birth of Female Trade Unionism»
«“SALT OF THE EARTH”. STRIKE MOVEMENT IN DEFENSE OF WORKERS’ DIGNITY AND THE BIRTH OF FEMALE TRADE UNIONISM» Luis Fernando De Castro Mejuto Specialist Judge in social jurisdiction (High Court of Justice of Galicia) Doctor of Laws (Ph. D.) 1.- FILM 1.1.- Original title Salt of the Earth 1.2.- Technical and artistic Year: 1954 Country: United States of America Director: Herbert J. Biberman Production: Adolfo Barela, Sonja Dahl Biberman and Paul Jarrico Screenplay: Michael Biberman and Michael Wilson Photo: Stanley Meredith Leonard Stark and Music: Sol Kaplan Cast: Revueltas Rosaura (Esperanza Quintero), Will Geer (Sheriff), David Wolfe (Barton), Mervin Williams (Hartwell), David Sarvis (Alexander), E. A. Rockwell (Vance), William Rockwell (Kimbrough), Juan Chacón (Ramon Quintero), Henrietta Williams, Ernesto Velasquez, Angela Sanchez, Joe T. Morales, Clorinda Alderette, Charles Coleman, Virginia Jencks, Clinton Jencks (Barnes Franco) and Victor Torres Duration: 94 minutes, w/b Language: English Release Date: 14/03/1954 1.3.- Synopsis 1 With a style similar to documentaries, historical reconstruction, the film narrates the development of a real strike at a mine in the United States in 1951. Working conditions - and treatment- of Mexican workers are much worse than those of Anglo, or more precisely, wasp [white Anglo-Saxon people] workers; against this racial discrimination they begin an indefinite strike with a picket line at the entrance of the mine, to prevent their replacing by strikebreakers. The company tries to cut that action by an injunction prohibiting picketing, without indication about relatives, a fact exploited by the miners’ wives to take ownership and obtain the main objective: corporation sits down and negotiates decent working conditions for Mexican workers and an additional one: the emancipation of women and free of the limited role they have been given so far. -
How Labor Won and Lost the Public in Postwar America, 1947-1959
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 The Fight Over John Q: How Labor Won and Lost the Public in Postwar America, 1947-1959 Rachel Burstein Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/179 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fight Over John Q: How Labor Won and Lost the Public in Postwar America, 1947-1959 by Rachel Burstein A dissertation submitted to the Graduate Faculty in History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 Rachel Burstein All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________ _______________________________________ Date Joshua Freeman, Chair of Examining Committee __________________ _______________________________________ Date Helena Rosenblatt, Executive Officer Joshua Brown Thomas Kessner David Nasaw Clarence Taylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract The Fight Over John Q: How Labor Won and Lost the Public in Postwar America, 1947-1959 by Rachel Burstein Adviser: Joshua Freeman This study examines the infancy of large-scale, coordinated public relations by organized labor in the postwar period. Labor leaders’ outreach to diverse publics became a key feature of unions’ growing political involvement and marked a departure from the past when unions used organized workers – not the larger public – to pressure legislators. -
Social Bonds, Sexual Politics, and Political Community on the U.S. Left, 1920S-1940S' Kathleen A
Social Bonds, Sexual Politics, and Political Community on the U.S. Left, 1920s-1940s' Kathleen A. Brown and Elizabeth Faue William Armistead Nelson Collier, a sometime anarchist and poet, self- professed free lover and political revolutionary, inhabited a world on the "lunatic fringe" of the American Left. Between the years 1908 and 1948, he traversed the legitimate and illegitimate boundaries of American radicalism. After escaping commitment to an asylum, Collier lived in several cooperative colonies - Upton Sinclair's Helicon Hall, the Single Tax Colony in Fairhope, Alabama, and April Farm in Pennsylvania. He married (three times legally) andor had sexual relationships with a number of radical women, and traveled the United States and Europe as the Johnny Appleseed of Non-Monogamy. After years of dabbling in anarchism and communism, Collier came to understand himself as a radical individualist. He sought social justice for the proletariat more in the realm of spiritual and sexual life than in material struggle.* Bearded, crude, abrupt and fractious, Collier was hardly the model of twentieth century American radicalism. His lover, Francoise Delisle, later wrote of him, "The most smarting discovery .. was that he was only a dilettante, who remained on the outskirts of the left wing movement, an idler and loafer, flirting with it, in search of amorous affairs, and contributing nothing of value, not even a hard day's work."3 Most historians of the 20th century Left would share Delisle's disdain. Seeking to change society by changing the intimate relations on which it was built, Collier was a compatriot, they would argue, not of William Z. -
Modern Languages Videos Use the Find
Modern Languages Videos Use the Find function to search this list Alpine Fire Director: Fredi M. Murer with Thomas Nock, Johanna Lier, Dorothea Moritz, Rolf Illig. 1986, 115 minutes, Romani with English subtitles. Surrounded by the beauty of the Swiss Alps, a family lives in sparse isolation from society. This is the story of a deaf-mute son and his sister who tries to teach him and tame his bad temper. Both are frustrated and going through adolescence without the usual emotional support of the parents. And so they turn to each other with hauntingly strange and tragic events. LLC Library CALL NO. MLFR 002 Castle: The Story of Its Construction – with book. With book. David MaCaulay. 1983, 60 minutes, English. LLC Library CALL NO. MLGP 029 Cathedral: The Story of Its Construction – with book. David MaCaulay: 1985, 60 minutes, English. LLC Library CALL NO. MLGP 030 Divine Renewal of Ise Shrine, The 198?, 60 minutes. Describes the ceremonies and rituals associated with the 60th reconstruction, moving, and dedication of the Grand Shrine of Ise in October, 1973. JCU Library CALL NO. BL2224.6.D58 Program 03&04 Program 03 Caravans of Gold. Program 04 Kings and Cities. LLC Library CALL NO. MLAF 002 Videos about Africa Cultural Comparisons La France, la Mauritania, et la Côte d’Ivoire LLC Library CALL NO. MLAF 007 Program 01&02 Program 01 Different But Equal. Program 02 Mastering a Continent. LLC Library CALL NO. MLAF 001 Program 05&06 Program 05 The Bible and the Gun. Program 06 This Magnificent African Cake. LLC Library CALL NO. -
Salt of the Earth and Free Expression: the Mine-Mill Union and the Movies in the Rocky Mountain West
New Mexico Historical Review Volume 76 Number 4 Article 4 10-1-2001 Salt of the Earth and Free Expression: The Mine-Mill Union and the Movies in the Rocky Mountain West James J. Lorence Follow this and additional works at: https://digitalrepository.unm.edu/nmhr Recommended Citation Lorence, James J.. "Salt of the Earth and Free Expression: The Mine-Mill Union and the Movies in the Rocky Mountain West." New Mexico Historical Review 76, 4 (2001). https://digitalrepository.unm.edu/ nmhr/vol76/iss4/4 This Article is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Historical Review by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. THE KEY FIGURES IN THE INDEPENDENT PRODUCTIONS CORPORATION ON LOCATION DURING FILMING OF SALT OF THE EARTH, 1953. Extreme left, Paul Jarrico; center in front ofrooftop camera, Herbert Biberman; lower right, Michael Wilson. (Collections ofthe Wisconsin Center for Film and Theater Reasearch.) Salt ofthe Earth and Free Expression THE MINE-MILL UNION AND THE MOVIES IN THE ROCKY MOUNTAIN WEST James f. Lorence n Grant County, New Mexico, a lonely corner ofa forgotten place, events I ofthe 1950S dramatized the anticommunist hysteria ofthe early postwar era. In 1950 the Bayard, New Mexico, Local 890 ofthe International Union ofMine, Mill, and Smelter Workers (Mine-Mill) struck against the Empire Zinc Corporation over economic, social, and safety issues. In this small worker community far from the modern industrial city, the union took steps to influence the definition ofcommunity and the pattern ofgender relations in ways that would alter the social structure and challenge the distribution of power in the emergentcorporate state. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
Index to Authors
LaborHistory, Vol. 43, No. 1/ 2,2002 BOOK REVIEWINDEX Aalders, Gerard andCees Wiebes. The Art Aiken, Michael,et al. Economic Failure, of Cloaking Ownership:The Secret Collab- Alienation, andExtremism. (Ross Stag- oration andProtection of theGerman War ner)10:2, 293– 295, Spring 1969. Industry bythe Neutrals— The Case of Aitken,Hugh G. J. Taylorism atWatertown Sweden. (JohnGillingham) 38:1, 148– Arsenal: Scientic Management in Action, 150,Winter 1996– 97. 1908–1915. (LaurenceB. Cohen)2:2, Abella, IrvingM. Nationalism, Communism 248–249, Spring 1961. andCanadian Labour: TheCIO, the Akin, William E. Technocracy andthe Communist Party andthe Canadian Con- American Dream: TheTechnocratic Move- gressof Labour, 1935–1956. (George S. ment, 1900–1941. (SamuelHaber) 20:3, Kealey)15:1, 130– 134, Winter 1974. 456–458, Summer 1979. Abella, Irvingand David Millar(eds.). The Alba, Victor. TheCommunist Party In CanadianWorker in theTwentieth Cen- Spain. (GeorgeEsenwein) 28:4, 578– tury. (DavidFrank) 21:4, 617– 619, Fall 583,Fall 1987. 1980. Alba, Victor. Politics andthe Labor Move- Abelove, Henry, BetsyBlackmar, Peter ment in Latin America. (SamuelL. Baily) Dimock,and Jonathan Scheer (eds.). 10:2,304– 306, Spring 1969. Visions of History. (JohnHaynes) 26:1, Aldrich, Mark. SafetyFirst: Technology, 146–147, Winter 1985. Labor andBusiness in theBuilding of Abendroth, Wolfgang. AShort History of American Work Safety,1870– 1939. (Carl theEuropean Working Class. (Peter N. Gersuny)39:2, 219– 221, May 1998. Stearns)14:2, 310– 311, Spring 1973. Alexander,John K. RenderThem Submiss- Abraham, David. TheCollapse of theWei- ive:Responses to Poverty in Philadelphia, mar Republic: Political Economy andCri- 1760–1800. (Sharon V.Salinger)26:1, sis. -
The Black Studies Controversy at Reed College, 1968–1970
Reed College Archives, photographer Stephen Robinson Robinson College Archives, photographer Stephen Reed The Black Studies Controversy at Reed College, 1968–1970 MARTIN WHITE IN A RETROSPECTIVE published in 2012, a group of scholars described some of the accomplishments of the discipline of Black Studies during its first four decades: With a beginning remarkably different than conventional academic disciplines, Black Studies emerged on the American college campus amidst Black Power protests and student demands. Now more than forty years old, Black Studies exists as an established discipline constituted by a robust scholarly discourse, STUDENT DEMONSTRATORS protest the lack of a Black Studies program at Reed College an ever-expanding body of innovative interdisciplinary literature, hundreds of outside Eliot Hall in 1968. collegiate programs at the undergraduate level, a growing number of graduate and doctoral programs, and some of the world’s most well known intellectuals.1 Proponents of the new discipline, which had its origin in the struggle for racial justice in the 1960s, could take justifiable pride in its successful estab- ings and purchase age-specific clothing and recorded music; and access lishment in academic institutions around the county. In some places where to automobiles. The process was converting young-adult producers in a Black Studies programs were instituted, however, including at Reed College family-based economy into individual consumers known as “teenagers.”2 in Portland, Oregon, initial success was not sustained, and the program This transformation was an international phenomenon, but in the United failed to take root. States it was overlaid by the twin crises that color Americans’ perception Many people experienced the 1960s as a time of disorienting changes, of that era: civil rights and the Vietnam War. -
The President's Conservatives: Richard Nixon and the American Conservative Movement
ALL THE PRESIDENT'S CONSERVATIVES: RICHARD NIXON AND THE AMERICAN CONSERVATIVE MOVEMENT. David Sarias Rodriguez Department of History University of Sheffield Submitted for the degree of PhD October 2010 ABSTRACT This doctoral dissertation exammes the relationship between the American conservative movement and Richard Nixon between the late 1940s and the Watergate scandal, with a particular emphasis on the latter's presidency. It complements the sizeable bodies ofliterature about both Nixon himself and American conservatism, shedding new light on the former's role in the collapse of the post-1945 liberal consensus. This thesis emphasises the part played by Nixon in the slow march of American conservatism from the political margins in the immediate post-war years to the centre of national politics by the late 1960s. The American conservative movement is treated as a diverse epistemic community made up of six distinct sub-groupings - National Review conservatives, Southern conservatives, classical liberals, neoconservatives, American Enterprise Institute conservatives and the 'Young Turks' of the New Right - which, although philosophically and behaviourally autonomous, remained intimately associated under the overall leadership of the intellectuals who operated from the National Review. Although for nearly three decades Richard Nixon and American conservatives endured each other in a mutually frustrating and yet seemingly unbreakable relationship, Nixon never became a fully-fledged member of the movement. Yet, from the days of Alger Hiss to those of the' Silent Majority', he remained the political actor best able to articulate and manipulate the conservative canon into a populist, electorally successful message. During his presidency, the administration's behaviour played a crucial role - even if not always deliberately - in the momentous transformation of the conservative movement into a more diverse, better-organised, modernised and more efficient political force.