Yes

Engulfed by the tumultuous 1960s, seventeen-year-old Katherine Dayes conceals her pregnancy from the conservative seaside community of Samphire, her hometown. The novella traces a year in Katherine's life, from her summer of love through a winter stained by blood and moonlight. Throughout the story, Katherine endures the push and pull of a culture torn between tradition, represented by community leader Margaret Blythe, and modernism, embodied by the free spirit Evelyn Partridge. Inspired by the life of an actual eighteenth-century woman, Samphire explores the complexities of the 1960s feminist movement. Using vivid imagery of natural elements, it examines opposing views of sexuality and cultural criticisms that women have faced throughout history. The character-driven narrative seeks to deconstruct societal views of teen pregnancy, motherhood, women's sexuality, and infanticide by exploring the psyche of a young woman caught between cultural perceptions and her personal reality.

No description available.

No description available.

No description available.

Doctor of Philosophy / Department of History / Donald Mrozek / Scholars identify the early 1960s as the moment when Americans rediscovered poverty – as the time when Presidents, policymakers, and the public shifted their attention away from celebrating the affluence of the 1950s and toward directly helping poor people within the culture of poverty through major federal programs such as the Peace Corps and Job Corps. This dissertation argues that this moment should not be viewed as a rediscovery of poverty by Americans. Rather, it should be viewed as a paradigm shift that conceptually unified the understanding of both foreign and domestic privation within the concept of a culture of poverty. A culture of poverty equally hindered poor people all around the world, resulting in widespread illiteracy in India and juvenile delinquency in Indianapolis. Policymakers defined poverty less by employment rate or location (rural poverty in Ghana versus inner-city poverty in New York) and more by the cultural values of the poor people (apathy toward change, disdain for education, lack of planning for the future, and desire for immediate gratification). In a sense, the poor person who lived in the Philippines and the one who lived in Philadelphia became one. They suffered from the same cultural limitations and could be helped through the same remedy. There were not just similarities between programs to alleviate poverty in either the Third World or America; the two became one in the mid-1960s. Makers of policy in the War on Poverty understood all poverty around the world as identical and approached it with the same remedy. President John Kennedy inspired the paradigm shift. After reading about the culture of poverty in Dwight Macdonald’s review of Michael Harrington’s book The Other America: Poverty in the United States, Kennedy began to bring together experts within a new mentality to discuss a program to end poverty. The experts had been working for separate programs that focused on seemingly disparate issues—juvenile delinquency, poverty in New England, and Third World development—but they now realized that they were all working on the same problem, namely, the culture of poverty. The understanding that cultural values created poverty led them to unify their programs and approaches as they created the War on Poverty in 1964. The discovery was not the beginning of national attention on poverty but a culmination that brought together prominent people, ideas, and programs already in existence within a new paradigm.

In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. Such elements in the Beatles’ carefully constructed image reflected youth culture and countercultural thoughts and beliefs. Finally, through a close analysis of the Beatles’ musical sequences I have shown how experimentation with artistic synergy enabled the band to produce new and innovative films and lyrics while allowing each member to develop as individual musicians. This experimentation and willingness to undermine traditional film and pop music practices helped to change artists’ approaches in the entertainment industries.

Although the Apollo 11 moon landing was one of the most remarkable events of the twentieth century, it was also among the most abstruse—what did it mean, after all? With implications ranging from the everyday benefits of “spinoff” to the cosmic questions of existence, it seemed like it had to signify something important. But the United States was undergoing a profound cultural shift as the 1960s gave way to the 1970s, a transformative moment when the rationalist, technological optimism of the high Space Age began losing traction to the more intuitive, relativistic, neo-romantic cultural aura of the 1970s. This turn left many Americans who reckoned that Apollo should be important—somehow, in some way—unable to adequately integrate the event into their worldviews, their American mythologies. This study examines how Americans attempted to make sense of Apollo in the 1960s and 1970s. This period saw a noticeable retreat from the faith in science and rationalism that had driven American thought and culture in the decades following World War II, and which formed the foundation of the successful space program. In its stead emerged a new understanding of “progress” that was divorced from its previous equation with technological advancement for its own sake and reconsidered in terms of its impact on sustainability and personal fulfillment. In this environment, Apollo—an endeavor that that ultimately seemed to offer no deeper meaning that itself—provided bold evidence that the crucial answers to life’s quandaries would not be discovered through technological journeys to the near planets; indeed, that the prolonged emphasis on these sorts of materialist endeavors had only obscured humanity’s quest for true meaning and its continued sustenance on what Apollo made abundantly clear was the only planet it would inhabit for a long time to come. This cultural turn spelled doom for a space program that for all its futuristic trappings was actually firmly rooted in the past, in a mindset that had flourished throughout the middle of the twentieth century but was now falling under wide suspicion. / text

In the 1960s, art and business engaged in a sweeping but now largely forgotten romance. Corporations rushed to install art in their foyers and on their urban plazas. Many bought or commissioned works of art to display inside their factories and offices. They reproduced art in their advertisements and annual reports, and profiled it in press stunts and photo ops. They developed promotional art exhibitions that toured across the country and around the world. This dissertation considers how such artworks supported – but also sometimes disrupted – the marketing, public relations, lobbying and personnel strategies of large-scale corporate enterprise. By reconstructing this diverse field, this dissertation contends that art was a key tool for the burgeoning ‘persuasion industry’ of the sixties. Both in the United States and further afield, artists and businesses worked together to make artworks function as ‘forms of persuasion’, instruments by which the consensus of the corporation’s constituents – workers, consumers and regulators – could be secured. The case studies focus on range of companies active in this field, exploring the phenomenon in three thematic chapters, covering the use of pop art by the packaged goods business, the role of abstract painting in the workplace and the value of metal sculpture for the steel industry. It is argued that the practices described through these examples represent a defining cultural phenomena of sixties art, one that challenges the conventional art historical alignment of its avant-garde with the decade’s famed radical politics, protest and counterculture.

Gene Roberts and Hank Klibanoff in their breakthrough work, The Race Beat, contended that mainstream newspapers—white newspapers—largely ignored the black community until the 1950s and 1960s when editors gradually began opening their pages to reports of racial discrimination and the emerging protest against segregation. This coverage significantly shaped the civil rights movement, Roberts and Klibanoff argued. “Unfamiliar Streets” offers nuance to their narrative. Examining the local coverage of the 1960 Chattanooga sit-in movement as a case study, Jessie Harris contends that reporters and editors, although they should be credited for extensively covering the sit-ins, ultimately cared more for civilities than civil rights. Their coverage detailed the protests, fights, and mobs downtown, but only rarely provided perspectives of student demonstrators and rarely called attention to the injustices of segregation.