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  • 1
    Electronic Resource
    Electronic Resource
    Cambridge : Cambridge University Press
    Journal of American studies 18 (1984), S. 185-206 
    ISSN: 0021-8758
    Source: Cambridge Journals Digital Archives
    Topics: English, American Studies , History , Political Science , Sociology , Economics
    Notes: Woody Guthrie managed to capture much of Depression America in his songs. In “This Land Is Your Land” of 1940, he reflected the leftist sentiments of many thirties Americans. Singing that it was the blank side of a “Private Property” sign that “was wrote for you and me,” Guthrie echoed the conclusion that others had reached in the preceding decade — America belongs to the working masses rather than to a few wealthy owners. For all his insight, however, Guthrie missed part of the Depression experience when he set his “Private Property” sign beside a “lonesome highway.” Rather than deserted places, the nation's roadways were virtually teeming with dispossessed people. Millions of foreclosed farmers, evicted renters and unemployed workers crowded the thoroughfares, desperately searching for new lives. Despite what Woody Guthrie had to say, America's Depression highways were far from lonesome.A certain number of those folks jamming the nation's highways were not homeless drifters. They were instead more like author Erskine Caldwell. Soon after the 1932 publication of his novel, Tobacco Road, Caldwell had taken to travelling. He continued on the road until one day in 1940 when he pulled his car into a Missouri gas station. As had been his habit for the past years, he asked the attendant not for gas or oil, but for an analysis of the state of the nation. The attendant knew Caldwell's type. For years writers had been stopping and asking him “all sorts of fool questions” without purchasing anything. Well prepared, he silently handed Caldwell a neatly printed card describing his life and thoughts, ridiculing with its detail the questions writers asked him.
    Type of Medium: Electronic Resource
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  • 2
    Electronic Resource
    Electronic Resource
    Cambridge : Cambridge University Press
    Journal of American studies 27 (1993), S. 309-334 
    ISSN: 0021-8758
    Source: Cambridge Journals Digital Archives
    Topics: English, American Studies , History , Political Science , Sociology , Economics
    Notes: Edward Weston (1886–1958) and Ansel Adams (1902–1984) were two of the foremost American photographers of the twentieth century. In their own day Weston and Adams attracted the attention of both critics and collectors, and more recently they have been given prominent places in the scholarship and exhibitions accompanying photography's 150th anniversary. These two Californians were good friends, achieved an influential modernist aesthetic, and created images with an enduring power and grace. They concentrated upon natural subjects, Adams tending towards monumental depictions of hulking mountains or clouds, and Weston tending more toward intense close ups of smaller objects such as fruits and vegetables. Such subjects were consistent with their deepest principles, for Weston and Adams believed that the artist should remain beyond the turmoil and confusion of current events, and instead focus upon the more enduring and transcendent qualities of nature. Thus stability and solidity became the leitmotifs of Adams's art, and even in those photographs where he included some turbulence to counterbalance the granite of his compositions – images such as Nevada Fall, Yosemite National Park (c. 1946) (figure 1) – Adams usually chose to focus upon the rush of a mountain stream or some other natural movement, rather than the social or political currents of his day. Likewise Weston brought a deep timelessness to his photographs. Images like Shell (1927) (figure 2) seem to hover in a decontextualized void of shimmering geometrical shapes, and have little connection to the predatory forces or environmental disasters that may have threatened a particular mollusk.
    Type of Medium: Electronic Resource
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