56 research outputs found
University Chorale, February 21, 1999
No full textRecorded during a live performance at Dalton Center Recital Hall, Western Michigan University, Kalamazoo, Michigan, February 21, 1999, 5:00 p.m., the 297th concert of the School of Music's 1998-1999 season.Western Michigan University Chorale, Joseph H. Janisch, conductor ; various vocal soloists and instrumentalists.Sacred and secular vocal music for mixed chorus, in part with organ or piano accompaniment.Information from performance program.Bogoróditse devo / Sergei Rachmaninoff -- Missa brevis / Zoltán Kodály (trio: Susan Greenman, Rachel Hinsdale, Kelly Ann Nelson ; soloists: Kate Menkveld, Chad A. Johnson, Robert Vance III ; Karl Schrock, organ) -- All that hath life & breath praise ye the Lord! / René Clausen (Ann Genter, soprano) -- Serenade to music / Ralph Vaughan Williams ; [words from Shakespeare's Merchant of Venice] (soloists: Julie Ghareeb, Bradley D. Erbes, Chad A. Johnson, Amanda Wells, Carrie Dumm, Jeff Cachero, Matthew Workman, Joshua Kimball, Amada Quist, Jamie Jordan, Mandy Mikita ; Cristina Kauffman, piano) -- Der gang zum Liebchen / Johannes Brahms -- O clap your hands / John Rutter ; words from Psalm 47 (Karl Schrock, organ)
Constructing a Plan for Survival: Scientology as Cold War Psychology
No full textAbstractDeveloped in the early 1950s by science fiction writer L. Ron Hubbard, Scientology was part of the larger postwar therapeutic culture that blended religion and psychology in a search for mental well-being. Unlike contemporaneous self-help gurus such as Norman Vincent Peale and Harry Overstreet, however, Hubbard painted a much bleaker portrait of modern life, one rife with forces of psychological and social control. Railing against communists, homosexuals, and feminists as well as against the decay of the family and the rise of the welfare state, Hubbard argued that Americans suffered from a waning sense of ontological security, living in a world that provided no support for self-identity. Hubbard refused, however, to shrink from such changes and lapse into nostalgia for a pre-modern, pre-technological world like Peale and others did; instead, he offered a way for individuals to appropriate the dynamism of modernity for themselves. As advanced industrialization erased distances between societies, revolutionized transportation, and computerized information systems, Hubbard reimagined the self as spiritual being possessing precisely those powers to manipulate time and space and to remake the world at large. Borrowing freely from Eastern religious ideas, cybernetic theory, and German idealism, Hubbard produced a philosophy that was staunchly libertarian, spiritual, and future-oriented, one that tapped into Cold War fears about psychological manipulation and waning personal autonomy and into dreams about the immanent power of human beings.</jats:p
Review of “Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture” by W. Patrick McCray
No full textReview of “Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture” by W. Patrick McCra
Removing the Mask of Sanity: McCarthyism and the Psychiatric–Confessional Foundations of the Cold War National Security State
No full textIn the early Cold War, the US government institutionalized a national security program, centered on the investigation into the political beliefs of federal employees, to safeguard the nation from Communist subversion. Often interpreted as the result of a partisan battle between New Deal Democrats and conservative Republicans, the national security program had deeper origins, reflecting the influence of psychiatric discourse on public understandings of deviancy. Framed by a metonymical logic that linked radical political beliefs, deviant sexual behaviors, and other illicit behaviors under the category of psychopathology, the security program sought to guard against the threat posed by potentially dangerous individuals, a form of protection that necessitated the public disclosure by those deemed security risks of all aspects of their personal lives.</jats:p
“We All Go a Little Mad Sometimes”: Alfred Hitchcock, American Psychoanalysis, and the Construction of the Cold War Psychopath
No full text Abstract: This article explores the image of the psychopath in Alfred Hitchcock's 1960 film Psycho. The famed director's portrayal of a psychologically damaged young man connected with a much larger discussion over political and sexual deviance in the early Cold War, a discussion that cantered on the image of the psychopath as the dominant threat to national security and that played upon normative assumptions about adolescent development and mother-son relations. </jats:p
UNDERSTANDING THE POW EXPERIENCE: STRESS RESEARCH AND THE IMPLEMENTATION OF THE 1955 U.S. ARMED FORCES CODE OF CONDUCT
No full textReview: <i>A More Perfect Union: Holistic Worldviews and the Transformation of American Culture after World War II</i>, by Linda Sargent Wood
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