This is a fun, quick warm-up, exit, or homework project on Yellow Journalism to go along with a lesson on American Imperialism or the Spanish-American War. It includes a brief introduction to both Yellow Journalism and today's "clickbait" style journalism, then has students create their own headline...
How did Great Britain, which entered the twentieth century as a dominant empire, reinvent itself in reaction to its fears and fantasies about the United States? Investigating the anxieties caused by the invasion of American culture-from jazz to Ford motorcars to Hollywood films-during the first half of the twentieth century, Genevieve Abravanel theorizes the rise of the American Entertainment Empire as a new style of imperialism that threatened Britain's own. In the early twentieth century, the United States excited a range of utopian and dystopian energies in Britain. Authors who might ordinarily seem to have little in common-H.G. Wells, Aldous Huxley, and Virginia Woolf-began to imagine Britain's future through America. Abravanel explores how these novelists fashioned transatlantic fictions as a response to the encroaching presence of Uncle Sam. She then turns her attention to the arrival of jazz after World War I, showing how a range of writers, from Elizabeth Bowen to W.H. Auden, deployed the new music as a metaphor for the modernization of England. The global phenomenon of Hollywood film proved even more menacing than the jazz craze, prompting nostalgia for English folk culture and a lament for Britain's literary heritage. Abravanel then refracts British debates about America through the writing of two key cultural critics: F.R. Leavis and T.S. Eliot. In so doing, she demonstrates the interdependencies of some of the most cherished categories of literary study-language, nation, and artistic value-by situating the high-low debates within a transatlantic framework.
Measuring Uncle Sam for a New Suit This piece is reflective of American imperialism because Uncle Sam's "new suit" represents the new land that the United States has taken over within the age of imperialism. The white stripes on his trousers indicate all of the land the United States has taken over within their own continent, while the towels behind President McKinley represent the territories the U.S. has conquered overseas. The towels are resting on top of a flag symbolizing United States foreign policy, so the cartoonist is clearly criticizing the U.S. for neglecting their own policy in order to occupy foreign lands. I like this piece because the cartoonist was able to illustrate his opinion with great symbolism. President McKinley is standing on his tip-toes, so I think that is showing that America is becoming so large that soon he will not be able to reach high enough to measure Uncle Sam's suit once again, showing that he soon may not have the power to rule the nation.
2001 VirusFonts London This poster was created for our font company VirusFonts to mark the release of the typefaces with...
Designer: Lu Shaoquan (陆绍权) 1965, August American imperialism is encircled ring upon ring by the people of the world Mei diguo zhuyi zai quan shijie renminde chongchong baowei zhi zhong (美帝国主义在全世界人民的重重包围之中) Call nr.: PC-1965-001 (Private collection) More Chinese propaganda posters? See: chineseposters.net/
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These political posters from the mid and late 20th Century are fabulous.
Empress Taytu Betul was an Ethiopian female leader who defeated Italian imperialists and founded Addis Ababa in 1886.
OSPAAAL, the international, pro-communist organization formed in 1966, decried American imperialism with powerful propaganda.
Pink nails are lovely. But if you have in your mentality that it is an excessively romantic style or with a childish point, it is that you have not yet seen anything in terms of styles and designs. Because the pink nails 2022:...Read More
Several years ago, I had the opportunity to spend five days with Fritz Fischer at a Gilder Lehrman Summer Seminar. It was awesome. Fritz has been involved in history / social studies issues at the …
Sir Thomas Lawrence (April 13, 1769, Bristol – January 7, 1830, London), an English painter. An exemplary draughtsman, singularly adept at capturing a likeness, he was celebrated for his virtuosic brushwork; self-taught, he was eventually president of the Royal Society. From 1810 he held the lavish patronage of the Prince Regent, later George IV, and was acknowledged as the foremost English portrait painter of his day. Not a terrible lot is known about the handsome - even glamorous - sitter. David Lyon of Goring Hall, Sussex, was born circa 1794 and died in Nice, April 8, 1872. Untitled, though quite wealthy, his family was possibly related to the Bowes-Lyons, the family of the late Queen Mother. In 1848, at about the age of fifty-five, Lyon married Blanche Augusta Bury (born 1819), whose mother was Lady Charlotte Bury, a well-known novelist of the day. Disraeli met Lyon's wife, Blanche, at dinner and described her as very beautiful and fascinating; he described her husband as "a rich man". David Lyon left no heirs and the estate, along with his portrait, passed to a younger brother, then down in the family until they were eventually and inevitably sold; Goring Hall in 1934, the Lawrence portrait in 1980.
Related links to free scholarly context on JSTOR for the foundational document in American government.
UI Meme of the Day, a daily series… The continent of Africa and its ‘middle eastern’ (i.e., Northern African) partition -as mandated by Europeans- has been raided, looted, raped, ravaged, and pillaged for at least the past 500 or more years. For a continent that was doing just fine before anything from Caucasus/Europe got there, […]
A historian considers the forces that have shaped the Rough Rider's presidential legacy in the decades since his death more than 100 years ago
This fierce all-female army was so ruthless that European colonists called them the Amazons after the merciless warriors of Greek mythology.
