Is Heathcliff a typical literary hero? Essay -- English Literature

Is Heathcliff a typical literary hero? Heathcliff is introduced to the reader as anything but a hero in the beginning. He is bullied by Hindley and looked down upon by the rest of the household, including Cathy and Nelly to start with -"hardened, perhaps, to ill-treatment: he would stand Hindley's blows", "spitting at the stupid little thing;". Heathcliff does not show himself to be terribly helpful, kind or brave although he does seem to show an air of strength and resilience when Hindley decides to throw a heavy weight at him. But instead of throwing it back or running away he just picks himself up and carries on with what he was doing- "and down he fell, but staggered up immediately,...". As a child Heathcliff was quite patient and irritable and did not have any real background or education. He is supposedly handsome and loyal (to Cathy) but has very low morals (he tried to kill Isabella's dog when they ran off to Wuthering Heights)- . He is strong and athletic but is in no way good-natured as the way he acts throughout the whole book shows you; like- "Don't torture me till I am as mad as yourself!" The heroic qualities we see today in our popular super heroes and other more original characters like Sherlock Holmes, all originated from Greek legends like Hercules and Perseus and from Bible stories like David and Goliath. Heathcliff does not seem to follow any of the patterns in these other heroes or act like them, but more like the opposite. Heathcliff could be analysed as a anti or Byronic hero; Heathcliff does show himself to have the same qualities as a Byronic hero because he is wild and passionate and has many dark qualities, Heathcliff is very remorse-torn and moody; these qualities may have ... ... without any emotion in his life. She shows this when she talks of Heathcliff and contrasts the both of them- "Whatever our souls are made of, his and mine are the same; and Linton's is as different as a moonbeam from lightning, or frost from fire." Both Edgar and Heathcliff do not have what it takes to be a heros, Edgar is too nice and emotionless and Heathcliff is too full of emotion, anger and hate. Together their qualities could make a hero, but on there own they are two different things. Heathcliff's qualities show him to be the opposite to a classic literary hero, so he could be the Byronic hero who is wild, passionate and possesses many hidden darker qualities. Heathcliff is passionate, he is slightly evil and he does represent the opposite side of a hero, he possesses all the bad qualities and mysterious qualities that make him a Byronic hero.

The Effects of Alcoholism :: essays research papers

How many times have you heard about the consequences of alcoholism? Have you taken them into account? Alcoholism is one of the major problems in society. The effects of this disease are really serious. Many people get used to drink alcohol, and they can easily abuse, that is the problem. The purpose of this essay is to discuss the physical, psychological, and economic effects of alcoholism. The first effects of alcoholism are physical. These are the most important because these can cause your death. For example, alcoholism causes cancer in the stomach, kidneys, and liver. Besides, alcohol alters the digestion of nutrients that the body needs to stay healthy. Alcoholism also causes loss of appetite and depression. There are other effects in the body like gastritis and cirrhosis of the liver. All these physical consequences could cause your death if you drink alcohol in mass quantities. The second effects caused by alcoholism are psychological. At the beginning, alcohol makes you feel relaxed, but if you drink it in excess, it increases anxiety and causes depression. It also causes family and legal problems, violence, changes of behavior, suicide, among others. Alcohol is very powerful and alters all your normal behaviors. The third effects of alcoholism are economic. According to the National Institute on Drug Abuse, drug abuse and dependence cost an estimated $98 billion. Alcohol is not cheap. If you drink two or three times in a week, it could cost you about $100 or more a week! People do not think about the money and spend almost everything when they are drunk. In conclusion, the effects of alcoholism which are physical, psychological, and economic can cause many problems that affect your life in all aspects.

Emerging Trends Essays -- Transportation, Electric Vehicles

Many people have the idea that HEVs and electric vehicles are recent phenomenon. But the history of HEVs goes way back. According to Rahman (2008), the production of HEVs dates back to the early 1900s, when Ferdinand Porsche from Lohner Coach Factory developed the Mixte, which was a 4WD series-hybrid version of "System Lohner-Porsche". In order to extend operating range, the vehicle included two generators driven by 2.5-hp Daimler IC engines enabling it to cover almost 65 km on battery alone. It had a top speed of 50 km/h and a power of 5.22 kW during 20 minutes. Since then there has been various attempts by many other innovators to come up with a mass product of hybrid vehicle although there was no study that shows the demand for the products. A more recent working prototype of the Hybrid electric vehicle was built by Victor Wouk, who worked on HEVs for decades in the 60’s and 70’s. His innovative work earned him the title as the "Godfather of the Hybrid"(Woku & Goodstein, 2004). His major work that was considered innovative was the installation of a prototype hybrid drive train of a 16 kilowatts (21 hp) electric motor into a 1972Buick Skylark and was part of the United States Environmental Protection Agency Federal Clean Car Incentive Program that continued till 1976. The involvement of the United States government in the quest for the development and use of fuel efficient vehicles is an important part of HEVs history and development in USA. Several programs and initiatives were launched at different times. An important program that played a role in the history of HEVs in the United States was initiated in early 1990s. On a Congressional Research Service (CRS) report to congress, Sissine (1996) presented that on 29 September... ...U.S. market and U.S. companies have been globalized as well. The big Japanese car manufacturers, Honda and Toyota, entered the U.S. market in early 1980’s. Ever since, they have witnessed the growth of their market share while the ‘big three’ faced declining shares. Bradley et al. (2005) argued that the variation between rivals in terms of cultures and related philosophies has intensified rivalry in the industry. This rivalry is more intensified by high fixed costs associated with manufacturing and the low switching costs for consumers to buy different brand or model (Bradley et al., 2005, p.3). Rivalry and competition within the industry in the U.S. is becoming concentrated. The industry in the U.S. is no longer dominated by the Big 3. In the field of HEVs, the upper hand is hold by Toyota to a large extent followed by other international and local manufacturers.

Growing up in different times: Heaney and Wordsworth

William Wordsworth grew up in the Lake District in Cumbria, England during the very end of the eighteenth century and early nineteenth century. Here he lived with his aunt and sister. Being surrounded by nature was a huge impact on Wordsworth's life. Nature was everything from his teacher to almost his lover. He gradually grew to believe that nature was God. This idea that was everything for him is demonstrated very well in his poetry. Seamus Heaney was born in Northern Ireland in Derry. He was born before the height of the troubles but did live through a hard life living on a farm in rural Ireland. Living on the farm helped him to grow up and realise what real life was like. He learned things like dealing with death. There are similarities in both poets' writing. For example both people grew up with nature and it was nature that taught them what real life was truly like. There are also differences for Heaney nature was only like a teacher while for Wordsworth nature was even things like his conscience. Heaney grew from fear to confidence. Wordsworth's writing was very philosophical and always contained a much deeper meaning than Heaney's writing did. This is just a few poems from Heaney's anthology Death of a Naturalist. In the poem â€Å"Death of a Naturalist† the change Seamus experiences is one which we all experience yet at the time do not know that it has taken place and probably for some years will not know. The poem begins with a light description of the childhood ritual, collecting frogspawn. Every year he collects â€Å"jampotfuls† to put on shelves both at home and school. Now as Heaney is quite young he would not be aware of how the frogspawn got there. And no one is prepared to truthfully tell him. But his class teacher describes how â€Å"The daddy frog called a bullfrog, And how he croaked, and how the mammy frog Laid hundreds of little eggs.† But of course this is not how it happened and of course eventually one day we all find out about sexuality. Heaney's day came when one year while collecting the frogspawn â€Å"the angry frogs Invaded the flax-dam,† he heard a â€Å"coarse croaking that I had not heard before.† He believes the frogs are beginning to gang up on him to take revenge for all the eggs he has taken but of course nothing of the sort is happening, it is just that all the frogs are having sex. â€Å"On sods; their loose necks pulsed liked sails. Some hopped: The slap and plop were obscene threats†¦. †¦their blunt heads farting. I sickened, turned and ran.† This image is a grotesque image in which subconsciously young Seamus discovers his sexuality. For a minute he is aware but afraid to admit it to himself in case he may lose that childhood innocence so he turns away sickened, longing for the moment that he was unaware of this disgusting act. â€Å"Dawn Shoot† is again a different type of poem. In this poem Seamus has no fear to conquer and no bridge to cross whether real or imaginary. This poem is really about how far he has come. Rather than cry over the death of animals in â€Å"Early Purges†, he is enjoying the killing of animals. He is totally carefree and not worried about shooting an animal or how badly wounded it should become or even if it dies. He is even stealthy so not to scare the animals to ensure he gets a kill. â€Å"Rubber-booted, belted, tense as two parachutists, We climbed the iron gate.† When an animal is finally killed they don't even care to retrieve it as â€Å"the prices were too small.† I have chosen two extracts from Wordsworth poem â€Å"The Prelude.† In the poem â€Å"The Prelude (I)† Wordsworth follows a similar theme of growing up. In this poem young Wordsworth takes a boat which is not his and he is feeling very adventurous. â€Å"It was an act of stealth And troubled pleasure.† He felt very good when he took the boat and was having a very good time, until Wordsworth realises what he has done wrong but this is not realised until he reaches his destination in the lake. â€Å"The horizon's bound, a huge peak, black and huge, As if with voluntary power instinct Upreared its head.† This is the climax of the poem and helps show the sudden change in mood. Wordsworth is happily rowing the boat when suddenly this huge big thing shows itself. To Wordsworth this is some sort of hideous creature. But in fact as you go through the poem you learn that this is the first few signs of his developing conscience. â€Å"For many days my brain Worked with a dim and undetermined sense Of unknown modes of being; o'er my thoughts There hung a huge darkness†¦. †¦moved slowly through the mind By day, and were a trouble to my brain.† These show the signs of a guilty conscience, guilty from knowing he took the boat: a moral Wordsworth is being taught about from nature and it again points to his emerging belief of Pantheism, that nature is God. The main focus in this poem â€Å"The Prelude (II)† is that of moving on. The poem has a picturesque setting of the â€Å"twilight gloom† This type of light however would tell Wordsworth to go inside, as if nature was telling him as a parent calls their children. But â€Å"I heeded not their summons.† So he carried on â€Å"All shod with steel, We hissed along on the polished ice in games:† a nice use of alliteration to convey the movement of ice skating. But Wordsworth being a Pantheist he cannot stay so he wonders off; â€Å"not seldom from the uproar I retired.† Wordsworth here shows his poetic ability and understanding of nature because he realises that the hills are â€Å"melancholic.† His subconscious understanding of nature forces him to go off and explore. What he realises is that everything around him is moving. â€Å"With visible motion her diurnal round! Behind me did they stretch in solemn train, Feebler and feebler, and I stood and watched Till all was tranquil as dreamless sleep.† The movement of the earth that he experiences here shows him that he is part of a moving, living universe. It is as if he has travelled with the spirit in God of nature. I think everyone could relate to Wordsworth's and Heaney's poems in someway: I know that I can relate to his feeling of a spirit in the woods. When I was lost I in the woods I felt as if someone was there showing where to go. The one thing we must all realise is that, we will all grow up: it is unstoppable and inevitable. I savour the thought.

Legionnaire`s disease

Since the identification of Legionella two decades ago, a significant amount of information has accumulated concerning the microbiology, epidemiology, clinical manifestations, control, and therapy of infections caused by these organisms. The number of species in the genus Legionella has increased dramatically. Legionella is considered to be responsible for 2–13% of cases of community-acquired pneumonia requiring hospitalization (Brieman and Butler, 1998). The various Legionella species can cause two distinct diseases: a severe form of pneumonia known as Legionnaire disease or a less serious, influenza-like illness known as Pontiac fever, which is generally recognized only during those outbreaks in which a cluster of cases of Legionella pneumonia sparks an epidemiologic investigation that uncovers these less serious infections. Microbiology The organism is a Gram-negative bacillus. There are currently 42 described species of Legionellae representing 64 serogroups in the family (Benson and Fields, 1998). Legionellaceae and the genus Legionella. The phenotypic characteristics of Legionellae are defined by growth requirements, and biochemical characteristics including fatty acid analysis and ubiquinone analysis, protein profiles, carbohydrate analysis, serology, monoclonal antibodies, and molecular techniques (DNA-DNA hybridization). L. pneumophila is a facultative intracellular pathogen that invades and replicates within free-living protozoa (i.e. amoeba) and mammalian cells (Benson and Fields, 1998). Within natural environments, L. pneumophila can persist as a free-living microbe, but it replicates exclusively as an intracellullar parasite within amoeba. L. pneumophila causes Legionnaire's disease by replication in alveolar macrophages and monocytes. During infection the Legionnaire's disease bacterium survives and multiplies within a specialized phagosome that is near neutral pH and does not fuse with host lysozymes. Studies show that the regulation of macrophage resistance versus susceptibility to infection is mediated by specific genetic mechanisms. The induction of cytokines by Legionella can activate immune cells, especially T helper cells. Activated macrophages restrict the growth of Legionella (Segal and Shuman, 1998) Epidemiology Cases can occur in clusters or sporadically from the community or in the hospital setting. The disease is much more common than previously appreciated with at least 13 000 cases estimated to occur per year in the United States (Brieman and Butler, 1998). There may also be local environmental factors that are important and still not well defined. Although immunosuppressed patients and specifically transplant patients seem to have a higher risk of developing Legionnaire's disease, there are many more non-immunosuppressed individuals in the community who may be infected with Legionella. nvestigations into community outbreaks still find cooling towers to be a source of the Legionella Clinical manifestation Luttichau et al(1998) investigated an outbreak of Pontiac fever in children and adults, caused by a contaminated whirlpool. The authors isolated L. pneumophila serogroup OLDA from one of the children and believe that this represents the first reported culture-confirmed case of Pontiac fever. The outbreak was characterized by a short incubation period, influenza-like symptoms, and rapid recoveries, all features typical of Pontiac fever. The median incubation period for the children was shorter (43 h) than for the adults (70 h). The median duration of the illness was 87 h for the children versus 61 h for the adults. The most common symptoms noted by the adults were fever, dizziness, headache, cough, fatigue, arthralgia and abdominal pain. Ear pain and rash were more common in children. Diagnosis The diagnosis of Legionnaire's disease remains troublesome in many hospitals. Serological studies are useful too late for the clinician and cultures must be incubated for at least 3 days. Legionella urinary antigen assays are useful early in clinical disease but the kits that are currently available only identify patients with disease caused by L. pneumophila serogroup 1. Recent improvements in the methodology for performing polymerase chain reaction on bronchoalveolar lavage solutions are encouraging (Chiba etal, 1998) Treatment Antimicrobial agents generally considered clinically effective for Legionella infections include macrolides, fluoroquinolones, tetracyclines, and rifampins. In a study several new antimicrobial agents with in-vitro activities against Legionellae that were found   better than those of erythromycin; included were a new rifampin-like drug, rifapentine, dalfopristin-quinupristin, and a new ketolide (HMR3647). The advantages of the quinolone agents include bactericidal activity against Legionella and a prolonged post-antibiotic effect whereas erythromycin is only inhibitory. In an additional study using HL-60 cells to evaluate new macrolides, Stout et al (1998)documented that the most active inhibitors of L. pneumophila intracellular multiplication were (in order of activity) azithromycin, erythromycin, roxithromycin, dirithromycin and clarithromycin. In a recent editorial, Edelstein (1998) suggested that azithromycin or one of the more active fluoroquinolones should be used in preference to erythromycin for the treatment of Legionnaire's disease in immunocompromised patients, based on their greater in-vitro activity as well as their better pharmacodynamic properties. In addition to producing a potentially better outcome, these agents will often improve patient compliance because of fewer side-effects and the shorter duration of therapy. Conclusion Infections caused by Legionella spp. are a significant cause of morbidity and occasionally mortality. The projected number of cases of infection caused by Legionella spp. are much greater than those reported to CDC's surveillance system, indicating both underdiagnosis and under-reporting. Hopefully, new information concerning the molecular biology and pathogenesis will provide a better understanding of infection caused by these organisms. Recent studies suggest that the newer macrolides and newer fluoroquinolones are the optimal agents for these organisms. References 1 Benson RF, Fields BS. Classification of the genus Legionella. Semin Respir Infect 1998; 13:90-99. A comprehensive update of the microbiology and tetonomy of Legionellae 2 Breiman RF, Butler JC. Legionnaire's disease: clinical, epidemiological, and public health perspectives. Semin Respir Infect 1998; 13:84-89 3 Segal G, Shuman HA. How is the intracellular fate of the Legionella pneumophila phagosome determined? Trends Microbiol 1998; 6:253-255. 4 Luttichau HR, Vinther C, Uldum SA, Moller J, Faber M, Jensen J. An outbreak of Pontiac fever among children following use of a whirlpool. Clin Infect Dis 1998; 26:1374-1378. 5 Chiba Y, Okamoto H, Nagatomo A, Kunikare H, Watanabe . Legionnaire's disease diagnosed by bronchoalveolar lavage. Int Med 1998; 37:153-156. 6 Stout JE, Arnold B, Yu VL. Activity of azithromycin, clarithromycin, roxithromycin, dirithromycin, quinupristin/dalfopristin and erythromycin against Legionella species by intracellular susceptibility testing in HL-60 cells. J Antimicrob Chemother 1998; 41:289-291 7 Edelstein PH. Antimicrobial chemotherapy for Legionnaire's disease: time for a change. Ann Intern Med 1998; 129:328-330.      

American culture Essay

The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popular music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics often relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artistic heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornell’s boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtenstein’s large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and popular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol’s pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adams’s elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a hotographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. 4. Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America’s greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his â€Å"Young People’s Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America’s most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts. . Arts and letters The arts, more than other features of culture, provide avenues for the expression of imagination and personal vision. They offer a range of emotional and intellectual pleasures to consumers of art and are an important way in which a culture represents itself. There has long been a Western tradition distinguishing those arts that appeal to the multitude, such as popul ar music, from those—such as classical orchestral music—normally available to the elite of learning and taste. Popular art forms are usually seen as more representative American products. In the United States in the recent past, there has been a blending of popular and elite art forms, as all the arts experienced a period of remarkable cross-fertilization. Because popular art forms are so widely distributed, arts of all kinds have prospered. The arts in the United States express the many faces and the enormous creative range of the American people. Especially since World War II, American innovations and the immense energy displayed in literature, dance, and music have made American cultural works world famous. Arts in the United States have become internationally prominent in ways that are unparalleled in history. American art forms during the second half of the 20th century often defined the styles and qualities that the rest of the world emulated. At the end of the 20th century, American art was considered equal in quality and vitality to art produced in the rest of the world. Throughout the 20th century, American arts have grown to incorporate new visions and voices. Much of this new artistic energy came in the wake of America’s emergence as a superpower after World War II. But it was also due to the growth of New York City as an important center for publishing and the arts, and the immigration of artists and intellectuals fleeing fascism in Europe before and during the war. An outpouring of talent also followed the civil rights and protest movements of the 1960s, as cultural discrimination against blacks, women, and other groups diminished. American arts flourish in many places and receive support from private foundations, large corporations, local governments, federal agencies, museums, galleries, and individuals. What is considered worthy of support often depends on definitions of quality and of what constitutes art. This is a tricky subject when the popular arts are increasingly incorporated into the domain of the fine arts and new forms such as performance art and conceptual art appear. As a result, defining what is art affects what students are taught about past traditions (for example, Native American tent paintings, oral traditions, and slave narratives) and what is produced in the future. While some practitioners, such as studio artists, are more vulnerable to these definitions because they depend on financial support to exercise their talents, others, such as poets and photographers, are less immediately constrained. Artists operate in a world where those who theorize and critique their work have taken on an increasingly important role. Audiences are influenced by a variety of intermediaries—critics, the schools, foundations that offer grants, the National Endowment for the Arts, gallery owners, publishers, and theater producers. In some areas, such as the performing arts, popular audiences may ultimately define success. In other arts, such as painting and sculpture, success is far more dependent on critics and a few, often wealthy, art collectors. Writers depend on publishers and on the public for their success. Unlike their predecessors, who relied on formal criteria and appealed to aesthetic judgments, critics at the end of the 20th century leaned more toward popular tastes, taking into account groups previously ignored and valuing the merger of popular and elite forms. These critics ften relied less on aesthetic judgments than on social measures and were eager to place artistic productions in the context of the time and social conditions in which they were created. Whereas earlier critics attempted to create an American tradition of high art, later critics used art as a means to give power and approval to nonelite groups who were previously not considered worthy of including in the nation’s artisti c heritage. Not so long ago, culture and the arts were assumed to be an unalterable inheritance—the accumulated wisdom and highest forms of achievement that were established in the past. In the 20th century generally, and certainly since World War II, artists have been boldly destroying older traditions in sculpture, painting, dance, music, and literature. The arts have changed rapidly, with one movement replacing another in quick succession. a) Visual arts. The visual arts have traditionally included forms of expression that appeal to the eyes through painted surfaces, and to the sense of space through carved or molded materials. In the 19th century, photographs were added to the paintings, drawings, and sculpture that make up the visual arts. The visual arts were further augmented in the 20th century by the addition of other materials, such as found objects. These changes were accompanied by a profound alteration in tastes, as earlier emphasis on realistic representation of people, objects, and landscapes made way for a greater range of imaginative forms. During the late 19th and early 20th centuries, American art was considered inferior to European art. Despite noted American painters such as Thomas Eakins, Winslow Homer, Mary Cassatt, and John Marin, American visual arts barely had an international presence. American art began to flourish during the Great Depression of the 1930s as New Deal government programs provided support to artists along with other sectors of the population. Artists connected with each other and developed a sense of common purpose through programs of the Public Works Administration, such as the Federal Art Project, as well as programs sponsored by the Treasury Department. Most of the art of the period, including painting, photography, and mural work, focused on the plight of the American people during the depression, and most artists painted real people in difficult circumstances. Artists such as Thomas Hart Benton and Ben Shahn expressed the suffering of ordinary people through their representations of struggling farmers and workers. While artists such as Benton and Grant Wood focused on rural life, many painters of the 1930s and 1940s depicted the multicultural life of the American city. Jacob Lawrence, for example, re-created the history and lives of African Americans. Other artists, such as Andrew Wyeth and Edward Hopper, tried to use human figures to describe emotional states such as loneliness and despair. Abstract Expressionism. Shortly after World War II, American art began to garner worldwide attention and admiration. This change was due to the innovative fervor of abstract expressionism in the 1950s and to subsequent modern art movements and artists. The abstract expressionists of the mid-20th century broke from the realist and figurative tradition set in the 1930s. They emphasized their connection to international artistic visions rather than the particularities of people and place, and most abstract expressionists did not paint human figures (although artist Willem de Kooning did portrayals of women). Color, shape, and movement dominated the canvases of abstract expressionists. Some artists broke with the Western art tradition by adopting innovative painting styles—during the 1950s Jackson Pollock â€Å"painted† by dripping paint on canvases without the use of brushes, while the paintings of Mark Rothko often consisted of large patches of color that seem to vibrate. Abstract expressionists felt alienated from their surrounding culture and used art to challenge society’s conventions. The work of each artist was quite individual and distinctive, but all the artists identified with the radicalism of artistic creativity. The artists were eager to challenge conventions and limits on expression in order to redefine the nature of art. Their radicalism came from liberating themselves from the confining artistic traditions of the past. The most notable activity took place in New York City, which became one of the world’s most important art centers during the second half of the 20th century. The radical fervor and inventiveness of the abstract expressionists, their frequent association with each other in New York City’s Greenwich Village, and the support of a group of gallery owners and dealers turned them into an artistic movement. Also known as the New York School, the participants included Barnett Newman, Robert Motherwell, Franz Kline, and Arshile Gorky, in addition to Rothko and Pollock. The members of the New York School came from diverse backgrounds such as the American Midwest and Northwest, Armenia, and Russia, bringing an international flavor to the group and its artistic visions. They hoped to appeal to art audiences everywhere, regardless of culture, and they felt connected to the radical innovations introduced earlier in the 20th century by European artists such as Pablo Picasso and Marcel Duchamp. Some of the artists—Hans Hofmann, Gorky, Rothko, and de Kooning—were not born in the United States, but all the artists saw themselves as part of an international creative movement and an aesthetic rebellion. As artists felt released from the boundaries and conventions of the past and free to emphasize expressiveness and innovation, the abstract expressionists gave way to other innovative styles in American art. Beginning in the 1930s Joseph Cornell created hundreds of boxed assemblages, usually from found objects, with each based on a single theme to create a mood of contemplation and sometimes of reverence. Cornell’s boxes exemplify the modern fascination with individual vision, art that breaks down boundaries between forms such as painting and sculpture, and the use of everyday objects toward a new end. Other artists, such as Robert Rauschenberg, combined disparate objects to create large, collage-like sculptures known as combines in the 1950s. Jasper Johns, a painter, sculptor, and printmaker, recreated countless familiar objects, most memorably the American flag. The most prominent American artistic style to follow abstract expressionism was the pop art movement that began in the 1950s. Pop art attempted to connect traditional art and popular culture by using images from mass culture. To shake viewers out of their preconceived notions about art, sculptor Claes Oldenburg used everyday objects such as pillows and beds to create witty, soft sculptures. Roy Lichtenstein took this a step further by elevating the techniques of commercial art, notably cartooning, into fine art worthy of galleries and museums. Lichtenstein’s large, blown-up cartoons fill the surface of his canvases with grainy black dots and question the existence of a distinct realm of high art. These artists tried to make their audiences see ordinary objects in a refreshing new way, thereby breaking down the conventions that formerly defined what was worthy of artistic representation. Probably the best-known pop artist, and a leader in the movement, was Andy Warhol, whose images of a Campbell’s soup can and of the actress Marilyn Monroe explicitly eroded the boundaries between the art world and mass culture. Warhol also cultivated his status as a celebrity. He worked in film as a director and producer to break down the boundaries between traditional and opular art. Unlike the abstract expressionists, whose conceptual works were often difficult to understand, Andy Warhol’s pictures, and his own face, were instantly recognizable. Conceptual art, as it came to be known in the 1960s, like its predecessors, sought to break free of traditional artistic associations. In conceptual art, as practiced by Sol LeWitt and Joseph Kosuth, concept takes precedent over actual object, by stimulating thought rather than following an art tradition based on conventional standards of beauty and artisanship. Modern artists changed the meaning of traditional visual arts and brought a new imaginative dimension to ordinary experience. Art was no longer viewed as separate and distinct, housed in museums as part of a historical inheritance, but as a continuous creative process. This emphasis on constant change, as well as on the ordinary and mundane, reflected a distinctly American democratizing perspective. Viewing art in this way removed the emphasis from technique and polished performance, and many modern artworks and experiences became more about expressing ideas than about perfecting finished products. Photography. Photography is probably the most democratic modern art form because it can be, and is, practiced by most Americans. Since 1888, when George Eastman developed the Kodak camera that allowed anyone to take pictures, photography has struggled to be recognized as a fine art form. In the early part of the 20th century, photographer, editor, and artistic impresario Alfred Stieglitz established 291, a gallery in New York City, with fellow photographer Edward Steichen, to showcase the works of photographers and painters. They also published a magazine called Camera Work to increase awareness about photographic art. In the United States, photographic art had to compete with the widely available commercial photography in news and fashion magazines. By the 1950s the tradition of photojournalism, which presented news stories primarily with photographs, had produced many outstanding works. In 1955 Steichen, who was director of photography at the Museum of Modern Art in New York, called attention to this work in an exhibition called The Family of Man. Throughout the 20th century, most professional photographers earned their living as portraitists or photojournalists, not as artists. One of the most important exceptions was Ansel Adams, who took majestic photographs of the Western American landscape. Adams used his art to stimulate social awareness and to support the conservation cause of the Sierra Club. He helped found the photography department at the Museum of Modern Art in 1940, and six years later helped establish the photography department at the California School of Fine Arts in San Francisco (now the San Francisco Art Institute). He also held annual photography workshops at Yosemite National Park from 1955 to 1981 and wrote a series of influential books on photographic technique. Adams’s elegant landscape photography was only one small stream in a growing current of interest in photography as an art form. Early in the 20th century, teacher-turned-photographer Lewis Hine established a documentary tradition in photography by capturing actual people, places, and events. Hine photographed urban conditions and workers, including child laborers. Along with their artistic value, the photographs often implicitly called for social reform. In the 1930s and 1940s, photographers joined with other depression-era artists supported by the federal government to create a photographic record of rural America. Walker Evans, Dorothea Lange, and Arthur Rothstein, among others, produced memorable and widely reproduced portraits of rural poverty and American distress during the Great Depression and during the dust storms of the period. In 1959, after touring the United States for two years, Swiss-born photographer Robert Frank published The Americans, one of the landmarks of documentary photography. His photographs of everyday life in America introduced viewers to a depressing, and often depressed, America that existed in the midst of prosperity and world power. Photographers continued to search for new photographic viewpoints. This search was perhaps most disturbingly embodied in the work of Diane Arbus. Her photos of mental patients and her surreal depictions of Americans altered the viewer’s relationship to the photograph. Arbus emphasized artistic alienation and forced viewers to stare at images that often made them uncomfortable, thus changing the meaning of the ordinary reality that photographs are meant to capture. American photography continues to flourish. The many variants of art photography and socially conscious documentary photography are widely available in galleries, books, and magazines. A host of other visual arts thrive, although they are far less connected to traditional fine arts than photography. Decorative arts include, but are not limited to, art glass, furniture, jewelry, pottery, metalwork, and quilts. Often exhibited in craft galleries and studios, these decorative arts rely on ideals of beauty in shape and color as well as an appreciation of well-executed crafts. Some of these forms are also developed commercially. The decorative arts provide a wide range of opportunity for creative expression and have become a means for Americans to actively participate in art and to purchase art for their homes that is more affordable than works produced by many contemporary fine artists. . Performing arts As in other cultural spheres, the performing arts in the United States in the 20th century increasingly blended traditional and popular art forms. The classical performing arts—music, opera, dance, and theater—were not a widespread feature of American culture in the first half of the 20th century. These arts were generally imported from or strongly influenced by Europe and were mainly appreciated by the wealthy and well educated. Traditional art usually referred to classical forms in ballet and opera, orchestral or chamber music, and serious drama. The distinctions between traditional music and popular music were firmly drawn in most areas. During the 20th century, the American performing arts began to incorporate wider groups of people. The African American community produced great musicians who became widely known around the country. Jazz and blues singers such as Bessie Smith, Louis Armstrong, Duke Ellington, and Billie Holiday spread their sounds to black and white audiences. In the 1930s and 1940s, the swing music of Benny Goodman, Tommy Dorsey, and Glenn Miller adapted jazz to make a unique American music that was popular around the country. The American performing arts also blended Latin American influences beginning in the 20th century. Between 1900 and 1940, Latin American dances, such as the tango from Argentina and the rumba from Cuba, were introduced into the United States. In the 1940s a fusion of Latin and jazz elements was stimulated first by the Afro-Cuban mambo and later on by the Brazilian bossa nova. Throughout the 20th century, dynamic classical institutions in the United States attracted international talent. Noted Russian-born choreographer George Balanchine established the short-lived American Ballet Company in the 1930s; later he founded the company that in the 1940s would become the New York City Ballet. The American Ballet Theatre, also established during the 1940s, brought in non-American dancers as well. By the 1970s this company had attracted Soviet defector Mikhail Baryshnikov, an internationally acclaimed dancer who served as the company’s artistic director during the 1980s. In classical music, influential Russian composer Igor Stravinsky, who composed symphonies using innovative musical styles, moved to the United States in 1939. German-born pianist, composer, and conductor Andre Previn, who started out as a jazz pianist in the 1940s, went on to conduct a number of distinguished American symphony orchestras. Another Soviet, cellist Mstislav Rostropovich, became conductor of the National Symphony Orchestra in Washington, D. C. , in 1977. Some of the most innovative artists in the first half of the 20th century successfully incorporated new forms into classical traditions. Composers George Gershwin and Aaron Copland, and dancer Isadora Duncan were notable examples. Gershwin combined jazz and spiritual music with classical in popular works such as Rhapsody in Blue (1924) and the opera Porgy and Bess (1935). Copland developed a unique style that was influenced by jazz and American folk music. Early in the century, Duncan redefined dance along more expressive and free-form lines. Some artists in music and dance, such as composer John Cage and dancer and choreographer Merce Cunningham, were even more experimental. During the 1930s Cage worked with electronically produced sounds and sounds made with everyday objects such as pots and pans. He even invented a new kind of piano. During the late 1930s, avant-garde choreographer Cunningham began to collaborate with Cage on a number of projects. Perhaps the greatest, and certainly the most popular, American innovation was the Broadway musical, which also became a movie staple. Beginning in the 1920s, the Broadway musical combined music, dance, and dramatic performance in ways that surpassed the older vaudeville shows and musical revues but without being as complex as European grand opera. By the 1960s, this American musical tradition was well established and had produced extraordinary works by important musicians and lyricists such as George and Ira Gershwin, Irving Berlin, Cole Porter, Richard Rodgers, Lorenz Hart, Jerome Kern, and Oscar Hammerstein II. These productions required an immense effort to coordinate music, drama, and dance. Because of this, the musical became the incubator of an American modern dance tradition that produced some of America’s greatest choreographers, among them Jerome Robbins, Gene Kelly, and Bob Fosse. In the 1940s and 1950s the American musical tradition was so dynamic that it attracted outstanding classically trained musicians such as Leonard Bernstein. Bernstein composed the music for West Side Story, an updated version of Romeo and Juliet set in New York that became an instant classic in 1957. The following year, Bernstein became the first American-born conductor to lead a major American orchestra, the New York Philharmonic. He was an international sensation who traveled the world as an ambassador of the American style of conducting. He brought the art of classical music to the public, especially through his â€Å"Young People’s Concerts,† television shows that were seen around the world. Bernstein used the many facets of the musical tradition as a force for change in the music world and as a way of bringing attention to American innovation. In many ways, Bernstein embodied a transformation of American music that began in the 1960s. The changes that took place during the 1960s and 1970s resulted from a significant increase in funding for the arts and their increased availability to larger audiences. New York City, the American center for art performances, experienced an artistic explosion in the 1960s and 1970s. Experimental off-Broadway theaters opened, new ballet companies were established that often emphasized modern forms or blended modern with classical (Martha Graham was an especially important influence), and an experimental music scene developed that included composers such as Philip Glass and performance groups such as the Guarneri String Quartet. Dramatic innovation also continued to expand with the works of playwrights such as Edward Albee, Tony Kushner, and David Mamet. As the variety of performances expanded, so did the serious crossover between traditional and popular music forms. Throughout the 1960s and 1970s, an expanded repertoire of traditional arts was being conveyed to new audiences. Popular music and jazz could be heard in formal settings such as Carnegie Hall, which had once been restricted to classical music, while the Brooklyn Academy of Music became a venue for experimental music, exotic and ethnic dance presentations, and traditional productions of grand opera. Innovative producer Joseph Papp had been staging Shakespeare in Central Park since the 1950s. Boston conductor Arthur Fiedler was playing a mixed repertoire of classical and popular favorites to large audiences, often outdoors, with the Boston Pops Orchestra. By the mid-1970s the United States had several world-class symphony orchestras, including those in Chicago; New York; Cleveland, Ohio; and Philadelphia, Pennsylvania. Even grand opera was affected. Once a specialized taste that often required extensive knowledge, opera in the United States increased in popularity as the roster of respected institutions grew to include companies in Seattle, Washington; Houston, Texas; and Santa Fe, New Mexico. American composers such as John Adams and Philip Glass began composing modern operas in a new minimalist style during the 1970s and 1980s. The crossover in tastes also influenced the Broadway musical, probably America’s most durable music form. Starting in the 1960s, rock music became an ingredient in musical productions such as Hair (1967). By the 1990s, it had become an even stronger presence in musicals such as Bring in Da Noise, Bring in Da Funk (1996), which used African American music and dance traditions, and Rent (1996) a modern, rock version of the classic opera La Boheme. This updating of the musical opened the theater to new ethnic audiences who had not previously attended Broadway shows, as well as to young audiences who had been raised on rock music. Performances of all kinds have become more available across the country. This is due to both the sheer increase in the number of performance groups as well as to advances in transportation. In the last quarter of the 20th century, the number of major American symphonies doubled, the number of resident theaters increased fourfold, and the number of dance companies increased tenfold. At the same time, planes made it easier for artists to travel. Artists and companies regularly tour, and they expand the audiences for individual artists such as performance artist Laurie Anderson and opera singer Jessye Norman, for musical groups such as the Juilliard Quartet, and for dance troupes such as the Alvin Ailey American Dance Theater. Full-scale theater productions and musicals first presented on Broadway now reach cities across the country. The United States, once a provincial outpost with a limited European tradition in performance, has become a flourishing center for the performing arts.

Irregular Warfare

Army is beginning to shape itself for complex irregular warfare. The new Army vision calls for a â€Å"campaign-quality Army- that incorporates both Joint and expeditionary capabilities.This includes the capacity not only to conduct decibels combat operations, but also to sustain operations indefinitely, as well as to adapt Itself to the unexpected and unpredictable, As Army Chief of Staff General Shoemaker puts It, â€Å"The Army preeminent challenge Is to reconcile expeditionary agility and responsiveness with the staying power, durability, and adaptability to carry a conflict to a victorious conclusion no matter what form it eventually takes. This vision is oriented on the more asymmetric adversaries targeted in the war on terror.General Shoemaker focuses on the undetectable and â€Å"morally unconstrained† adversaries who are opposed to the United States and its allies. The Army professes to recognize that its enemies will seek asymmetric approaches that provide shelter in those environments and methods for which we are least prepared. Overcoming this adversary requires the adoption off mindset that Is both expeditionary and Joint. This approach accepts uncertainty about location, the high probability of an austere environment, and the need to fight Immediately upon arrival.It moves the Army from Its current disposition toward predictable enemies to an understanding that the new enemies are elusive and will have to be engaged in the far corners of the world. Appropriately, the individual soldier is the centerpiece for the Army transformation. The Army's pending transformation gives primacy to the warrior ethos, training, and education of â€Å"the ultimate combination of sensor and shooter,† the individual soldier. Its education programs will focus on teaching soldiers how, rather than what, to think, since defeating adaptive enemies requires the Army to outthinking the enemy.The vision statement aptly notes the need for greater agility and versatility, which it says will be gained by emphasizing modularity at the brigade level and combined arms at the lower levels. 1986 Goldwater-Nichols Act and the related Initiative to establish U. S. Special Operations Command (COM). 38 Embedded wealth the congressional legislation was the express expectation that the services achieve a higher order of mint cooperation. Additionally, Congress mandated a particular service-like† status for Special Forces to preclude longstanding prejudices against the elite, unconventional, and secretive component of America's arsenal.Congress's insights in this regard have paid significant dividends in the past few years. Operation Enduring Freedom (Afghanistan) revealed a remarkable renaissance in operational capability. Small teams of agile warriors quickly established relationships with the leadership of Afghanistan's Northern Alliance and ably applied America's firepower against the Taliban. Subsequently, numerous examples of valor and Im provisation on the fly in Iraq and elsewhere are testimony to the need for and utility of Special Forces.In a world of anarchy, the masters of chaos† provide sophisticated and discriminate means. 39 The Department of Defense has recognized the Importance of this unique arm In the war on terror and assigned COM with a lead role In combating transnational terrorist networks. Coma's end strength has been increased since 1 ,405 members in IFFY, to nearly 53,000 personnel. 40 Army special forces, SEAL teams, and aviation support have albeit increased. During the troubles in Northern Ireland, the arrival of British troops in 1969 was at first welcomed by Roman Catholics.But the army's heavy-handed methods, such as large cordon-and-search operations and the shooting of 13 civilians on Bloody Sunday in 1972, pushed many Catholics into the arms of the Provisional Irish Republican Army. Historically, counterinsurgency campaigns have almost always failed. This is especially so when the c ounterinsurgency are foreign troops fighting on the insurgents' territory.