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In this innovative historical survey, Annegret S. Ogden addresses the need for the modern housewife to adapt to the additional role of wage earner. By examining a variety of diaries, letters, domestic fiction, and household books of the past two centuries, as well as solid statistical and historical data, she seeks not only to uncover the motivations and origins of the typical American housewife, but also to discover an alternative life pattern that has characterized a virtually unrecognized minority of American women. These are the immigrant, black, and frontier women, as well as any other part-time homemakers, who long ago forged the survival tools that are needed by today's majority of working housewives. It is Ogden's contention that an understanding of the historical housewife, as well as her working counterpart, will light the way for those modern American housewives who must adapt their role as both homemaker and wage earner to the shifting complexities of contemporary American life.

This is a fine hardcover copy with a very good dust jacket with just light wear. Completely clean inside and out. Text in GERMAN. Edited by Annegret Hoberg. Contributions by Ines Engelmann, Peter Assmann, Otto Breicha, and Antonia Hoerschelmann. Illustrated in color and black & white. 11" high X 9" wide, 343 pages. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.

What role did music play in the United States during World War II? How did composers reconcile the demands of their country and their art as America mobilized both militarily and culturally for war? Annegret Fauser explores these and many other questions in the first in-depth study of American concert music during World War II. While Dinah Shore, Duke Ellington, and the Andrew Sisters entertained civilians at home and G.I.s abroad with swing and boogie-woogie, Fauser shows it was classical music that truly distinguished musical life in the wartime United States. Classical music in 1940s America had a ubiquitous cultural presence--whether as an instrument of propaganda or a means of entertainment, recuperation, and uplift--that is hard to imagine today, and Fauser suggests that no other war enlisted culture in general and music in particular so consciously and unequivocally as World War II. Indeed, the day after the attack on Pearl Harbor, Group Theatre director Harold Clurman wrote to his cousin, Aaron Copland: "So you're back in N.Y. . . ready to defend your country in her hour of need with lectures, books, symphonies!" Copland was in fact involved in propaganda missions of the Office of War Information, as were Marc Blitzstein, Elliott Carter, Henry Cowell, Roy Harris, and Colin McPhee. It is the works of these musical greats--as well as many other American and exiled European composers who put their talents to patriotic purposes--that form the core of Fauser's enlightening account. Drawing on music history, aesthetics, reception history, and cultural history, Sounds of War recreates the remarkable sonic landscape of the World War II era and offers fresh insight to the role of music during wartime.

What role did music play in the United States during World War II? How did composers reconcile the demands of their country and their art as America mobilized both militarily and culturally for war? Annegret Fauser explores these and many other questions in the first in-depth study of American concert music during World War II. While Dinah Shore, Duke Ellington, and the Andrew Sisters entertained civilians at home and G.I.s abroad with swing and boogie-woogie, Fauser shows it was classical music that truly distinguished musical life in the wartime United States. Classical music in 1940s America had a ubiquitous cultural presence--whether as an instrument of propaganda or a means of entertainment, recuperation, and uplift--that is hard to imagine today, and Fauser suggests that no other war enlisted culture in general and music in particular so consciously and unequivocally as World War II. Indeed, the day after the attack on Pearl Harbor, Group Theatre director Harold Clurman wrote to his cousin, Aaron Copland: "So you're back in N.Y. . . ready to defend your country in her hour of need with lectures, books, symphonies!" Copland was in fact involved in propaganda missions of the Office of War Information, as were Marc Blitzstein, Elliott Carter, Henry Cowell, Roy Harris, and Colin McPhee. It is the works of these musical greats--as well as many other American and exiled European composers who put their talents to patriotic purposes--that form the core of Fauser's enlightening account. Drawing on music history, aesthetics, reception history, and cultural history, Sounds of War recreates the remarkable sonic landscape of the World War II era and offers fresh insight to the role of music during wartime.

Franz Marc A Retrospective Annegret Hoberg and Helmut Friedel This comprehensive collection celebrates the work of Franz Marc, a pioneer of Germany's Expressionist movement. Before his career was tragically cut short by World War I, Marc had gained recognition as a co-founder with Wassily Kandinsky of the influential Blue Rider Group. Marc, whose primary focus was the world of animals, is now recognized as one of the greatest of the German Expressionists. This chronologically arranged book brings together more than 300 of Marc’s works. It includes perceptive comments about the artist’s life, examples of his correspondence, and insight into the unique symbolic language he employed to make sense of the difficult times in which he lived. Annegret Hoberg is a curator in the Lenbachhaus in Munich, Germany, which houses one of the most extensive collections of Franz Marc in the world. She is the author of numerous books on art, many published by Prestel. Helmut Friedel is the Director of the Städtische Galerie im Lenbachhaus, Munich, and has published extensively on modern and contemporary art.