By William L. Shirer
The Bismark wasn’t simply any warship. Its weapons have been a lot enhanced and extra exact than any others in its day—meaning it will possibly simply sink enemy ships with no moving into variety in their fireplace. It was once one in all Hitler’s strongest guns, and the Allied forces needed to positioned it out of commission—before they misplaced the warfare. With the destiny of the area within the stability, Allied forces chased the Bismark around the stormy North Atlantic—culminating in an exhilarating sea conflict that modified the process international warfare II.
Unfolding with the taut suspense of a blockbuster motion picture, this e-book brings the buzz and probability of global conflict II to more youthful audiences—and demonstrates William L. Shirer’s mastery as a author of historical past and a spinner of stories.
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Extra info for The Sinking of the Bismarck
What was needed was a more indigenous and participatory alternative to both “American” mass culture and equally commercial middle-class concertgoing, characterized by a standard ﬁxed repertory, mainly of foreign origin (or inferior British imitations), and an attitude of passive consumption. One often ﬁnds urban concert culture referred to in derogatorily capitalist terms in 1940s and 1950s criticism. ” Referring to a BBC broadcast of William Byrd’s music, he wrote in 1942, “For half-an-hour one forgot the concert industry with its Tschaikowsky [sic] and Addinsell concertos, its denial of everything 58 59 60 61 W.
Eliot’s Orchestra: Critical Essays on Poetry and Music, ed. John Xiros Cooper (New York: Garland, 2000), 217–221. Britten, “England and the Folk-Art Problem,” 75. ”11 This “art of life” had been destroyed by “the machine,” which brought mass-production, standardization, and “levelling-down” (3). For Leavis and Thompson, the next best thing was a literary education, and more broadly an education in taste and in “critical awareness of the cultural environment,” a prominent part of which, the rest of their book suggests, was precisely an appreciation for what was lost.
E. ” Picture Post 18 (January 2, 1943), quoted in Weight, “Building a New British Culture,” 162. Ivor Brown, “A Plan for the Arts,” in Homes, Towns and Countryside: A Practical Plan for Britain, ed. Gilbert and Elizabeth McAllister (London: Batsford, 1945), 140, quoted in Weight, “Building a New British Culture,” 164. Arts Council of Great Britain, Plans for an Arts Centre (London: Lund Humphries, 1945). See Weight, “Building a New British Culture,” 173. 64 The Arts Council addressed one aspect of this problem with its attempt at least partially to protect art music from the demands of the market.