'The Golden Hunger Years': Music and Superpower Rivalry in Occupied Berlin

This article investigates the evolution of American and Sovietarts policy in Berlin between 1945 and 1947, with special attentionto the role of music. Music's political ambiguity, and its receptionas at once a uniquely German and international form of artisticexpression, made it an ideal medium through which Allied militaryofficials could project their country's aesthetic ideals andprogrammes for German cultural reform. If Berliners and theirSoviet occupiers largely agreed upon the importance of élitemusical tradition as an expression of national accomplishmentand the mark of a cultured society, American authorities tendedto treat music more as an entertaining, but non-essential diversion.Under the city' quadripartite military administration, it wasdifficult for any one occupation authority to pursue culturalobjectives that were aesthetically or politically more restrictivethan the others. Thus, superpower rivalry initially createdmore opportunities than limitations for Berlin artists. Americanofficers were compelled to consent to more lenient denazificationstandards for musicians than they had initially intended, whilethe Soviets permitted and even encouraged modernist musicalexperiments in their sector of occupation. In competition witheach other and seeking the loyalties of their German charges,the Allies encouraged Berlin to become a lively—and heavilysubsidized—city of the arts.     

The analysis of copper artifacts of the copper inuit

Metallography and neutron activation analysis have been used to investigate copper artifacts from 19th century archaeological sites associated with the “Copper Inuit” of the west-central Canadian Arctic. A knowledge of the source of the copper from which the artifacts were manufactured - native (local) copper or European (exotic) copper - is important, for example, to studies of the effects of European contact on utilization of native copper and on the general lifestyle of the Copper Inuit. Trace element analysis by neutron activation using the SLOWPOKE reactor has allowed local native copper, from the Coppermine River and Victoria Island, NW Territories, to be clearly distinguished from 19th century European smelted copper, which was found to contain higher concentrations of arsenic, antimony, nickel and selenium. Moreover, optical and scanning electron metallography revealed significant microstructural differences between native copper and the 19th century smelted copper. As a consequence it was possible to differentiate between native copper archaeological artifacts and those produced from smelted copper.