Modern Mind

pages 113–120.
    2.
Young-Bruehl, Hannah Arendt, Op. cit., pages 328ff.
    3. Hannah Arendt,
Eichmann in Jerusalem: A Report on the Banality of Evil,
New York: Viking, 1963, enlarged and revised edition, Penguin, 1994, page 49.
    4.
Ibid.,
page 92.
    5. Young-Bruehl, Op.
cit.,
page 337.
    6. Arendt,
Op. cit.,
page 252.
    7. See Young-Bruehl,
Op. cit.,
pages 347–378 for a full discussion of the controversy, including its overlap with the assassination of President Kennedy.
    8.
Laura Fermi, Illustrious Immigrants, Op. cit., pages 153–154.
    9. Erik Erikson,
Childhood and Society,
New York: W. W. Norton, 1950; Penguin edition 1965, especially Part 4, ‘Youth and the Evolution of Identity.’
    10. Erikson, Op.
cit.,
chapter 8, pages 277–316.
    11. Bruno Bettelheim, ‘Individual and Mass Behavior in Extreme Situations ‘
Journal of Abnormal and Social Psychology,
1943.
    12. Bruno Bettelheim,
The Empty Fortress,
New York: Collier-Macmillan, 1968.
    13. Nina Sutton,
Bruno Bettelheim: The Other Side of Madness,
London: Duckworth, 1995, chapters XI and XII.
    14. And Bruno Bettelheim,
Recollections and Reflections,
New York: Knopf, 1989; London: Thames & Hudson, 1990, pages 166ff.
    15. Laura Fermi, Op.
cit.,
pages 207–208.
    16. Richard Rhodes,
Op. cit.,
page 563.
    17.
Ibid.,
page 777.
    18. Kragh,
Op. cit.,
pages 332ff; see also: Alexander Hellemans and Bryan Bunch,
The Timetables ofScience,
New York: Simon & Schuster, 1988, page 498.
    19. See: George Gamow,
The Creation of the Universe,
New York: Viking, 1952, for a more accessible account. Page 42 for his discussion of the current temperature of the space in the universe.
    20. Hellemans and Bunch, Op.
cit.,
page 499.
    21. Murray Gell-Mann,
The Quark and the Jaguar,
New York: Little Brown, 1994, page 11, for why he chose ‘quark.’
    22. See under ‘quark’, ‘baryon’ and ‘lepton’ in: John Gribbin, Q
is for Quantum,
London: Weidenfeld & Nicolson, 1998, paperback edition 1999, and pages 190–191 for the early work on quarks.
    23. See also: Yuval Ne’eman and Yoram Kirsh,
The Particle Hunters,
Cambridge: Cambridge University Press, 1986, pages 196–199 for a more technical introduction to the eight-fold way.
    24. Victor Bockris,
Warhol,
London and New York: Frederick Muller, 1989, page 155.
    25.
Barron, Exiles and Emigrés, Op. cit., pages 21— 28.
    26.
Dore Ashton, The New York School: A Cultural Reckoning, New York: Viking, 1973, pages 123 and 140.
    27. Alice Goldfarb Marquis,
Alfred H. Barr: Missionary for the Modem,
Chicago: Contemporary Books, 1989, page 69.
    28. Ashton, Op.
cit.,
pages 142–145 and 156.
    29.
Ibid.,
page 175.
    30.
Diana Crane, The Transformation of the AvantGarde: The New York Art World, 1940–1986, Chicago and London: University of Chicago Press, 1987, page 45.
    31.
Ibid.,
page 49.
    32. Bockris, Op.
cit.,
pages 112–134, especially page 128.
    33.
Hughes, The Shock of the New, Op. cit., page
251.
    34. Crane, Op.
cit.,
page 82.
    35. David Lehman,
The Last Avant-Garde: The Making of the New York School of Poets,
New York: Doubleday 1998, Anchor paperback 1999. Lehman shows that these poets were also ‘aesthetes in revolt against a moralist’s universe’, see page 358. ‘They believed that the road of experimentation leads to the pleasure-dome of poetry’, page 358.
    36.
Arnold Whittall, Music Since the First World War, Op. cit., page iii.
    37.
Ibid.,
page 3.
    38.
Dancers on a Plane: John Cage, Merce Cunningham, Jasper Johns, Liverpool: The Tate Gallery, 1990, Introduction by Richard Francis, page 9.
    39. Whittall, Op.
cit.,
page 208.
    40. Sally Banes,
Writing Dancing in the Age of Postmodernism,
Hanover and London: Wesleyan University Press, published by the University Presses of New England, 1994, page 103.
    41. Banes, Op.
cit.,
page 104.
    42.
Ibid.,
page 110.
    43. Richard Francis,
Op. cit.,
page 11.
    44. Banes, Op.
cit.,
page 115.
    45.
Ibid.,
page 117.
    46. Susan Sontag,
Against Interpretation,
London: Vintage, 1994, page 10.
    47.
Ibid.,
pages 13–14. In another celebrated essay, ‘Notes on Camp’, published in the same year, 1964, in
The New York Review of Books,
Susan Sontag addressed a certain sensibility which, she said, was wholly aesthetic, in contrast to high culture, which was basically moralistic (Sontag,
Op. cit.,
page 287). ‘It incarnates a victory of “style” over “content”, “aesthetics” over “morality”, of irony over tragedy.’ It was not the same as homosexual taste, she said, but