Air Operations, Bismarcks43rd Heavy Bomb Group B-17s, 90th Heavy Bomb Group B-24s, and V Bomber Command B-25s mount individual attacks against targets on New Britain. [ | ]Air Operations, CBICHINAResponding to pleas from Chinese Army forces facing a massive Japanese Army ground offensive along the Yellow River, 9 308th Heavy Bomb Group B-24s temporarily based at the Hsinching airfield at Chengtu attack a supply area near the city of Ichang with 18 tons of bombs. Several of the B-24s are also equipped with remotely fired, fixed bomb-bay-mounted machine guns, which are used to blindly strafe ground targets during the bomb runs. Also, 4 23rd Fighter Group P-40s attack targets of opportunity around Lungling and Tengchung. [ | ]Air Operations, East Indies43rd Heavy Bomb Group B-17s, 90th Heavy Bomb Group B-24s, and V Bomber Command B-25s mount individual attacks against targets on Sumatra and Timor. [ | ]Air Operations, EuropeBOMBER COMMANDDaylight Ops:
FRANCE:
PANTELLERIA: NASAF B-26s, P-38s, and P-40s and NATAF P-40s attack gun emplacements, a radar installation, and the town. [ | ]Air Operations, New Guinea
Air Operations, SardiniaP-38 fighter bombers attack the Porto Ponte Romano. [ | ]AleutiansOn Attu the Japanese mount a final fanatical attack on the Americans who are now established in Chicagof. The fighting is extremely vicious and continues all day and during the following night.
ChinaThe Chinese recapture Yuyangkwan, east of Ichang. Chinese Nationalist troops in the Ichang area halt the Japanese advance on Chungking. They promptly went of the offensive. [ | ]Pacific
United States, Home Front
Rockwell’s depiction of Rosie represents one of two ways that she was typically depicted. Deborah Felder explains that Rosie was either depicted in this rather unfeminine and muscular manner, like the Rockwell image, or as a more traditional feminine character wearing more form fitting cover-alls. Rockwell’s image, clearly, is a masculine depiction. James J. Kimble and Lester C. Olson describe in their essay outlining the history and several depictions of Rosie the Riveter, that the various details of Rockwell’s depiction “suggest gender ambiguities and violations insofar as they tended to be masculine attributes…”(33) The article also explores the connection, made by other writers as well, between the composition of Rockwell’s Rosie to that of Michelangelo’s portrayal of the prophet Isaiah in the Sistine Chapel. This reference “… may tacitly reinforce the print’s masculinity and its righteousness.” One example of a more conventionally feminine Rosie, and among the most well known depictions, is by J. Howard Miller, entitled We can Do it!. (Figure 14) While this woman, like Rockwell’s Rosie, is exhibiting her physical strength by flexing her arm, and she appears ready to work, she is at the same time a much more feminine depiction than Rockwell’s. Felder states that the media “preferred to highlight the more feminine qualities of American’s Rosies.”(35) She continues to suggest that these more conventional feminine Riveters emphasized that “she was a housewife and mother at heart, who would (and should) gladly return to her rightful place in the home at the first opportunity.” (36) The realization that magazines could “equate consumerism with patriotism,” led to advertisements, such as Eureka Vacuums making use of Rosie characters. (37) Kimble and Olson note the similarities and differences between these two images in their essay. One important difference is in the feminine appearance of Miller’s Rosie. “Cosmetics affirm her femininity, including mascara, eyebrow liner, a hint of lipstick, and fingernail polish on one well- manicured fingernail.”(38) Furthermore, the tools that she would use are not present in her portrait, unlike the riveter included in Rockwell’s. Kimble and Olson suggest that Rockwell’s image had an impact on many women, not just those in the working class. Rockwell’s Rosie the Riveter would have changed the views of wealthier women, for example, by gaining their approval of the female workers, and even prompt them to “avidly support their decisions concerning their public performances of womanhood.” [ | ] |
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