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The forty years 1880 to 1920 marked the golden age of the American theatre as a national institution, a time when actors moved from being players outside the boundaries of respectable society to being significant figures in the social landscape. As the only book that provides an overview of the late nineteenth- and early twentieth-century theatre, Actors and American Culture is also the only study of the legitimate stage that overtly attempts to connect actors and their work to the wider aspects of American life.
A History of American Tonalism: 1880-1920 will change standard theory on American art history with a new paradigm that places the origins of American modernism in the late 1870s. Crucially, it also demonstrates how the Tonalist movement became the driving force in the development of a distinctly American art form: mystic, visionary, and nostalgic, yet essentially modern in its progressive dynamic of non-narrative abstraction--a fundamentally expressive and symbolic art that set its seal on American art then and now. --Book Jacket.
Frederick E. Hoxie is director of the D'Arcy McNickle Center for the History of the American Indian at the Newberry Library. He coedited (with Joan Mark) E. Jane Gay's With the Nez Percés: Alice Fletcher in the Field, 1889-92 (Nebraska 1981).
What Du Bois noted has gone largely unstudied until now. In this book, Evelyn Brooks Higginbotham gives us our first full account of the crucial role of black women in making the church a powerful institution for social and political change in the black community. Between 1880 and 1920, the black church served as the most effective vehicle by which men and women alike, pushed down by racism and poverty, regrouped and rallied against emotional and physical defeat. Focusing on the National Baptist Convention, the largest religious movement among black Americans, Higginbotham shows us how women were largely responsible for making the church a force for self-help in the black community. In her account, we see how the efforts of women enabled the church to build schools, provide food and clothing to the poor, and offer a host of social welfare services. And we observe the challenges of black women to patriarchal theology. Class, race, and gender dynamics continually interact in Higginbotham’s nuanced history. She depicts the cooperation, tension, and negotiation that characterized the relationship between men and women church leaders as well as the interaction of southern black and northern white women’s groups. Higginbotham’s history is at once tough-minded and engaging. It portrays the lives of individuals within this movement as lucidly as it delineates feminist thinking and racial politics. She addresses the role of black Baptist women in contesting racism and sexism through a “politics of respectability” and in demanding civil rights, voting rights, equal employment, and educational opportunities. Righteous Discontent finally assigns women their rightful place in the story of political and social activism in the black church. It is central to an understanding of African American social and cultural life and a critical chapter in the history of religion in America.
With the arrival of the transcontinental railroad in the 1880s came the emergence of a modern and profoundly multicultural New Mexico. Native Americans, working-class Mexicans, elite Hispanos, and black and white newcomers all commingled and interacted in the territory in ways that had not been previously possible. But what did it mean to be white in this multiethnic milieu? And how did ideas of sexuality and racial supremacy shape ideas of citizenry and determine who would govern the region? Coyote Nation considers these questions as it explores how New Mexicans evaluated and categorized racial identities through bodily practices. Where ethnic groups were numerous and—in the wake of miscegenation—often difficult to discern, the ways one dressed, bathed, spoke, gestured, or even stood were largely instrumental in conveying one's race. Even such practices as cutting one's hair, shopping, drinking alcohol, or embalming a deceased loved one could inextricably link a person to a very specific racial identity. A fascinating history of an extraordinarily plural and polyglot region, Coyote Nation will be of value to historians of race and ethnicity in American culture.
"T. J. Jackson Lears's No Place of Grace is a landmark book in the fields of American Studies and history, known for its rigorous research and original, near-literary style. A study of responses to the culture of corporate capitalism at the turn of the twentieth century, No Place of Grace charts the development of modern consumer society through the embrace of antimodernism, the effort among many middle and upper class Americans to recapture feelings of authenticity, vigor, depth, and connection. Rather than offer true resistance to the increasing corporate bureaucratization of the time, however, antimodernism helped accommodate Americans to the new order-it was therapeutic rather than oppositional, a forerunner to today's self-help culture. And yet antimodernism contributed a new dynamic as well, "an eloquent edge of protest," as Lears puts it, which is evident even today in anticonsumerism, sustainable living, and other practices. This edition, with a lively and discerning foreword by Jennifer Ratner-Rosenhagen, celebrates the book's 40th anniversary"--
Discusses the reasons Italian people left their homeland to come to America, the experiences immigrants had in the new country, and the contributions this cultural group made to American society. Includes sidebars and activities.
In a chilling scene in the film Unforgiven, Clint Eastwood as the gunman stands over a wounded Gene Hackman, the sheriff, aiming a rifle at his head. "I don't deserve this, to die like this," says Hackman. Eastwood replies, "Deserve's got nothing to do with it," cocks his rifle, and fires point blank at his helpless victim. This scenario dramatically brings home to the viewer what historians have long debated and hundreds of other films and books suggest: the turn-of-the-century West was a violent time and place. Ranchers, miners, deputy sheriffs, teenagers and old men, occasionally even housewives and mothers found themselves at the business end of a shotgun or a .38 revolver. Yet, since western historians tend to portray violence as essentially episodic--frontier gunfights, range wars, vigilante movements, and the like--solid data has been hard to come by. As a beginning point for actually measuring lethal violence and assessing the administration of justice, here at last is a detailed and well-documented study of homicide in the American West. Comparing data from representative areas--Douglas County, Nebraska; Las Animas County, Colorado; and Gila County, Arizona--this book reveals a level of violence far greater than many historians have believed, even surpassing eastern cities like New York and Boston. Clashing cultures and transient populations, a boomtown mentality, easy availability of alcohol and firearms: these and many other factors come under scrutiny as catalysts in the violence that permeated the region. By comparing homicide data, including coroner's inquests, indictments, plea bargains, and sentences across both racial and regional lines, the book also offers persuasive evidence that criminal justice systems of the Old West were weighted heavily in favor of defendants who were white and against those who were African American, Native American, or Mexican. Packed with information, this is a book for students and scholars of western history, social history, criminology, and justice studies. Western history buffs will be captivated by colorful anecdotes about the real West, where guns could and did blaze over anything from love trysts to vendettas to too much foam on the beer. From whatever perspective, all readers are sure to find here a well-constructed framework for understanding the West as it was and for interpreting the region as it moves into the future.
"A Lower East Side Tenement Museum book."
The era in the United States between the Civil War and the end of World War I, was marked by increased nation-building, immigration, internal migration and racial tension. This period of time saw the rise of local colour literature, which described the peculiarities of regional life through "lived experiences." This anthology brings together works from every part of America, written by men and women of many cultures, ethnicities, ideologies and literary styles. The book features such familiar writers as Joel Chandler Harris, Kate Chopin, Hamlin Garland and Sarah Orne Jewett, and introduces less well-known voices like Sui Sin Far, Abraham Cahan and Zitkala-Sa. The writings illuminate varying concepts of the American identity and racial, class and ethnic stereotypes are both introduced and challenged in many of of the stories. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.