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To many Americans in the nineteenth and twentieth centuries, the West was simultaneously the greatest symbol of American opportunity, the greatest story of its history, and the imagined blank slate on which the country's future would be written. From the Spanish-American War in 1898 to the Great Depression's end, from the Mississippi to the Pacific, policymakers at various levels and large-scale corporate investors, along with those living in the West and its borderlands, struggled over who would define modernity, who would participate in the modern American West, and who would be excluded. In Making a Modern U.S. West Sarah Deutsch surveys the history of the U.S. West from 1898 to 1940. Centering what is often relegated to the margins in histories of the region--the flows of people, capital, and ideas across borders--Deutsch attends to the region's role in constructing U.S. racial formations and argues that the West as a region was as important as the South in constructing the United States as a "white man's country." While this racial formation was linked to claims of modernity and progress by powerful players, Deutsch shows that visions of what constituted modernity were deeply contested by others. This expansive volume presents the most thorough examination to date of the American West from the late 1890s to the eve of World War II.
The first biography of America's greatest twentieth-century sculptor, Alexander Calder: an authoritative and revelatory achievement, based on a wealth of letters and papers never before available, and written by one of our most renowned art critics. Alexander Calder is one of the most beloved and widely admired artists of the twentieth century. Anybody who has ever set foot in a museum knows him as the inventor of the mobile, America's unique contribution to modern art. But only now, forty years after the artist's death, is the full story of his life being told in this biography, which is based on unprecedented access to Calder's letters and papers as well as scores of interviews. Jed Perl shows us why Calder was--and remains--a barrier breaker, an avant-garde artist with mass appeal. This beautifully written, deeply researched book opens with Calder's wonderfully peripatetic upbringing in Philadelphia, California, and New York. Born in 1898 into a family of artists--his father was a well-known sculptor, his mother a painter and a pioneering feminist--Calder went on as an adult to forge important friendships with a who's who of twentieth-century artists, including Joan Miró, Marcel Duchamp, Georges Braque, and Piet Mondrian. We move through Calder's early years studying engineering to his first artistic triumphs in Paris in the late 1920s, and to his emergence as a leader in the international abstract avant-garde. His marriage in 1931 to the free-spirited Louisa James--she was a great-niece of Henry James--is a richly romantic story, related here with a wealth of detail and nuance. Calder's life takes on a transatlantic richness, from New York's Greenwich Village in the Roaring Twenties, to the Left Bank of Paris during the Depression, and then back to the United States, where the Calders bought a run-down old farmhouse in western Connecticut. New light is shed on Calder's lifelong interest in dance, theater, and performance, ranging from the Cirque Calder, the theatrical event that became his calling card in bohemian Paris to collaborations with the choreographer Martha Graham and the composer Virgil Thomson. More than 350 illustrations in color and black-and-white--including little-known works and many archival photographs that have never before been seen--further enrich the story.
Lists news events, population figures, and miscellaneous data of an historic, economic, scientific and social nature.
Designed to fill a large gap in American philosophy scholarship, this bibliography covers the first four decades of the pragmatic movement. It references most of the philosophical works by the twelve major figures of pragmatism: Charles S. Peirce, William James, John Dewey, George H. Mead, F.C.S. Schiller, Giovanni Papini, Giovanni Vailati, Guiseppe Prezzolini, Mario Calderoni, A.W. Moore, John E. Boodin, and C.I. Lewis. It also includes writings of dozens of minor pragmatic writers, along with those by commentators and critics of pragmatism. It encompasses literature not only concerning pragmatism as an alliance of philosophical theories of meaning, inquiry, belief, knowledge, logic, truth, ontology, value, and morality, but also as an intellectual and cultural force impacting art, literature, education, the social and natural sciences, religion, and politics. This bibliography contains 2,794 main entries and more than 2,000 additional references, organized by year of publication. 2,101 of the references include annotation. Its international scope is focused on writings in English, French, German, and Italian, though many other languages are also represented. Peter H. Hare contributed the Guest Preface. The introduction contains an historical orientation to pragmatism and guides to recent studies of pragmatic figures. This work is extensively cross-referenced, and it has exhaustive and lengthy author and subject indexes.
In this book, Shannon Rose Riley provides a critically rich investigation of representations of Cuba and Haiti in US culture in order to analyze their significance not only to the emergence of empire but especially to the reconfiguration of US racial structures along increasingly biracial lines. Based on impressive research and with extensive analysis of various textual and performance forms including a largely unique set of skits, plays, songs, cultural performances and other popular amusements, Riley shows that Cuba and Haiti were particularly meaningful to the ways that people in the US re-imagined themselves as black or white and that racial positions were renegotiated through what she calls acts of palimpsest: marking and unmarking, racing and erasing difference. Riley’s book demands a reassessment of the importance of the occupations of Cuba and Haiti to US culture, challenging conventional understandings of performance, empire, and race at the turn of the twentieth century.
Haitian seasonal migration to Cuba is central to narratives about race, national development, and US imperialism in the early twentieth-century Caribbean. Filling a major gap in the literature, this innovative study reconstructs Haitian guestworkers' lived experiences as they moved among the rural and urban areas of Haiti, and the sugar plantations, coffee farms, and cities of eastern Cuba. It offers an unprecedented glimpse into the daily workings of empire, labor, and political economy in Haiti and Cuba. Migrants' efforts to improve their living and working conditions and practice their religions shaped migration policies, economic realities, ideas of race, and Caribbean spirituality in Haiti and Cuba as each experienced US imperialism.