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The second edition of Greenwich Village, 1913: Suffrage, Labor, and the New Woman transports students into the bohemian section of New York City known as an epicenter of rebels, artists, and seekers of personal transformation. Assuming roles as residents of "the Village," students gather at Polly's restaurant to re-create discussions about feminism, marriage, family, work, and community. A faction of students in suffragist roles seek the community's support for extending the franchise to women, while others in roles as labor organizers appeal to the community for help raising funds to support an ongoing strike. Students in this game must clarify their beliefs and make their choices through a vote. Will they prioritize gender or social class, political or economic change, or reform or revolution? Will they use their talents to support a suffrage parade or to create a pageant for the silk workers of Paterson, New Jersey? Or will they reject both factions and continue to work toward a new America through the transformation of the self?
Greenwich Village, 1913 immerses students in the radical possibilities unlocked by the modern age. Exposed to ideas like women's suffrage, socialism, birth control, and anarchism, students experiment with forms of political participation and bohemian self-discovery.
They were smart. Sassy. Daring. Exotic. Eclectic. Sexy. And influential. One could call them the first divas--and they ran absolutely wild. They were poets, actresses, singers, artists, journalists, publishers, baronesses, and benefactresses. They were thinkers and they were drinkers. They eschewed the social conventions expected of them--to be wives and mothers--and decided to live on their own terms. In the process, they became the voices of a new, fierce feminine spirit. There's Mina Loy, a modernist poet and much-photographed beauty who traveled in pivotal international art circles; blues divas Bessie Smith and Ethel Waters; Edna St. Vincent Millay, the lyric poet who, with her earthy charm and passion, embodied the '20s ideal of sexual daring; the avant-garde publishers Margaret Anderson and Jane Heap; and the wealthy hostesses of the salons, A'Lelia Walker and Mabel Dodge. Among the supporting cast are Emma Goldman, Isadora Duncan, Ma Rainey, Margaret Sanger, and Gertrude Stein. Andrea Barnet's fascinating accounts of the emotional and artistic lives of these women--together with rare black-and-white photographs, taken by photographers such as Berenice Abbott and Man Ray--capture the women in all their glory. This is a history of the early feminists who didn't set out to be feminists, a celebration of the rebellious women who paved the way for future generations.
For fans of HBO’s The Gilded Age, explore the dazzling world of America’s 19th century elite in this lush, page-turning saga… In early twentieth-century New York, a young social butterfly discovers the darker side of the big city . . . First in this suspenseful historical mystery series. A year before World War I breaks out, the sidewalks of Manhattan are crowded with restless newcomers chasing the fabled American Dream, including a sharp-witted young woman who discovers a talent for investigating murder . . . New York City, 1913. Twenty-year-old Louise Faulk has fled Altoona, Pennsylvania, to start a life under dizzying lights. In a city of endless possibilities, it’s not long before the young ingénue befriends a witty aspiring model and makes a splash at the liveliest parties on the Upper East Side. But glitter fades to grit when Louise’s Greenwich Village apartment becomes the scene of a violent murder and a former suitor hustling for Tin Pan Alley fame hits front-page headlines as the prime suspect. Driven to investigate the crime, Louise finds herself stepping into the seediest corners of the burgeoning metropolis—where she soon discovers that failed dreams can turn dark and deadly . . . Praise for the Louise Faulk Mystery series “Maisie Dobbs fans will be pleased.” —Publishers Weekly
In a quiet town of Seneca Falls, New York, over the course of two days in July, 1848, a small group of women and men, led by Elizabeth Cady Stanton and Lucretia Mott, held a convention that would launch the woman's rights movement and change the course of history. The implications of that remarkable convention would be felt around the world and indeed are still being felt today. In Seneca Falls and the Origins of the Woman's Rights Movement, the latest contribution to Oxford's acclaimed Pivotal Moments in American History series, Sally McMillen unpacks, for the first time, the full significance of that revolutionary convention and the enormous changes it produced. The book covers 50 years of women's activism, from 1840-1890, focusing on four extraordinary figures--Lucretia Mott, Elizabeth Cady Stanton, Lucy Stone, and Susan B. Anthony. McMillen tells the stories of their lives, how they came to take up the cause of women's rights, the astonishing advances they made during their lifetimes, and the lasting and transformative effects of the work they did. At the convention they asserted full equality with men, argued for greater legal rights, greater professional and education opportunities, and the right to vote--ideas considered wildly radical at the time. Indeed, looking back at the convention two years later, Anthony called it "the grandest and greatest reform of all time--and destined to be thus regarded by the future historian." In this lively and warmly written study, Sally McMillen may well be the future historian Anthony was hoping to find. A vibrant portrait of a major turning point in American women's history, and in human history, this book is essential reading for anyone wishing to fully understand the origins of the woman's rights movement.
"A title in the Flashpoints series from Reacting to the Past, Paterson, 1913: A Labor Strike in the Progressive Era is designed to be played during the time typically devoted to teaching the Progressive Era in U.S. History II. Set in America's "Silk City," Paterson, New Jersey, the game pits manufacturers, who try to keep Paterson's key economic engine running, against labor leaders, who demand a general strike to achieve better working conditions across the silk industry. In the middle of this conflict are townspeople, who must decide whom to support and how to survive a labor struggle that seems to have no end in sight"--
Red Clay, 1835 envelops students in the treaty negotiations between the Cherokee National Council and representatives of the United States at Red Clay, Tennessee. As pressure mounts on the Cherokee to accept treaty terms, students must confront issues such as nationhood, westward expansion, and culture change. This game book includes vital materials on the game's historical background, rules, procedures, and assignments, as well as core texts by figures such as Andrew Jackson, John Ross, and Elias Boudinot.
Bohemia in America, 1858–1920 explores the construction and emergence of "Bohemia" in American literature and culture. Simultaneously a literary trope, a cultural nexus, and a socio-economic landscape, la vie bohème traveled to the United States from the Parisian Latin Quarter in the 1850s. At first the province of small artistic coteries, Bohemia soon inspired a popular vogue, embodied in restaurants, clubs, neighborhoods, novels, poems, and dramatic performances across the country. Levin's study follows la vie bohème from its earliest expressions in the U.S. until its explosion in Greenwich Village in the 1910s. Although Bohemia was everywhere in nineteenth- and twentieth-century American culture, it has received relatively little scholarly attention. Bohemia in America, 1858–1920 fills this critical void, discovering and exploring the many textual and geographic spaces in which Bohemia was conjured. Joanna Levin not only provides access to a neglected cultural phenomenon but also to a new and compelling way of charting the development of American literature and culture.
The author pairs her own photographs of the sites with the paintings of Edward Hopper.
Capturing the lively modernist milieu of Kenneth Burke’s early career in Greenwich Village, where Burke arrived in 1915 fresh from high school in Pittsburgh, this book discovers him as an intellectual apprentice conversing with “the moderns.” Burke found himself in the midst of an avant-garde peopled by Malcolm Cowley, Marianne Moore, Jean Toomer, Katherine Anne Porter, William Carlos Williams, Allen Tate, Hart Crane, Alfred Stieglitz, and a host of other fascinating figures. Burke himself, who died in 1993 at the age of 96, has been hailed as America’s most brilliant and suggestive critic and the most significant theorist of rhetoric since Cicero. Many schools of thought have claimed him as their own, but Burke has defied classification and indeed has often been considered a solitary, eccentric genius immune to intellectual fashions. But Burke’s formative work of the 1920s, when he first defined himself and his work in the context of the modernist conversation, has gone relatively unexamined. Here we see Burke living and working with the crowd of poets, painters, and dramatists affiliated with Others magazine, Stieglitz’s “291” gallery, and Eugene O’Neill’s Provincetown Players; the leftists associated with the magazines The Masses and Seven Arts; the Dadaists; and the modernist writers working on literary journals like The Dial, where Burke in his capacity as an associate editor saw T. S. Eliot’s “The Wasteland” into print for the first time and provided other editorial services for Thomas Mann, e.e. cummings, Ezra Pound, and many other writers of note. Burke also met the iconoclasts of the older generation represented by Theodore Dreiser and H. L. Mencken, the New Humanists, and the literary nationalists who founded Contact and The New Republic. Jack Selzer shows how Burke’s own early poems, fiction, and essays emerged from and contributed to the modernist conversation in Greenwich Village. He draws on a wonderfully rich array of letters between Burke and his modernist friends and on the memoirs of his associates to create a vibrant portrait of the young Burke’s transformation from aesthete to social critic.