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New York Jews, so visible and integral to the culture, economy and politics of America's greatest city, has eluded the grasp of historians for decades. Surprisingly, no comprehensive history of New York Jews has ever been written. City of Promises: The History of the Jews in New York, a three volume set of original research, pioneers a path-breaking interpretation of a Jewish urban community at once the largest in Jewish history and most important in the modern world.
Study of a vital immigrant institution and the formation of American ethnic identity. Landsmanshaftn, associations of immigrants from the same hometown, became the most popular form of organization among Eastern European Jewish immigrants to the United States in the late 19th and early 20th centuries. Jewish Immigrant Associations and American Identity in New York, 1880–1939, by Daniel Soyer, holds an in-depth discussion on the importance of these hometown societies that provided members with valuable material benefits and served as arenas for formal and informal social interaction. In addition to discussing both continuity and transformation as features of the immigrant experience, this approach recognizes that ethnic identity is a socially constructed and malleable phenomenon. Soyer explores this process of construction by raising more specific questions about what immigrants themselves have meant by Americanization and how their hometown associations played an important part in the process.
Artist Raphael Soyer (1899-1987), whose Russian Jewish family settled in Manhattan in 1912, was devoted to painting people in their everyday urban lives. He came to be known especially for his representations of city workers and the down-and-out, and for his portraits of himself and his friends. Although Soyer never identified himself as a "Jewish artist," Samantha Baskind, in the first full-length critical study of the artist, argues that his work was greatly influenced by his ethnicity and by the Jewish American immigrant experience. Baskind examines the painter's art and life in the rich context of religious, cultural, political, and social conditions in the twentieth-century United States. By promoting an understanding of Soyer as a Jewish American artist, she addresses larger questions about the definition and study of modern Jewish art. Whereas previous scholars have defined Jewish art simply as art produced by people who were born Jewish, Baskind stresses the importance of an artist's cultural identity when defining ethnic art. As Baskind explains how Soyer negotiated his Jewish identity in changing ways over his lifetime, she offers new strategies for identifying and interpreting Jewish art in general. Her analysis of Soyer's work places the artist in a necessary context and provides a valuable new approach to the study of modern Jewish art.
Rischin paints a vivid picture of Jewish life in New York at the turn of the century. Here are the old neighborhoods and crowded tenements, the Rester Street markets, the sweatshops, the birth of Yiddish theatre in America, and the founding of important Jewish newspapers and labor movements. The book describes, too, the city's response to this great influx of immigrants--a response that marked the beginning of a new concept of social responsibility.