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Winner of the Herbert Feis Award from the American Historical Association and named one of the best religion books of the year by Publishers Weekly, D. Michael Quinn's Same-Sex Dynamics among Nineteenth-Century Americans has elicited critical acclaim as well as controversy. Using Mormonism as a case study of the extent of early America's acceptance of same-sex intimacy, Quinn examines several examples of long-term relationships among Mormon same-sex couples and the environment in which they flourished before the onset of homophobia in the late 1950s.
Alixa Naff explores the experiences of Arabic-speaking immigrants to the United States before World War II, focusing on the pre-World War I pioneering generation that set the pattern for settlement and assimilation. Unlike many immigrants who were driven to the United States by dreams of industrial jobs or to escape religious or economic persecution, these artisans and owners of small, disconnected plots of land came to America to engage in the enterprise of peddling. Most of these immigrants planned to stay two or three years and return to their homelands wealthier and prouder than when they left.
Between the advent of print advertising and the dawn of radio came cinema ads. These ads, aimed at a captive theater audience, became a symbol of the developing binary between upper-class film consumption and more consumerist media. In Profit Margins, Jeremy Groskopf examines how the ad industry jockeyed for direct advertisement space in American motion pictures. In fact, advertisers, who recognized the import of film audiences, fought exhibitors over what audiences expected in a theater outing. Looking back at these debates in four case studies, Groskopf reveals that advertising became a marker of class distinctions in the cinema experience as the film industry pushed out advertisers in order to create a space free of ads. By restricting advertising, especially during the rise of high-class, palatial theaters, the film industry continued its ongoing effort to ascend the cultural hierarchy of the arts. An important read for film studies and the history of marketing, Profit Margins exposes the fascinating truth surrounding the invention of cinema advertising techniques and the resulting rhetoric of class division.
Over the course of the twentieth century, education was a key site for envisioning opportunities for African Americans, but the very schools they attended sometimes acted as obstacles to black flourishing. Educating Harlem brings together a multidisciplinary group of scholars to provide a broad consideration of the history of schooling in perhaps the nation’s most iconic black community. The volume traces the varied ways that Harlem residents defined and pursued educational justice for their children and community despite consistent neglect and structural oppression. Contributors investigate the individuals, organizations, and initiatives that fostered educational visions, underscoring their breadth, variety, and persistence. Their essays span the century, from the Great Migration and the Harlem Renaissance through the 1970s fiscal crisis and up to the present. They tell the stories of Harlem residents from a wide variety of social positions and life experiences, from young children to expert researchers to neighborhood mothers and ambitious institution builders who imagined a dynamic array of possibilities from modest improvements to radical reshaping of their schools. Representing many disciplinary perspectives, the chapters examine a range of topics including architecture, literature, film, youth and adult organizing, employment, and city politics. Challenging the conventional rise-and-fall narratives found in many urban histories, the book tells a story of persistent struggle in each phase of the twentieth century. Educating Harlem paints a nuanced portrait of education in a storied community and brings much-needed historical context to one of the most embattled educational spaces today.