Although most Americans take pride in being ‘a nation of immigrants’ (a slogan apparently popularized by John F. Kennedy), the process of immigration causes perennial controversy in the United States. That is true even in New York City, which would not exist without it, and which stars in many historical narratives of it.
On 25 March 1911, a fire broke out on the eighth floor of the Asch Building in Greenwich Village, New York, and quickly began to spread. This floor, as well as the ninth and tenth, housed the Triangle Waist Company, a sweat shop producing ladies’ blouses.
Paradigm shifts in historiography seem to come all at once rather than being spaced evenly along the disciplinary trajectory. The last such shift in writing about slavery and race (including civil rights) in the United States came between the late 1950s and the mid-1970s.
Harlem and the photograph share a long, closely entangled history. Photographic images of the riots that erupted in the neighbourhood in 1935 and 1943 helped to puncture the image of Harlem as a playground for white urban adventurers, and to raise in its place the spectre of a ‘no-go’ area, a district of Manhattan sealed off from direct encounter by whites.
With Making Climate Change History Joshua P. Howe chooses a very clever title. Not only does it convey that he intends to write a history of climate change but it also alludes to making climate change a thing of the past, admittedly against high odds. Howe argues, ‘[…] when we look at problems related to climate change, thinking historically matters’ (p. 3).
When I was a fourth grade student in suburban Birmingham, Alabama in the 1970s, the history curriculum was devoted to a study of our state. Our teacher, Mrs. Lawson, supplemented our textbook with personal recollections of the Civil War gleaned from her own grandmother, who had been a girl in the 1860s. Mrs.
‘This is a biography of an intellectual, but it is more than just an intellectual biography because, in the evolution of Kissinger’s thought, the interplay of study and experience was singularly close. For that reason, I have come to see this volume as what is known in Germany as a bildungsroman – the story of an education that was both philosophical and sentimental.
About 40 years ago, the field of US intellectual history entered a period of self-doubt about the rigor of its methods, about the narrowness of its archive and its interests, even about the ontological gravity of the subjects it treated.
When viewed in a long perspective, the modern history of popular music has very often been one in which new styles are adopted by the young in spite of (and indeed because of) the incomprehension and disapproval of their elders, only to enter the mainstream as those young people age.