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The New York City Draft Riots of 1863
University of Kentucky UKnowledge United States History History 1974 The Armies of the Streets: The New York City Draft Riots of 1863 Adrian Cook Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Cook, Adrian, "The Armies of the Streets: The New York City Draft Riots of 1863" (1974). United States History. 56. https://uknowledge.uky.edu/upk_united_states_history/56 THE ARMIES OF THE STREETS This page intentionally left blank THE ARMIES OF THE STREETS TheNew York City Draft Riots of 1863 ADRIAN COOK THE UNIVERSITY PRESS OF KENTUCKY ISBN: 978-0-8131-5182-3 Library of Congress Catalog Card Number: 73-80463 Copyright© 1974 by The University Press of Kentucky A statewide cooperative scholarly publishing agency serving Berea College, Centre College of Kentucky, Eastern Kentucky University, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky State College, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial and Sales Offices: Lexington, Kentucky 40506 To My Mother This page intentionally left blank Contents Acknowledgments ix -
Community and Politics in Antebellum New York City Irish Gang Subculture James
The Communal Legitimacy of Collective Violence: Community and Politics in Antebellum New York City Irish Gang Subculture by James Peter Phelan A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Department of History and Classics University of Alberta ©James Phelan, 2014 ii Abstract This thesis examines the influences that New York City‘s Irish-Americans had on the violence, politics, and underground subcultures of the antebellum era. During the Great Famine era of the Irish Diaspora, Irish-Americans in Five Points, New York City, formed strong community bonds, traditions, and a spirit of resistance as an amalgamation of rural Irish and urban American influences. By the middle of the nineteenth century, Irish immigrants and their descendants combined community traditions with concepts of American individualism and upward mobility to become an important part of the antebellum era‘s ―Shirtless Democracy‖ movement. The proto-gang political clubs formed during this era became so powerful that by the late 1850s, clashes with Know Nothing and Republican forces, particularly over New York‘s Police force, resulted in extreme outbursts of violence in June and July, 1857. By tracking the Five Points Irish from famine to riot, this thesis as whole illuminates how communal violence and the riots of 1857 may be understood, moralised, and even legitimised given the community and culture unique to Five Points in the antebellum era. iii Table of Contents Introduction ................................................................................................................................... -
From Wall Street to Astor Place: Historicizing Melville's `Bartleby'
Barbara From Wall Street to Astor Place: Historicizing Foley Melville's "Bartleby" In recent years critics have been calling for a re grounding of mid-nineteenth-century American li terature-of the ro mance in particular- in politics and history. John McWilliams ap plauds the contemporary "challenge to the boundaqless and abstract qualities of the older idea of the Romance's neutral territory." George Dekker notes that recent attempts to "rehistoricize the American ro mance'' have entailed an "insist[ence] that our major romancers have always been profoundly concerned with what might be called the men tal or ideological 'manners' of American society, and that their seem ingly anti-mimetic fictions both represent and criticize those man ners. " 1 But Herman Melville's "Bartleby. the Scrivener: A Story of Wall Street" (1853) has to this point been exempted from a thorough going historical recontextualization; its subtitle remains to be fully explained. Not all readings of the tale, to be sure, have been "boundaryless and abstract." Critics interested in the tale's autobiographical dimen sion have interpreted it as an allegory of the writer's fate in a market society. noting specific links with Melville's own difficult authorial career. Scholars concerned wilh the story's New York setting have discovered some important references to contemporaneous events. Marxist critics have argued that "Bartleby" offers a portrait of the increasing alienation of labor in the rationalized capitalist economy that took shape in the mid-nineteenth-century United States.2 But such critical enterprises have remained largely separate, with the result that biography. -
C. of the Late Charles I. Bushnell, Esq., Comprising His Extensive Collections
.^:^ ^-^^ .'';";if^A*' ^^^ ^^^:r i* iififc' ^•i-^*'im v<*^ 5:?^:'/; x^ 11^1 'M QJarttell Unitteraitg Hthtatg Jtljara, New gork FROM THE BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854-1919 BEQUEATHED TO CORNELL UNIVERSITY CATALOGUE OK THE LIBRARY, AUTOGRAPHS, EXGRAVINGS, &c. OF THE lATE CHARLES I. BUSH NELL, Esq. TO, BE SOLD BY Bangs & Co. Monday, April 2d, and four following days. 1883. Jln^^ ijj K.h .Jiali I Cornell University j Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031351798 CATALOGUE OF THE LIBRARY, &e. OF THE LATE CHARLES L BUSHNELL, Esq, COMPRISING HIS EXTENSIVE COLLECTIONS OF RARE AND CURIOUS AMERICANA, OF Engravings, Autographs, Historical Relics, Wood-Blocks Engraved by Dr. Anderson, &c., &c. Compiled by ALEX'R DENHAM. TO BE SOLDAT AUCTION, Monday, April 2d, and four following days. Commencing at 3 P. M. and 7.30 P. M., each day, BY Messrs. BANGS & CO., Nos. 739 and 741 Broadway, New York. Gentlemen unable to attend the Sale, may have purchases made to their order by the Auctio?ieers. 1I^"A11 bids should be made by the Volume, and not by the set. NO T E. The late Mr. Charles I. Bushnell was widely known, not only as a persevering collector of rare and quaint books, but also as a diligent student of American history ; whose thorough knowledge of those minutiae which escape the notice of all but the painstaking specialist had been proved by his original essays and scholarly annotations to various books. -
Download- Ed From: Books at JSTOR, EBSCO, Hathi Trust, Internet Archive, OAPEN, Project MUSE, and Many Other Open Repositories
’ Series editor: John C. Seitz, Associate Professor, Theology Department, Fordham University; Associate Director for Lincoln Center, Curran Center for American Catholic Studies This series aims to contribute to the growing eld of Catholic studies through the publication of books devoted to the historical and cultural study of Catholic practice in North America, from the colonial period to the present. As the term “practice” suggests, the series springs from a pressing need in the study of American Catholicism for empirical investigations and creative explorations and analyses of the contours of Catholic experience. In seeking to provide more comprehensive maps of Catholic practice, this series is committed to publishing works from diverse American locales, including urban, suburban, and rural settings; ethnic, postethnic, and transnational contexts; private and public sites; and seats of power as well as the margins. Series advisory board: Emma Anderson, Ottawa University Paul Contino, Pepperdine University Kathleen Sprows Cummings, University of Notre Dame James T. Fisher, Fordham University (Emeritus) Paul Mariani, Boston College Thomas A. Tweed, University of Notre Dame Map of the Upper Mississippi and Ohio River valleys, ca. Inventing America’s First Immigration Crisis Political Nativism in the Antebellum West Luke Ritter : Edward Weber & Co. Map shewing the connection of the Baltimore and Ohio-Rail-Road with other rail roads executed or in progress throughout the United States. [Baltimore Lith. of Ed. Weber & Co. –?, ] Map. https://www.loc.gov/item/gm /. Copyright © Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. -
History of the Army National Guard
Chapter 1 History of the Army National Guard The history of the militia can be divided into two major periods. From marks the heyday of the National Guard as the primary force of the the colonial era to ca. 1900, America’s military system was dominated American military system. It was during this era of labor-capital con- by the militia, that is, a state-controlled, decentralized army of citizen flict that New York’s militia achieved its greatest acclaim as a domes- soldiers commanded by the various colonial (later state) governments. tic peacekeeper. After ca. 1900, the militia was replaced by the regular army, that is, a centralized corps of professional soldiers under federal control. Dating back to the arrival of the first settlers in the New World, the actions Colonial Era to the War of 1812 and rhetoric of various groups and individuals expressed America’s preference for a decentralized militia rather than a centralized army. Upon their arrival in the New World, the first European settlers, most For example, on the eve of the War of Independence, the Provincial of whom were English, immediately adopted a militia system (based Convention of Maryland proclaimed that “a well-regulated militia, on British precedent) in which all able-bodied men were required by composed of gentlemen freeholders and other freemen, is the natural law to bear arms in times of need. Virginia codified the first laws for a strength and only stable security of a free government.”1 Nearly a militia in 1611; Massachusetts followed suit in 1636. Most other century later, the adjutant general of New York State echoed that colonies also adopted policies that established short-term, compulsory sentiment when he remarked in his annual report for 1867 that “a military service. -
A September 25, 1831, New-York Mirror Review
Laura L. Edwin Forrest’s July 4th Oration Mielke and the Specters of Provocative Eloquence A September 25, 1831, New-York Mirror review of a soon-to-be-staged tragedy, The Gladiator by Robert Montgomery Bird, declares the opening scene of the fourth act as “bear[ing] com- parison with nearly the best of the modern dramatists, if not the best.” The play, winner of Edwin Forrest’s third US playwriting contest,1 treats the 73–71 BC gladiator rebellion led by Spartacus, a Thracian captive who, in the speech the reviewer found so admirable, challenges Roman rule by embracing his purported barbarousness. “I thank the gods I am barbarian,” declares Spartacus, For I can better teach the grace-begot And heaven-supported masters of the earth, How a mere dweller of a desert rock Can bow their crown’d heads to his chariot wheels. Man is heaven’s work, and beggar’s brats may ’herit A soul to mount them up the steeps of fortune, With regal necks to be their ste[p]ping-blocks. (Bird 1997, 220) In this celebrated speech and throughout the play, Spartacus’s egali- tarian vision fuels his soaring eloquence and his thirst for vengeance; comrades and enemies alike find the hero’s powerful speech and capac- ity for violence to be inextricable. Bird, with whom Forrest collaborated to revise the drama for the stage, knew that the yoking of articulacy to brawn through the figure of the heroic noble savage was key to the star power of Forrest, whose commanding voice, sculpted body, and explo- sive displays of emotion thrilled rowdy urban audiences primed for stagings of equality wrested from tyrants. -
The Politics of Theatrical Reform in Victorian America Adam I.P
This article was downloaded by: [University College London] On: 24 November 2012, At: 12:11 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK American Nineteenth Century History Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/fanc20 The Politics of Theatrical Reform in Victorian America Adam I.P. Smith a a Department of History, University College London, London, UK Version of record first published: 10 Oct 2012. To cite this article: Adam I.P. Smith (2012): The Politics of Theatrical Reform in Victorian America, American Nineteenth Century History, DOI:10.1080/14664658.2012.733064 To link to this article: http://dx.doi.org/10.1080/14664658.2012.733064 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and- conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
UC Berkeley Berkeley Undergraduate Journal
UC Berkeley Berkeley Undergraduate Journal Title Street Theater at Astor Place: The Silk Stocking Regiment and Antebellum Public Performance Permalink https://escholarship.org/uc/item/9hb2r0m1 Journal Berkeley Undergraduate Journal, 25(3) ISSN 1099-5331 Author Wirtschafter, Eli Schon Publication Date 2012 DOI 10.5070/B3253015958 Peer reviewed|Undergraduate eScholarship.org Powered by the California Digital Library University of California 176 Berkeley Undergraduate Journal STREET THEATER AT ASTOR PLACE The Silk Stocking Regiment and the Politics of Public Performance By Eli Wirtschafter On May 7, 1849, hundreds of working class rowdies packed the gallery of New York’s aristocratic Astor Place Opera House. The attraction that evening was William Charles Macready, then England’s most respected tragic actor, in the role of Macbeth. When he stepped onstage, the “gods” in the gallery jeered and pelted him with rotten food, successfully booing him off the stage. They were fans of the American actor Edwin Forrest, who starred in a rival production of Macbeth in New York that same night. Historian Lawrence Levine called the ensuing contest between Forrest’s supporters and the aristocratic defenders of Macready “a struggle for power and cultural authority within theatrical space.”1 Three nights later, the conflict brought thousands into the street. The militia was summoned, and they fired into the crowd, killing twenty-two people. My name is Eli Wirtschafter, and I am a major in both American Studies and Theater, Dance, & Performance Studies. My thesis will examine the Astor Place riot as a clash between performances that extended beyond the theater. I will describe the assembled crowd and the militia as performers competing for representation in public space. -
Coming to America: the Works of William
Coming to America The Works of William Shakespeare in Early American Culture (and today) followed by a reading of Romeo and Juliet NEH Picturing Early America: People, Places, & Events 1770-1870 Leslie Means 2010 John Quincy Adams Ward (1830–1910) William Shakespeare 1870; this cast bronze 28 x 11 x 11 in Essential Questions •Ho w has Shakespeare become part of American culture? •Should Shakespeare be a central part of school curriculums? Do his works contain timeless messages and universal truths? Who should use this unit plan… Someone teaching a unit about the development of the performing arts in America. Someone teaching about the influence of important literary figures. Someone teaching any one of Shakespeare’s works. This unit was designed to be adapted to classrooms with students in middle or high school. Knowledge Goals Students will know about: •The facts surrounding the Astor Place Riot and events surrounding performances of Shakespeare in American history. •The centrality of Shakespearean performance in American society in the 1750s, 1820s, 1840s, and today. •The universality of the themes of Shakespeare's works. •The structure of a Shakespearean sonnet. Skill Goals Students will be able to: •Find connections between historical events and the arts that were popular at those times. •Inter pret primary and secondary source documents. •Find arts information online. •A nalyze Shakespearean texts. •Use artwork from a time period to understand the human perspective. Connection to the Curriculum English Language Arts Massachusetts Frameworks •9.5 Relate a literary work to artifacts, artistic creations, or historical sites of the period of its setting. -
The Astor Place Riot: Anti-Aristocratism Voiced with a Cobblestone Jackson Loop and Dr
The Astor Place Riot: Anti-Aristocratism Voiced with a Cobblestone Jackson Loop and Dr. Sean Adams College of Liberal Arts and Sciences, University of Florida The first half of the nineteenth century in America witnessed several economic and political changes. Andrew Jackson's election corresponded with a rise of the "common man," a name given to lower classes who obtained new clout at the polls through more inclusive suffrage laws. However, there were some discrepancies in this trend, which this project aims to explore. Artisans were ousted in favor of unskilled labor centered in metropolitan areas, and income inequality ran rampant. This project aims to contextualize the Astor Place Riot as an event steeped in class, vigilantism and identity. INTRODUCTION The Astor Place Opera House represented this desire for international recognition, and catered mostly to the The city and its presses were well aware of the rising "uppertens," the richest ten thousand citizens of New York. tensions in the days before New York's Astor Place Riot of A dress code was enforced, intent on preventing the 1849. A feud between American actor Edwin Forrest and admission of any ill-mannered New Yorkers. However, his British rival William Charles Macready had already just a short walk away was the less elite Bowery Theatre, a achieved as much publicity as nineteenth century hall emblematic of "lowbrow" entertainment, whose technology allowed. Macready was scheduled to perform performances reduced the importance of acknowledgement Macbeth, and on May 10th a crowd of 10,000 besieged the from the Old World, and instead sought to establish a more Astor Place Opera House. -
The Pennsylvania State University the Graduate School DEFIANT: AFRICAN AMERICAN LEGAL and CULTURAL RESPONSES to NORTHERN WHITE S
The Pennsylvania State University The Graduate School DEFIANT: AFRICAN AMERICAN LEGAL AND CULTURAL RESPONSES TO NORTHERN WHITE SUPREMACY, 1865-1915 A Dissertation in History & African American and Diaspora Studies by Tyler Daniel Sperrazza © 2020 Tyler Daniel Sperrazza Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2020 ii The dissertation of Tyler Sperrazza was reviewed and approved by the following: William A. Blair Walter L. and Helen P. Ferree Emeritus Professor of American History Dissertation Co-Advisor Co-Chair of Committee Shirley Moody-Turner Associate Professor of English and African American Studies Dissertation Co-Advisor Co-Chair of Committee Amira R. Davis Assistant Professor of History, African American Studies, and Women’s, Gender, and Sexuality Studies Gregory Eghigian Professor of History William J. Doan Professor of Theatre Michael Kulikowski Edwin Erle Sparks Professor of History and Classics Head, Department of History iii ABSTRACT This dissertation argues for the central place of theaters and places of amusement in the story of the African American fight for citizenship in the northern United States from 1865 to 1915. The 1875 Civil Rights Act explicitly mentions “theaters” as public accommodations that could not be segregated under federal law. Despite this and other state laws preventing segregation, northern African Americans were still subjected to segregation, harassment, and violence in these spaces. This study tells the stories of African American litigants throughout the northern United States who brought the fight for citizenship and equal rights to municipal, state, and federal courts. Their cries for justice and equality reveal that the system known as Jim Crow segregation—most often recognized as a southern phenomenon—was actually conceived in the North.