scholarly journals Ritual Circumcision in the Age of Germ Theory Amongst Nineteenth-Century New York Immigrants

2013 ◽  
Vol 57 (4) ◽  
pp. 579-592 ◽  
Author(s):  
Daniel B. Poliak

AbstractWhile Jewish ritual circumcision continues to be a controversial issue in Europe and the US, metzitzah b’peh, the addendum to brit milah, which requires the mohel (ritual peritomist) to orally suck blood from the wound immediately following the excision of the foreskin, remains a divisive topic. While medical historians have studied European outbreaks of infectious disease following metzitzah b’peh, no one has assessed the response of the nineteenth century New York Jewry. This paper analyses how this nascent community responded to the thorough report by the New York Board of Health following an alleged and discredited outbreak of syphilis attributed to metzitzah b’peh in 1873, especially in the context of nineteenth century immigration, popular perception of syphilis and American medicine.

Author(s):  
Tanja Bueltmann ◽  
Donald M. MacRaild

From the early eighteenth century, a vibrant English associational culture emerged that was, by many measures, ethnic in character. English ethnic organisations spread across North America from east to west, and from north to south, later becoming a truly global phenomenon when reaching Australasia in the later nineteenth century. This books charts the nature, extent and character of these developments. It explores the main activities of English ethnic societies, including their charitable work; collective mutual aid; their national celebration; their expressions of imperial and monarchical devotion; and the extent to which they evinced transnational communication with the homeland and with English immigrants in other territories. The English demonstrated and English people abroad demonstrated and experienced competitive and sometimes conflictual ethnic character, and so the discussion also uncovers aspects of enmity towards an Irish immigrant community, especially in the US, whose increasingly political sense of community brought them into bitter dispute with English immigrants whom they soon outnumbered. Towards the end of the nineteenth century, the extent of English ethnic associational culture in North America was such that it resonated within England herself, resulting in the formation of a central organization designed to coordinate the promotion of English culture. This was the Royal Society of St George. Ultimately, the book documents that the English expressed their identity through processes of associating, mutualism and self-expression that were, by any measure, both ethnic and diasporic in character. The English Diaspora is based on a very large amount of untapped primary materials from archives in the United States, Canada, and the UK relating to specific locations such as New York, Philadelphia, Baltimore, Toronto, Ottawa, and Kingston, and London. Thousands of newspaper articles have been trawled. Several long runs of English associational periodicals have been garnered and utilized. Comparative and transnational perspectives beyond the US and Canada are enabled by the discovery of manuscript materials and periodicals relating to the Royal Society of St George.


2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.


Sign in / Sign up

Export Citation Format

Share Document