Hasia R. Diner and Beryl Leiff Benderly. Her Works Praise Her: A History of Jewish Women in America from Colonial Times to the Present. New York: Basic Books, 2002. xvii, 462 pp.

AJS Review ◽  
2005 ◽  
Vol 29 (1) ◽  
pp. 197-198
Author(s):  
Dianne Ashton

This valuable book is more than a long overdue corrective to the extant one-volume histories of American Jewry whose narratives pivot upon a familiar list of male names. Diner and Benderly offer us all the events and themes of American Jewish social history that we expect to find, but we see them through the actions, motivations, and experiences of women. And because women's experiences often have been entirely different from those of men, we learn more about the topic than can be available in the previous one-volume accounts. Although this book was written for a general audience, it reminds this reader of the more scholarly U.S. History as Women's History (1995) for the new understandings it brings to familiar material.

1998 ◽  
Vol 57 (2) ◽  
pp. 128-159 ◽  
Author(s):  
Joseph M. Siry

Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.


Sign in / Sign up

Export Citation Format

Share Document