The Origins of the New England Society for the Suppression of Vice

2017 ◽  
Author(s):  
P. C. Kemeny
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New England ◽  
Free Speech ◽  
Late Nineteenth Century ◽  
Free Love ◽  
Public And Private ◽  
Personal Liberty ◽  
Late Nineteenth

This chapter first traces the gradual and growing challenges to late nineteenth-century Victorian standards in American public and private morality, specifically the increased printing and consumption of salacious literature. The chapter then examines the work of Anthony Comstock, the formation of the New York Society for the Suppression of Vice, and the 1873 passage of the Comstock Act, which limited the availability of obscene literature. In response to Comstock, an articulate and militant opposition emerged. This opposition came not from obscenity dealers but from proponents of liberal radicalism, most notably the free love activist Ezra Heywood and his free speech allies. Their commitment to personal liberty in matters of religion, sexuality, and politics contrasted sharply with prevailing Protestant views. In response to the rising tide of obscene literature and the free love movement, elite Protestants organized the New England Society for the Suppression of Vice.

In The Shadow Of Yung Wing

2005 ◽  
Vol 74 (1) ◽  
pp. 19-58 ◽  
Author(s):  
EDWARD J. M. RHOADS
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
New York ◽  
New England ◽  
The United States ◽  
Early Career ◽  
Late Nineteenth Century ◽  
Educational Mission ◽  
Qing Government ◽  
Late Nineteenth

The Chinese Educational Mission (CEM) was one of the �rst efforts at "self-strengthening," China's late nineteenth-century attempt at modernization. Beginning in 1872, the Qing government sent 120 boys to live and study in New England for extended periods. The mission was the brainchild of Yung Wing (1828-1912), known as a pioneering Chinese in America. This article contends that Zeng Laishun (ca. 1826-1895), the CEM's original interpreter, was no less a pioneer. It examines Zeng's education in Singapore, New Jersey, and New York; his early career as, successively, a missionary assistant, a businessman, and a teacher at a naval school in China; his concurrent roles as the English translator for the CEM in the United States and (with his family) as a cultural interpreter of China to New England's elite; and brie�y, following his return to China in 1874, his association with Li Hongzhang as his chief English secretary.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

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.

Theodore H. Friedgut, Stepmother Russia, Foster Mother America: Identity Transitions in the New Odessa Jewish Commune, Odessa, Oregon, New York, 1881–1891, together with Israel Mandelkern, Recollections of a Communist (ed. and annotated Theodore H. Friedgut). Boston: Academic Studies Press, 2014. 199 pp.

2018 ◽  
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Life Experience ◽  
Late Nineteenth Century ◽  
Foster Mother ◽  
History Of ◽  
Late Nineteenth ◽  
Identity Transitions ◽  
Israeli Kibbutz

This chapter reviews the book Stepmother Russia, Foster Mother America: Identity Transitions in the New Odessa Jewish Commune, Odessa, Oregon, New York, 1881–1891 (2014), by Theodore H. Friedgut, together with Israel Mandelkern, Recollections of a Communist (edited and annotated by Theodore H. Friedgut). Stepmother Russia, Foster Mother America is a two-in-one volume that explores an obscure episode in the history of the Jews in the late nineteenth century while at the same time connecting much of its content to the author’s own life experience as a son of western Canada’s Jewish farming colonies and, later, as an ideologically driven halutz on an Israeli kibbutz. Stepmother Russia, Foster Mother America retells one branch of the mostly forgotten history of the Am Olam agricultural movement and brings a new layer into the discussion of global Jewish agrarianism, while Recollections of a Communist offers an edited and annotated version of a memoir written by Mandelkern.

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