From the history of American journalism.

The monograph examines the period in the history of the United States immediately preceding the Civil War of 1861-1865. The problem that is at the center of the author's attention is the public opinion of Americans on the most important domestic political issues. The paper analyzes the influence of the newspaper "New York Tribune" on the formation of views, opinions and preferences of Americans. For the first time in Russian American studies, a thorough analysis of the leading periodical of the pre-war period is given, the composition of the editorial staff and the views of journalists are described in detail. Special attention is paid to the founder and publisher of "Tribune" Horace Greeley. The monograph examines both socio-economic problems and the party-political struggle. The most important compromise measures, the Civil War in Kansas, the presidential elections of 1856 and 1860 are evaluated through the prism of the comments of the New York Tribune and at the same time through the perception of its readers. As a result, the monograph creates a multicolored palette of opinions of North Americans, their perception of the situation in the country on the eve of the Civil War. This allows us to expand and deepen our understanding of the causes of the second North American revolution. For professionals, students, and anyone interested in the problems of history.

Seizing the elephant : Kansas City and the great western migration, 1840-1865

"The famed editor of the New York Tribune, Horace Greeley, reportedly once said, "Go west, young man, and grow up with the country."[1] Probably apocryphal, the sentiment was quintessential Greeley by the 1850s. His newspaper had brought him to national prominence and made him one of the most powerful and influential Americans of the antebellum era. A fervent believer in the promises of manifest destiny, Greeley took his own advice on the eve of the American Civil War and left New York for California. He had spent the previous two decades pushing the government to open western land and encouraging the downtrodden to venture west for jobs, success, and opportunity. He stated, "If any young man is about to commence the world, we say to him, publicly and privately, Go to the West; there your capacities are sure to be appreciated, and your energy and industry rewarded."[2] He believed in the transcontinental railroad that ran to the Pacific coast and brought the American reader along for the ride as he published a series of essays on his journey. Traveling by rail, steamboat, and wagon, his dispatches were laced with excitement and knowledge of a man who had only read about the American West in the hundreds of books, travel guides, and letters that had been published for the previous three decades. Like many of the hundreds of thousands of pioneers that had come before him, his imagination danced with the possibility of what would certainly come if Americans embraced its manifest destiny." -- Introduction

Within the Quota de Cole Porter et Charles Koechlin : la francisation du jazz américain

Créé à Paris le 23 octobre 1923 par les Ballets suédois de Rolf de Maré, Within the Quota a été commandé en vue de la tournée américaine prévue pour le mois suivant. Ayant comme toile de fond les péripéties d’un immigrant suédois arrivant à New York, le ballet se déroule sur une musique jazz composée par Cole Porter et orchestrée par Charles Koechlin. Or, lors de la représentation new-yorkaise en novembre 1923, F. D. Perkins du New York Tribune affirme que le jazz de Porter contient plus de traces stylistiques de Darius Milhaud que celles de George Gershwin. Installé à Paris depuis 1919, Porter révèle-t-il ainsi dans sa partition des transferts stylistiques issus de son nouvel environnement musical ? Jusqu’à quel point l’orchestration de Koechlin concourt-elle à « franciser » l’écriture de cette oeuvre américaine ? Cet article vise notamment à démontrer l’imprégnation d’éléments propres à la musique française moderne au coeur de l’écriture jazz de Porter. Dans cette démonstration de la francisation du jazz, il est question d’abord des traits jazzistiques de Porter, puis de l’orchestration de Koechlin en prenant en compte la partition manuscrite pour trois pianos de Porter. L’étude se penche ensuite sur la facture « francisée » de la musique de Porter sur les plans mélodiques et harmoniques. Celle-ci révèle que même si Porter met l’accent sur des sonorités jazzistiques par l’usage de notes bluesées et de rythmes fortement syncopés, la partition Within the Quota regorge d’éléments empruntés à des compositeurs français qu’il fréquente à partir de1920.

New Buildings and New Spaces

This chapter views the New-York Tribune and the New York Times—the first in the industry to use skyscraper architecture as the medium for corporate image construction—in the context of the growing power of the press. In the last quarter of the nineteenth century, the city was reimagined with new patterns of circulation, spaces, conduits, and nodes of power. Alongside the growth of the banking and insurance industries, the press colonized lower Manhattan and the value of land rose precipitously. New construction and printing technology required capital investment and new forms of corporate governance. Media architecture transformed from rented space in low buildings to purpose-built signature buildings with lawyers, press agents, and advertising firms as tenants. The shift to taller buildings reveals a preoccupation with both the symbolic and economic value of the skyscraper, as media content became more attentive to the built environment.