In Women of the Right, Kathleen M. Blee and Sandra McGee Deutsch bring together a groundbreaking collection of essays examining women in right-wing politics across the world, from the early twentieth-century white Afrikaner movement in South Africa to the supporters of Sarah Palin today. The volume introduces a truly global perspective on how women matter in the national and transnational links and exchanges of rightist politics. Suitable for classroom use, it sets a new agenda for scholarship on women on the right. Aside from the editors, the contributors are Nancy Aguirre, Karla J. Cunningham, Kirsten Delegard, Kathleen M. Fallon, Kate Hallgren, Randolph Hollingsworth, Jill Irvine, Vandana Joshi, Carol S. Lilly, Annette Linden, Julie Moreau, Margaret Power, Mariela Rubinzal, Daniella Sarnoff, Ronnee Schreiber, Meera Sehgal, Louise Vincent, and Veronica A. Wilson.

In A Great Conspiracy against Our Race, Peter Vellon explores how Italian immigrants, a once undesirable and “swarthy” race, assimilated into dominant white culture through the influential national and radical Italian language press in New York City. Racial history has always been the thorn in America’s side, with a swath of injustices—slavery, lynching, segregation, and many other ills—perpetrated against black people. This very history is complicated by, and also dependent on, what constitutes a white person in this country. Many of the European immigrant groups now considered white also had to struggle with their own racial identities. Examining the press as a cultural production of the Italian immigrant community, this book investigates how this immigrant press constructed race, class, and identity from 1886 through 1920. Their frequent coverage of racially charged events of the time, as well as other topics such as capitalism and religion, reveals how these papers constructed a racial identity as Italian, American, and white. A Great Conspiracy against Our Race vividly illustrates how the immigrant press was a site where socially constructed categories of race, color, civilization, and identity were reworked, created, contested, and negotiated. Vellon also uncovers how Italian immigrants filtered societal pressures and redefined the parameters of whiteness, constructing their own identity. This work is an important contribution to not only Italian American history, but America’s history of immigration and race.

A mirror of great changes that were occurring on the national labor rights scene, the 1913–14 Michigan Copper Strike was a time of unprecedented social upheaval in Michigan’s Upper Peninsula. With organized labor taking an aggressive stance against the excesses of unfettered capitalism, the stage was set for a major struggle between labor and management. The Michigan Copper Strike received national attention and garnered the support of luminaries in organized labor like Mother Jones, John Mitchell, Clarence Darrow, and Charles Moyer. The hope of victory was overshadowed, however, by violent incidents like the shooting of striking workers and their family members, and the bitterness of a community divided. No other event came to symbolize or memorialize the strike more than the Italian Hall tragedy, in which dozens of workers and working-class children died. In Community in Conflict, the efforts of working people to gain a voice on the job and in their community through their unions, and the efforts of employers to crush those unions, take center stage. Previously untapped historical sources such as labor spy reports, union newspapers, coded messages, and artifacts shine new light on this epic, and ultimately tragic, period in American labor history.

In North America between 1894 and 1930, the rise of the "New Woman" sparked controversy on both sides of the Atlantic and around the world. As she demanded a public voice as well as private fulfillment through work, education, and politics, American journalists debated and defined her. Who was she and where did she come from? Was she to be celebrated as the agent of progress or reviled as a traitor to the traditional family? Over time, the dominant version of the American New Woman became typified as white, educated, and middle class: the suffragist, progressive reformer, and bloomer-wearing bicyclist. By the 1920s, the jazz-dancing flapper epitomized her. Yet she also had many other faces. Bringing together a diverse range of essays from the periodical press of the late nineteenth and early twentieth centuries, Martha H. Patterson shows how the New Woman differed according to region, class, politics, race, ethnicity, and historical circumstance. In addition to the New Woman's prevailing incarnations, she appears here as a gun-wielding heroine, imperialist symbol, assimilationist icon, entrepreneur, socialist, anarchist, thief, vamp, and eugenicist. Together, these readings redefine our understanding of the New Woman and her cultural impact.

Considers S. 1312, to exempt from the antitrust laws certain combinations and arrangements necessary for the survival of failing newspapers. Includes report "Newspaper Monopolies and the Antitrust Laws, a Study of the Failing Newspaper Act;" by International Typographical Union, 1967 (p. 125-172).

On 10 December 1910, Giacomo Puccini’s seventh opera, La fanciulla del West, had its premiere before a sold-out audience at New York City’s Metropolitan Opera House. The performance was the Metropolitan Opera Company’s first world premiere by any composer. By all accounts, the premiere was an unambiguous success and the event itself recognized as a major moment in New York cultural history. The initial public opinion matched Puccini’s own evaluation of his opera. He called it "the best he had ever written" and expected it to become as popular as La Bohème. Yet the music reviews tell a different story. Marked by ambivalence, the reviews expose the New York City critics’ struggle to reconcile the opera they expected to see with the one they actually saw, and the opera itself became embroiled in controversy over the essence of musical Americanness and the nativist perception that a uniquely American national opera tradition continued to elude both American- and foreign-born opera composers. This book seeks to account for the differences between Puccini’s own assessments of the opera and those of its first audience. Offering transcriptions of the central reviews and of letters unavailable elsewhere, the book provides a historically informed understanding of La fanciulla del West and the reception of this European work as it intersected with both opera production and consumption in the United States and with the process of American musical identity formation during the very period that Americans actively sought to eradicate European cultural influences. As such, it offers a window into the development of nativism and "cosmopolitan nationalism" in New York City’s musical life during the first decade of the twentieth century.