The Rise Of Multicultural America

Between the Civil War and World War I the United States underwent the most rapid economic expansion in history. At the same time, the country experienced unparalleled rates of immigration. In The Rise of Multicultural America, Susan Mizruchi examines the convergence of these two extraordinary developments. No issue was more salient in postbellum American capitalist society, she argues, than the country's bewilderingly diverse population. This era marked the emergence of Americans' self-consciousness about what we today call multiculturalism. Mizruchi approaches this complex development from the perspective of print culture, demonstrating how both popular and elite writers played pivotal roles in articulating the stakes of this national metamorphosis. In a period of widespread literacy, writers assumed a remarkable cultural authority as best-selling works of literature and periodicals reached vast readerships and immigrants could find newspapers and magazines in their native languages. Mizruchi also looks at the work of journalists, photographers, social reformers, intellectuals, and advertisers. Identifying the years between 1865 and 1915 as the founding era of American multiculturalism, Mizruchi provides a historical context that has been overlooked in contemporary debates about race, ethnicity, immigration, and the dynamics of modern capitalist society. Her analysis recuperates a legacy with the potential to both invigorate current battle lines and highlight points of reconciliation.

In March 2015, a group of experts from four continents and a wide range of disciplines met with the leading African American writer Ishmael Reed in Mulhouse, France, and Basel, Switzerland. Guided by Swiss cultural and literary theorist Sämi Ludwig, and deliberately migrating back and forth across a political border in the heart of Europe, they not only listened to Reed and discussed his work, but also looked more widely at the different meanings assigned to “multiculturalism” in the United States, Europe, and other parts of the world. This volume brings together their reflections.

Healing Multicultural America (1993) looks at a group of Mexican immigrants who managed to understand and use the US democratic system to gain access to the ‘American Dream’. The book aims to assist its readers to understand the significance of the politics of education for ethnic minorities. The authors point up the gravity of the problems experienced by minority groups worldwide which cannot be underestimated: problems such as inter-ethnic conflict, cultural tensions, poverty, alienation, violence and self-rejection.

Takaki traces the economic and political history of Indians, African Americans, Mexicans, Japanese, Chinese, Irish, and Jewish people in America, with considerable attention given to instances and consequences of racism. The narrative is laced with short quotations, cameos of personal experiences, and excerpts from folk music and literature. Well-known occurrences, such as the Triangle Shirtwaist Factory Fire, the Trail of Tears, the Harlem Renaissance, and the Japanese internment are included. Students may be surprised by some of the revelations, but will recognize a constant thread of rampant racism. The author concludes with a summary of today's changing economic climate and offers Rodney King's challenge to all of us to try to get along. Readers will find this overview to be an accessible, cogent jumping-off place for American history and political science plus a guide to the myriad other sources identified in the notes.

This comprehensive title is among the first to extensively use newly released 2010 U.S. Census data to examine multiculturalism today and tomorrow in America. This distinction is important considering the following NPR report by Eyder Peralta: “Based on the first national numbers released by the Census Bureau, the AP reports that minorities account for 90 percent of the total U.S. growth since 2000, due to immigration and higher birth rates for Latinos.” According to John Logan, a Brown University sociologist who has analyzed most of the census figures, “The futures of most metropolitan areas in the country are contingent on how attractive they are to Hispanic and Asian populations.” Both non-Hispanic whites and blacks are getting older as a group. “These groups are tending to fade out,” he added. Another demographer, William H. Frey with the Brookings Institution, told The Washington Post that this has been a pivotal decade. “We’re pivoting from a white-black-dominated American population to one that is multiracial and multicultural.” Multicultural America: A Multimedia Encyclopedia explores this pivotal moment and its ramifications with more than 900 signed entries not just providing a compilation of specific ethnic groups and their histories but also covering the full spectrum of issues flowing from the increasingly multicultural canvas that is America today. Pedagogical elements include an introduction, a thematic reader’s guide, a chronology of multicultural milestones, a glossary, a resource guide to key books, journals, and Internet sites, and an appendix of 2010 U.S. Census Data. Finally, the electronic version will be the only reference work on this topic to augment written entries with multimedia for today’s students, with 100 videos (with transcripts) from Getty Images and Video Vault, the Agence France Press, and Sky News, as reviewed by the media librarian of the Rutgers University Libraries, working in concert with the title’s editors.

At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early ’90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery. Bound to Appear focuses on four of these artists—Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson—who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure—both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the “peculiar institution.” The first book to examine in depth these artists’ engagements with slavery, Bound to Appear will leave an indelible mark on modern and contemporary art.

This third edition presents current information in the rapidly evolving field of minorities' interaction with mass communications, including the portrayals of minorities in the media, advertising and public relations.

Benjamin Schreier argues that Jewish American literature's dominant cliché of "breakthrough"—that is, the irruption into the heart of the American cultural scene during the 1950s of Jewish American writers like Bernard Malamud, Philip Roth, Saul Bellow, and Grace Paley—must also be seen as the critically originary moment of Jewish American literary study. According to Schreier, this is the primal scene of the Jewish American literary field, the point that the field cannot avoid repeating and replaying in instantiating itself as the more or less formalized academic study of Jewish American literature. More than sixty years later, the field's legibility, the very condition of its possibility, remains overwhelmingly grounded in a reliance on this single ethnological narrative. In a polemic against what he sees as the unexamined foundations and stagnant state of the field, Schreier interrogates a series of professionally powerful assumptions about Jewish American literary history—how they came into being and how they hardened into cliché. He offers a critical genealogy of breakthrough and other narratives through which Jewish Studies has asserted its compelling self-evidence, not simply under the banner of the historical realities Jewish Studies claims to represent but more fundamentally for the intellectual and institutional structures through which it produces these representations. He shows how a historicist scholarly narrative quickly consolidated and became hegemonic, in part because of its double articulation of a particular American subject and of a transnational historiography that categorically identified that subject as Jewish. The ethnological grounding of the Jewish American literary field is no longer tenable, Schreier asserts, in an argument with broad implications for the reconceptualization of Jewish and other identity-based ethnic studies.