Friday, February 17, 2012

Module 6: The Key Groups in Shaping Progressive Reform


In “The Crucible of Class: Cleveland politics and the Origins of Municipal Reform in the Progressive Era”, author Shelton Stromquist argues that “progressive reform at the municipal level congealed in a crucible of class polarization and conflict”, in which industrial workers were “agents in the construction of a new urban politics of reform, not simply its constituents or for that matter its beneficiaries”.[1] Stromquist thinks that “the pulse of class warfare”, instigated by industrial workers, “realigned the field of social polarities and party identities”, thus restructuring municipal politics around the turn of the century.[2] He cites the example of Cleveland, which had “a large and ethnically diverse working class” that went on strike eighty-three times between1893 and 1898 and thus changed local policies, to demonstrate how the industrial working class can shape progressive reforms.[3]

On the other hand, in “Gender and Urban Political Reform: The City Club and the Woman’s City Club of Chicago in the Progressive Era”, author Maureen Flanagan argues that progressive reform was brought about by “a broad range of urban residents, not just elite white males” who all held “the belief that all municipal problems had to be solved before the city would be a good place in which to live”.[4] Flanagan uses the example of male and female reformers (such as the Woman's City Club), both of which shared “a citywide vision” of municipal reform.[5] Therefore, all urban residents, not just industrial workers, shaped progressive reform.

While Stromquist stresses industrial workers and Flanagan stresses municipal workers, in my opinion, I think each group was a key group, each one acting as a “support beam” in a large and varied progressive reform movement “structure”. One group could not exist without the other, and vice versa, and they shaped each other and the reform movement in different yet equally important ways.  Evidence from Stromquist and Flanagan’s articles supports this theory of the reform efforts of industrial and municipal workers cyclically influencing one another. As Stromquist notes, major industrial worker events, such as the streetcar strike and the Jones campaign of 1899, “redefined the terms of municipal politics”.[6] In turn, as Flanagan notes, municipal reform groups, such as the Women’s City Club, “ viewed the city as they had viewed their homes, a place where the health and welfare of all members should be sought”, which brought attention to the plight of industrial workers.[7] The actions of municipal reform groups then helped push for reform in the industrial sector. In essence, the progressive reform movement “wanted to free the existing government of corruption so that it could be more efficient in an expanded role as guardian of workers and the poor”, and, together,  industrial workers and municipal workers embodied this goal in unique ways.[8]


[1] Shelton Stromquist, “The Crucible of Class: Cleveland politics and the Origins of Municipal Reform in the Progressive Era”,  Journal of Urban History 23, no. 2 (1/31/1997),  http://juh.sagepub.com/content/23/2/192.full.pdf   (accessed Feb 17, 2011), 194.
[2] Ibid, 194.
[3] Ibid, 196-197.
[4] Maureen A. Flanagan, “Gender and Urban Political Reform: The City Club and the Woman’s City Club of Chicago in the Progressive Era,” The American Historical Review,  95, no. 4 (Oct., 1990), http://www.jstor.org/stable/2163477  (accessed Feb 17, 2011), 1044-1045.
[5] Ibid, 1044.
[6] Stromquist, “The Crucible of Class”, 213.
[7] Flanagan, “Gender and Urban Political Reform”, 1050.
[8] Andrew Cayton and others, eds., America: Pathways to the Present (Upper Saddle River, New Jersey: Prentice Hall, 2000), 543.

Wednesday, February 15, 2012

Module 5: American Political Cartoons


I chose cartoon B from Harper’s Weekly, February 8th, 1879. The cartoon depicts a Native American and a Chinese man looking a wall covered in anti-immigration, nativist, and racist posters. The Native American comments to the Chinese man, “Pale face ’fraid you crowd him out, as he did me.” In the back, an African American waits and comments, “My day is coming.” A caption at the bottom reads, “Every dog” (no distinction of color) “has his day.”[1]

In my opinion, the cartoon is meant to illustrate Americans’ nativist tendencies, specifically toward immigrants but also ironically against people who arrived around the same time (African Americans) and people who preceded them (Native Americans). At the time this cartoon was published, America was experiencing its second wave of immigration (1820-1890). Immigrants were “heavily male, mostly young” from Ireland, Germany, and China (to name a few prominent places of origin) who came to work, save up money, and return home.[2] Since immigrants were driven by the desire to accumulate savings, they took any job that could be secured quickly and could earn them a paycheck quickly, and working American men feared losing their jobs to these immigrants, who would work longer for less and break strikes.[3] For example, many Chinese immigrants arrived on the West coast and sought work on the railroads, shown in the cartoon as a Chinese man chasing a train east, the opposite way Americans pushed the Native Americans when trying to fulfill manifest destiny earlier that century.

The posters in the cartoon help articulate these nativist sentiments. To discuss a few of them briefly, one poster reads, “The Chinese Problem: Prohibit Chinese Immigration”, along with another that reads “The Chinese must go!”, which foreshadows the attitude that pushed the 1882 Chinese Exclusion Act through, which prohibited all Chinese laborers from entering the country.[4] A poster about Knownothingism reads, “Down with the Irish, down with the Dutch”, which refers to the secret nativist American party, or the Know-Nothings, who fought for “laws requiring immigrants to wait longer before they could become citizens”.[5]   Another poster reads, “Down with the nigger”, from the Ku Klux Klan. Besides being blatantly racist, I think the poster is meant to imply that since Americans had chased out the Native Americans and were trying to chase out immigrants, African Americans could be next (as the African American in the background comments, “My day is coming.”). In sum, the cartoon illustrates the social injustice nativism had caused, was causing, and might cause in the future. “Every dog”, or any group Americans perceived as foreign, “has his day” to be oppressed in America.



[1] Module 5 Blog Prompt (Arizona State Online, 2012); from HST 300 Historical Inquiry, ecollege. asu.edu (accessed February 14, 2012).
[2] Wyman, Mark. Round-Trip to America: The Immigrants Return to Europe (Ithaca: Cornell University Press, 1996), 16 & 42.
[3] Ibid, 42.
[4] Andrew Cayton and others, eds., America: Pathways to the Present. Upper Saddle River (New Jersey: Prentice Hall, 2000), 470.
[5] Ibid, 324.