This course examines both the structure of cities and the ways they can be changed. It introduces graduate students to theories about how cities are formed, and the practice of urban design and development, using U.S. and international examples. The course is organized into two parts: Part 1 analyzes the forces which act to shape and to change cities; Part 2 surveys key models of physical form and social intervention that have been deployed to resolve competing forces acting on the city. This course includes models of urban analysis, contemporary theories of urban design, and implementation strategies. Lectures in this course are supplemented by discussion periods, student work, and field trips.

Boston strives for carbon neutrality by 2050, but faces hurdles with its reliance on fossil fuels. Buildings contribute most to emissions, driven by electricity and natural gas. Decarbonizing the grid and eliminating natural gas are vital for success. While progress has been made, meeting targets remains uncertain. Priorities include electrifying buildings, local energy planning, coastal resilience, and climate justice.

This collection uses primary sources to explore northern draft riots that occurred during the Civil War. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

A satire on the antagonism between Northern abolitionists on the one hand, and Secretary of State Daniel Webster and other supporters of enforcement of the Fugitive Slave Act of 1850. Here abolitionist William Lloyd Garrison (left) holds a slave woman in one arm and points a pistol toward a burly slave catcher mounted on the back of Daniel Webster. The slave catcher, wielding a noose and manacles, is expensively dressed, and may represent the federal marshals or commissioners authorized by the act (and paid) to apprehend and return fugitive slaves to their owners. Behind Garrison a black man also aims a pistol toward the group on the right, while another seizes a cowering slaveholder by the hair and is about to whip him saying, "It's my turn now Old Slave Driver." Garrison: "Don't be alarmed Susanna, you're safe enough." Slave catcher: "Don't back out Webster, if you do we're ruind." Webster, holding "Constitution": "This, though Constitutional, is "extremely disagreeable." "Man holding volumes "Law & Gospel": "We will give these fellows a touch of South Carolina."Man with quill and ledger: "I goes in for Law & Order." A fallen slaveholder: "This is all "your" fault Webster." In the background is a Temple of Liberty flying two flags, one reading "A day, an hour, of virtuous Liberty, is worth an age of Servitude" and the other, "All men are born free & equal." The print may (as Weitenkampf suggests) be the work of New York artist Edward Williams Clay. The signature, the expressive animation of the figures, and especially the political viewpoint are, however, uncharacteristic of Clay. (Compare for instance that artist's "What's Sauce for the Goose," no. 1851-5.) It is more likely that the print was produced in Boston, a center of bitter opposition to the Fugitive Slave Act in 1850 and 1851.|Signed: E.C. Del.|Title appears as it is written on the item.|Century, p. 70-71.|Weitenkampf, p. 102-103.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1851-6.

This course provides an introduction to the issues of immigrants, planning, and race. It identifies the complexities and identities of immigrant populations emerging in the United States context and how different community groups negotiate that complexity. It explores the critical differences and commonalities between immigrant and non-immigrant communities, as well as how the planning profession does and should respond to those differences. Finally, the course explores the intersection of immigrant communities' formation and their interactions with African Americans and the idea of race in the United States.

One of several racist parodies of black American illiteracy, dialect, and manners issued in Boston at various times between 1819 and 1832. Others in the series are "Grand Bobalition or Great Annibersary Fussible" (no. 1821-1), "Grand and Splendid Bobalition of Slavery" (1822, Collections of the Historical Society of Pennsylvania), "Grand Celebrashun ob de Bobalition of African Slabery!!!" (no. 1825-1), "Dreadful Riot on Negro Hill!" (no. 1827-1), and "Bobalition of Slavery" (no. 1832-3). For their apparent range of production dates these are all suspiciously similar in style, language, subject, and typography. The broadsides are in the form of burlesque reports and letters relating to the annual July 14 celebrations, among Boston's black residents, of the anniversary of the abolition of the slave trade. (The American slave trade was actually abolished on January 1, 1808, but was celebrated in July by many American blacks for some time). In his use of black stereotypes, the producer anticipates Edward Williams Clay's "Life in Philadelphia" series of 1828-29. The "Reply to Bobalition" text comprises a "Dialogue between Scipio and Cato, and Sambo and Phillis, occasioned by reading the account of Bobalition proceedings, as detailed in a letter from Cesar Gobbo, to his friend Marco Mushy . . ." Above, two vignettes illustrate the respective conversations, the conversants portrayed as well-dressed, free blacks.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1819-2.

A challenge to the Northern abolitionist view of the institution of slavery, favorably contrasting the living conditions of American slaves (above) with the lot of the industrial poor in England (below). The first scene is impossibly naive: Southern slaves dance and play as four gentlemen--two Northerners and two Southerners--observe. First Northerner: "Is it possible that we of the North have been so deceived by false Reports? Why did we not visit the South before we caused this trouble between the North and South, and so much hard feelings amongst our friends at home?" Southerner: "It is as a general thing, some few exceptions, after mine have done a certain amount of Labor which they finish by 4 or 5 P.M. I allow them to enjoy themselves in any reasonable way." Second Southerner: "I think our Visitors will tell a different Story when they return to the North, the thoughts of this Union being dissolved is to [sic] dreadful a thing to be contemplated, but we must stand up for our rights let the consequence be as it may." The second scene takes place outside a British textile factory. At left a well-dressed gentleman encounters a ragged, stooped figure, and asks, "Why my Dear Friend, how is it that you look so old? you know we were playmates when boys." The stooped figure responds, "Ah! Farmer we operatives are "fast men," and generally die of old age at Forty." Behind them and to the right an emaciated mother laments over her ragged children, "Oh Dear! what wretched Slaves, this Factory Life makes me & my children." Nearby stand a fat cleric, holding a book of "Tythes," and an equally fat official holding "Taxes." In the right foreground two barefoot youths converse. The first says,"I say Bill, I am going to run away from the Factory, and go to the Coal Mines where they have to work only 14 hours a Day instead of 17 as you do here." The second responds, "Oh! how I would like to have such a comfortable place. . . " Near them another man sits forlorn on a rock, "Thank God my Factory Slavery will soon be over." In the distance a military camp is visible. This dismal picture of the lives of the working class in manufacturing towns comes from Chapter V, Book Second, of Edward Lytton Bulwer's "England and the English," first published in 1833. In the lower margin is a portrait of "[George] Thompson the English Anti-Slavery Agitator" and the quote "I am proud to boast that Slavery does not breathe in England," with reference to "his speech at the African Church in Belknap St." Thompson made a speaking tour of New York and New England in 1850-51.|Entered . . . 1850 by J. Haven. |Published by J. Haven, 86 State St. Boston, 1850.|Title appears as it is written on the item.|Bulwer-Lytton, "England and the English, p. 174-225.|Century, p. 68-69.|Library Company, "Negro History: 1553-1903," no. 117.|Weitenkampf, p. 101. |Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1850-6.

This educational curriculum package is the product of a five-year labor of love. Beginning in 2011, several educators, history enthusiasts and social activists coalesced around the charismatic Horace Seldon. Horace was finishing a long local career in social work, years with the National Parks Service, Boston, and as one of the founders of the social service organization Community Change. He was intent upon pursuing a historical research project which he had been contemplating for some time. The resultant group, led by Horace Seldon, then embarked on a research and reading circle exploring the hidden history of the Boston antebellum African American community situated on the North Slope of Beacon Hill and in the area immediately adjacent to the current Boston City Hall Plaza. The work began by investigating legendary author, activist and Beacon Hill resident David Walker. It has since grown organically into a full-fledged historical reclamation project, the results of which we now share with you.Being educators, we have naturally gravitated to exploring avenues which facilitate promoting civic engagement and self-actualization, both in the classroom and for lifelong learning. This enterprise reflects that perspective and energizing prospect. We are currently in discussion with the Mayor's Office of Diversity about bringing this project to City Hall Plaza as an integral part of the upcoming 400'h anniversary celebration of the founding of Boston. Roxbury Community College is honored to have been given the opportunity to create a digital curriculum platform to dispense information and inspire enthusiasm for history across the commonwealth, a history which surrounds us but remains invisible to many residents and tourists. It is our intention to combine an interdisciplinary approach using the latest in technological innovations, artistry and networking to share this compelling narrative, illuminating not only the lessons of the past, but the durability of a community preparing for a future of multiple challenges and inconvenient truths.

This first module includes:David Coleman: Words of ResistancePeter Snoad: Raising David WalkerVideo: Walking TourVideo: Innerview, Ms. L'Merchie Frazier 10Video: Innerview, Mr. Horace Seldon

Full course on American History with an emphasis on abolitionist leaders in the Boston area.

Boston relies on fossil fuels for over 70% of its energy needs, with natural gas and refined oil being the dominant sources. To achieve carbon neutrality by 2050, Boston is increasingly focusing on low-carbon energy sources such as nuclear power, hydropower, wind, and solar energy.