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This examination of a Quaker community in northern Virginia, between its first settlement in 1730 and the end of the Civil War, explores how an antislavery, pacifist, and equalitarian religious minority maintained its ideals and campaigned for social justice in a society that violated those values on a daily basis. By tracing the evolution of white Virginians’ attitudes toward the Quaker community, Glenn Crothers exposes the increasing hostility Quakers faced as the sectional crisis deepened, revealing how a border region like northern Virginia looked increasingly to the Deep South for its cultural values and social and economic ties. Although this is an examination of a small community over time, the work deals with larger historical issues, such as how religious values are formed and evolve among a group and how these beliefs shape behavior even in the face of increasing hostility and isolation. As one of the most thorough studies of a pre–Civil War southern religious community of any kind, Quakers Living in the Lion’s Mouth provides a fresh understanding of the diversity of southern culture as well as the diversity of viewpoints among anti-slavery activists.
The artistic traditions of four major Christian denominations are examined and outlined in detail in this groundbreaking volume that presents the first synthesis of the artistic contributions of those traditions. Diane Apostolos-Cappadona has curated a volume that presents four single-authored contributions in one place, broadening the study of Christian art beyond Roman Catholic, Orthodox and 'protestant' traditions to consider these more recent Christian approaches in close and expert detail. Rachel Epp Buller examines art in the Mennonite tradition, Mormon art is considered by Heather Belnap, Quaker contributions by Rowena Loverance and Swedenborgian art by Diane Apostolos-Cappadona. Each writer presents elements of the theology of their chosen tradition through the prism of the artists and artistic works that they have selected. Alongside mainstream artistic figures such as William Blake less known figures come to the fore and the volume features color illustrations that support and underline the theological and artistic themes presented in each section of the book. Together these studies of artistic presentations in these four traditions will be a much need means of filling a gap in the study of Christian art.
Thomas D. Hamm (Earlham College) argues that a self-conscious, liberal Quakerism emerged in North America between 1790 and 1920. It had three characteristics. The first was a commitment to liberty of conscience. The second was pronounced doubts about orthodox beliefs, such as the divinity of Christ. Finally, liberal Friends saw themselves as holding beliefs fully consistent with early Quakerism. Stirrings appeared as early as the 1790s. Hicksite Friends in the 1820s, although perceiving themselves as traditionalists, manifested all of these characteristics. When other Hicksites took such stances in even more radical directions after 1830, however, bitter divisions ensued. Orthodox Friends were slower to develop liberal thought. It emerged after 1870, as higher education became central to the Gurneyite branch of Orthodox Quakerism, and as some Gurneyites responded to influences in the larger society, and to the changes introduced by the advent of revivalism, by embracing modernist Protestantism.
On life and works of Edward Hicks
The notion of a uniquely Quaker style in architecture, dress, and domestic interiors is a subject with which scholars have long grappled, since Quakers have traditionally held both an appreciation for high-quality workmanship and a distrust of ostentation. Early Quakers, or members of the Society of Friends, who held "plainness" or "simplicity" as a virtue, were also active consumers of fine material goods. Through an examination of some of the material possessions of Quaker families in America during the eighteenth, nineteenth, and early twentieth centuries, the contributors to Quaker Aesthetics draw on the methods of art, social, religious, and public historians as well as folklorists to explore how Friends during this period reconciled their material lives with their belief in the value of simplicity. In early America, Quakers dominated the political and social landscape of the Delaware Valley, and, because this region held a position of political and economic strength, the Quakers were tightly connected to the transatlantic economy. Given this vantage, they had easy access to the latest trends in fashion and business. Detailing how Quakers have manufactured, bought, and used such goods as clothing, furniture, and buildings, the essays in Quaker Aesthetics reveal a much more complicated picture than that of a simple people with simple tastes. Instead, the authors show how, despite the high quality of their material lives, the Quakers in the past worked toward the spiritual simplicity they still cherish.