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In this volume Ann Lee Bressler offers the first cultural history of American Universalism and its central teaching -- the idea that an all-good and all-powerful God saves all souls. Although Universalists have commonly been lumped together with Unitarians as "liberal religionists," in its origins their movement was, in fact, quite different from that of the better-known religious liberals. Unlike Unitarians such as the renowned William Ellery Channing, who stressed the obligation of the individual under divine moral sanctions, most early American Universalists looked to the omnipotent will of God to redeem all of creation. While Channing was socially and intellectually descended from the opponents of Jonathan Edwards, Hosea Ballou, the foremost theologian of the Universalist movement, appropriated Edwards's legacy by emphasizing the power of God's love in the face of human sinfulness and apparent intransigence. Espousing what they saw as a fervent but reasonable piety, many early Universalists saw their movement as a form of improved Calvinism. The story of Universalism from the mid-nineteenth century on, however, was largely one of unsuccessful efforts to maintain this early synthesis of Calvinist and Enlightenment ideals. Eventually, Bressler argues, Universalists were swept up in the tide of American religious individualism and moralism; in the late nineteenth century they increasingly extolled moral responsibility and the cultivation of the self. By the time of the first Universalist centennial celebration in 1870, the ideals of the early movement were all but moribund. Bressler's study illuminates such issues as the relationship between faith and reason in a young, fast-growing, and deeply uncertain country, and the fate of the Calvinist heritage in American religious history.
One of the most enduring images from the early years of American history is that of a preacher on horseback, slogging through mud and rain to bring folks in the backwoods the message of God and glory. Such religious revivals not only became the defining mark of American religion but also played a central role in the nation's developing identity, independence, and democratic principles. But revivalism has always generated opposition, too, even in its century of glory. In Anti-Revivalism in Antebellum America, James D. Bratt offers extensive introductions to primary anti-revivalist documents. These works range from the Philadelphia Methodist John F. Watson's protests against camp meetings in 1819, to Elizabeth Cady Stanton's "Eighty Years and More," written in 1898, in which she recalls her youthful encounter with revival preaching and her rebound into political activism and religious agnosticism. Through the recovered voices of antebellum religious critics, Bratt shows how American culture was already being reshaped a generation before the Civil War and how evangelical religion stood at the center of a "culture war." If revivals typified the era when Americans launched and defined their new nation, then objections to these revivals embodied the growing discontent at what the nation had become. An important and long overdue collection, this book urges an understanding of anti-revival literature both in the context of the era when it emerged as well as in terms of the broader dynamic of American life. Includes selections from Orestes Brownson, Horace Bushnell, Calvin Colton, Orville Dewey, Albert Baldwin Dod, George Elley, Charles G. Finney, John Williamson Nevin, Stephen Olin, Phoebe Palmer, Daniel Alexander Payne, Ephraim Perkins, Elizabeth Cady Stanton, Joseph Smith, Harriet Beecher Stowe, La Roy Sunderland, John Fanning Watson, Ellen G. White, and Friedrich C. D. Wyneken.
In the decades before the U.S. Civil War, the city of Boston evolved from a dilapidated, haphazardly planned, and architecturally stagnant provincial town into a booming and visually impressive metropolis. In an effort to remake Boston into the "Athens of America," neighborhoods were leveled, streets straightened, and an ambitious set of architectural ordinances enacted. However, even as residents reveled in a vibrant new landscape of landmark buildings, art galleries, parks, and bustling streets, the social and sensory upheaval of city life also gave rise to a widespread fascination with the unseen. Focusing his analysis between 1820 and 1860, Justin T. Clark traces how the effort to impose moral and social order on the city also inspired many—from Transcendentalists to clairvoyants and amateur artists—to seek out more ethereal visions of the infinite and ideal beyond the gilded paintings and glimmering storefronts. By elucidating the reciprocal influence of two of the most important developments in nineteenth-century American culture—the spectacular city and visionary culture—Clark demonstrates how the nineteenth-century city is not only the birthplace of modern spectacle but also a battleground for the freedom and autonomy of the spectator.