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Vol. 1 of 2
Vol. 2 of 2
Victorian Christianity and Emigrant Voyages to British Colonies c.1840 - c.1914 considers the religious component of the nineteenth-century British and Irish emigration experience. It examines the varieties of Christianity adhered to by most British and Irish emigrants in the nineteenth century, and consequently taken to their new homes in British settler colonies. Rowan Strong explores a dimension of this emigration history that has been overlooked by scholars—the development of an international emigrants' chaplaincy by the Church of England that ministered to Anglicans, Nonconformists, as well as others, including Scandinavians, Germans, Jews, and freethinkers. Using the sources of this emigrants' chaplaincy, Strong also makes extensive use of the shipboard diaries kept by emigrants themselves to give them a voice in this history. Using these sources to look at the British and Irish emigrant voyages to new homes, this study provides an analysis of the Christianity of these emigrants as they travelled by ship to British colonies. Their ships were floating villages that necessitated and facilitated religious encounters across denominational and even religious boundaries. It argues that the Church of England provided an emigrants' ministry that had the greatest longevity, breadth, and international structure of any Church in the nineteenth century. The book also examines the principal varieties of Christianity espoused by most British emigrants, and argues this religion was more central to their identity and, consequently, more significant in settler colonies than many historians have often hitherto accepted. In this way, the Church of England's emigrant chaplaincy made a major contribution to the development of a British world in settler colonies of the empire.
Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.