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First published in 1979, this volume offers students and teachers a unique view of American history prior to the Civil War. Distinguished historian David Brion Davis has chosen a diverse array of primary sources that show the actual concerns, hopes, fears, and understandings of ordinary antebellum Americans. He places these sources within a clear interpretive narrative that brings the documents to life and highlights themes that social and cultural historians have brought to our attention in recent years. Beginning with the family and the issue of socialization and influence, the units move on to struggles over access to wealth and power; the plight of &"outsiders&" in an &"open&" society; and ideals of progress, perfection, and mission. The reader of this volume hears a great diversity of voices but also grasps the unities that survived even the Civil War.
In the decades leading to the Civil War, popular conceptions of African American men shifted dramatically. The savage slave featured in 1830s' novels and stories gave way by the 1850s to the less-threatening humble black martyr. This radical reshaping of black masculinity in American culture occurred at the same time that the reading and writing of popular narratives were emerging as largely feminine enterprises. In a society where women wielded little official power, white female authors exalted white femininity, using narrative forms such as autobiographies, novels, short stories, visual images, and plays, by stressing differences that made white women appear superior to male slaves. This book argues that white women, as creators and consumers of popular culture media, played a pivotal role in the demasculinization of black men during the antebellum period, and consequently had a vital impact on the political landscape of antebellum and Civil War-era America through their powerful influence on popular culture.
With this book, Nancy Isenberg illuminates the origins of the women's rights movement. Rather than herald the singular achievements of the 1848 Seneca Falls convention, she examines the confluence of events and ideas_before and after 1848_that, in her vie
In this study, T. Gregory Garvey illustrates how activists and reformers claimed the instruments of mass media to create a freestanding culture of reform that enabled voices disfranchised by church or state to speak as equals in public debates over the nation’s values. Competition among antebellum reformers in religion, women’s rights, and antislavery institutionalized a structure of ideological debate that continues to define popular reform movements. The foundations of the culture of reform lie, according to Garvey, in the reconstruction of publicity that coincided with the religious-sectarian struggles of the early nineteenth century. To counter challenges to their authority and to retain church members, both conservative and liberal religious factions developed instruments of reform propaganda (newspapers, conventions, circuit riders, revivals) that were adapted by an emerging class of professional secular reformers in the women’s rights and antislavery movements. Garvey argues that debate among the reformers created a mode of “critical conversation” through which reformers of all ideological persuasions collectively forged new conventions of public discourse as they struggled to shape public opinion. Focusing on debates between Lyman Beecher and William Ellery Channing over religious doctrine, Angelina Grimke and Catharine Beecher over women’s participation in antislavery, and William Lloyd Garrison and Frederick Douglass over the ethics of political participation, Garvey argues that “crucible-like sites of public debate” emerged as the core of the culture of reform. To emphasize the redefinition of publicity provoked by antebellum reform movements, Garvey concludes the book with a chapter that presents Emersonian self-reliance as an effort to transform the partisan nature of reform discourse into a model of sincere public speech that affirms both self and community.
Over the past two decades, historians have successfully disputed the notion that American women remained wholly outside the realm of politics until the early twentieth century. Still, a consensus has prevailed that, unlike their Northern counterparts, women of the antebellum South were largely excluded from public life. With this book, Elizabeth Varon effectively challenges such historical assumptions. Using a wide array of sources, she demonstrates that throughout the antebellum period, white Southern women of the slaveholding class were important actors in the public drama of politics. Through their voluntary associations, legislative petitions, presence at political meetings and rallies, and published appeals, Virginia's elite white women lent their support to such controversial reform enterprises as the temperance movement and the American Colonization Society, to the electoral campaigns of the Whig and Democratic Parties, to the literary defense of slavery, and to the causes of Unionism and secession. Against the backdrop of increasing sectional tension, Varon argues, these women struggled to fulfill a paradoxical mandate: to act both as partisans who boldly expressed their political views and as mediators who infused public life with the "feminine" virtues of compassion and harmony.
First Published in 2015. This text holds four volumes of essays and entries on the early Republic and Antebellum era in America spanning the end of the American Revolution in 1781 to the outbreak of Civil War in 1861. The Americans forged a new government in theory and then in practice, with the beginnings of industrialisation and the effects of urbanisation, widespread poverty, labour strife, debates around slavery and sectional discord. By the end of the nineteenth century American had a powerhouse economy, new technologies and the emergence of major social reform movements, creation of uniquely American art and literature and the conquest of the West. This encyclopaedia offers a historic reference.
As a city of the upper South intimately connected to the northeastern cities, the southern slave trade, and the Virginia countryside, Richmond embodied many of the contradictions of mid-nineteenth-century America. Gregg D. Kimball expands the usual scope of urban studies by depicting the Richmond community as a series of dynamic, overlapping networks to show how various groups of Richmonders understood themselves and their society. Drawing on a wealth of archival material and private letters, Kimball elicits new perspectives regarding people’s sense of identity. Kimball first situates the city and its residents within the larger American culture and Virginia countryside, especially noting the influence of plantation society and culture on Richmond’s upper classes. Kimball then explores four significant groups of Richmonders: merchant families, the city’s largest black church congregation, ironworkers, and militia volunteers. He describes the cultural world in which each group moved and shows how their perceptions were shaped by connections to and travels within larger economic, cultural, and ethnic spheres. Ironically, the merchant class’s firsthand knowledge of the North confirmed and intensified their “southernness,” while the experience of urban African Americans and workers promoted a more expansive sense of community. This insightful work ultimately reveals how Richmonders’ self-perceptions influenced the decisions they made during the sectional crisis, the Civil War, and Reconstruction, showing that people made rational choices about their allegiances based on established beliefs. American City, Southern Place is an important work of social history that sheds new light on cultural identity and opens a new window on nineteenth-century Richmond.
Examines American cultural life and its influences during the period of 1820 to 1860, covering such topics as food, recreation, fashion, music, art, literature, travel, and the world of youth.
Examines how a young nation responded to constantly expanding boundaries, as witnessed in its literature, public documents, schoolbooks, and art