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They built some of the first communal structures on the empire's frontiers. The empire's most powerful proconsuls sought entrance into their lodges. Their public rituals drew dense crowds from Montreal to Madras. The Ancient Free and Accepted Masons were quintessential builders of empire, argues Jessica Harland-Jacobs. In this first study of the relationship between Freemasonry and British imperialism, Harland-Jacobs takes readers on a journey across two centuries and five continents, demonstrating that from the moment it left Britain's shores, Freemasonry proved central to the building and cohesion of the British Empire. The organization formally emerged in 1717 as a fraternity identified with the ideals of Enlightenment cosmopolitanism, such as universal brotherhood, sociability, tolerance, and benevolence. As Freemasonry spread to Europe, the Americas, Asia, Australasia, and Africa, the group's claims of cosmopolitan brotherhood were put to the test. Harland-Jacobs examines the brotherhood's role in diverse colonial settings and the impact of the empire on the brotherhood; in the process, she addresses issues of globalization, supranational identities, imperial power, fraternalism, and masculinity. By tracking an important, identifiable institution across the wide chronological and geographical expanse of the British Empire, Builders of Empire makes a significant contribution to transnational history as well as the history of the Freemasons and imperial Britain.
Traces the development of African-American community traditions over three centuries From the subaltern assemblies of the enslaved in colonial New York City to the benevolent New York African Society of the early national era to the formation of the African Blood Brotherhood in twentieth century Harlem, voluntary associations have been a fixture of African-American communities. In the Company of Black Men examines New York City over three centuries to show that enslaved Africans provided the institutional foundation upon which African-American religious, political, and social culture could flourish. Arguing that the universality of the voluntary tradition in African-American communities has its basis in collectivism—a behavioral and rhetorical tendency to privilege the group over the individual—it explores the institutions that arose as enslaved Africans exploited the potential for group action and mass resistance. Craig Steven Wilder’s research is particularly exciting in its assertion that Africans entered the Americas equipped with intellectual traditions and sociological models that facilitated a communitarian response to oppression. Presenting a dramatic shift from previous work which has viewed African-American male associations as derivative and imitative of white male counterparts, In the Company of Black Men provides a ground-breaking template for investigating antebellum black institutions.
Despite the persistence of the fraternal form of association in guilds, trade unions, and political associations, as well as in fraternal social organizations, scholars have often ignored its importance as a cultural and social theme. This provocative volume helps to redress that neglect. Tracing the development of fraternalism from early modern western Europe through eighteenth-century Britain to nineteenth-century America, Mary Ann Clawson shows how white males came to use fraternal organizations to resolve troubling questions about relations between the sexes and between classes: American fraternalism in the 1800s created bonds of loyalty across class lines and made gender and race primary categories of collective identity. British men had symbolically become stone masons to express their commitment to the emerging market economy and to the social value of craft labor. Clawson points out that American fraternalism fulfilled similar purposes, as fraternal organizations reconciled individualism and mutuality for many who were discomfited by the conflict of egalitarian principles and capitalist industrial development. Fraternalism's extraordinary appeal rested also on the assertion of masculine solidarity in the face of feminine claims to moral leadership. Nevertheless, visions of solidarity were contradicted when fraternal organizations became increasingly entrepreneurial, seeking to maximize their own growth through systematic marketing of membership. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Choice Outstanding Academic Title for 2020 With the dramatic rise of Freemasonry in the eighteenth century, art played a fundamental role in its practice, rhetoric, and global dissemination, while Freemasonry, in turn, directly influenced developments in art. This mutually enhancing relationship has only recently begun to receive its due. The vilification of Masons, and their own secretive practices, have hampered critical study and interpretation. As perceptions change, and as masonic archives and institutions begin opening to the public, the time is ripe for a fresh consideration of the interconnections between Freemasonry and the visual arts. This volume offers diverse approaches, and explores the challenges inherent to the subject, through a series of eye-opening case studies that reveal new dimensions of well-known artists such as Francisco de Goya and John Singleton Copley, and important collectors and entrepreneurs, including Arturo Alfonso Schomburg and Baron Taylor. Individual essays take readers to various countries within Europe and to America, Iran, India, and Haiti. The kinds of art analyzed are remarkably wide-ranging-porcelain, architecture, posters, prints, photography, painting, sculpture, metalwork, and more-and offer a clear picture of the international scope of the relationships between Freemasonry and art and their significance for the history of modern social life, politics, and spiritual practices. In examining this topic broadly yet deeply, Freemasonry and the Visual Arts sets a standard for serious study of the subject and suggests new avenues of investigation in this fascinating emerging field.