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Intellectuals as well as artisans are drawn to this place of science and spirit.
"The Angel and the Serpent is a book which combines scholarship and literary grace, and which recreates for us both the world of the Rappites and the Owenites.Ó ÑHenry Steele Commager, ÑThe New York Times Book ReviewÒWilson writes with clarity and humor and has given us a work which will be valuable both to the cultural historian and to the general reader.Ó ÑSt. Louis Globe DemocratÒ. . . exceedingly valuable addition to Indiana historiography.Ó ÑIndianapolis TimesHere is the story of George RappÕs German Harmonists and Robert OwenÕs IdealistsÑthe two vastly different communities that shaped the history of New Harmony, Indiana. Both the Rappites and the Owenites came to New Harmony to conduct communal living experimentsÑRapp expecting the millennium; Owen believing he had brought the millennium with him. Although the two men were motivated by different ideas, they shared the same goal: to see their people live together in happiness and peace. Their two experiments are probably the best known and most interesting efforts at establishing alternate or Utopian communities in America.
"This volume samples the history of art about fossils-and the visual conceptualization of their significance-starting with biblical and mythological depictions, extending to renditions of ancient life in long-vanished habitats, and on to a modern understanding that paleoart conveys lessons for the betterment of the human condition. Twenty-nine chapters illustrate how art about fossils has come to be a significant teaching tool not only about evolution of past life, but also about conservation of our planet for the benefit of future generations"--
Maclure of New Harmony follows the twists and turns of William Maclure's intriguing life. A native Scotsman, Maclure (1763--1840) became a merchant, made a fortune, and retired in his early thirties. Then his life became interesting. Fascinated by the study of geology, Maclure did fieldwork throughout Europe before traveling to the United States, where he completed the first geological survey of his adopted nation and published a detailed, color geological map -- one reason he is known as the Father of American Geology. Maclure's travels sharpened his convictions about social justice and led him to a life of social radicalism. He founded progressive schools to educate the children of the working classes and, in 1820, he joined forces with Robert Owen to found New Harmony -- the utopian community in Indiana. Ever restless, Maclure later moved to Mexico, where he watched his hopes for the new republic founder.
Utopian communities in American from 1680 to 1880, including the Shakers, New Harmony, Brook Farm, the Fourieristic phalanxes, and the Oneida communities, with accounts of the constitutions, revelations, beliefs, tenets, customs dictated by religious beliefs or social principle, and more.
R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity’s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of “pneumatic (spiritual) epistemology.” Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, “objectless” (non-representational) art and Russian Suprematism, Constructivism, and Productivism.
A fascinating exploration of the urbanism at the heart of Utopian thinking The vision of Utopia obsessed the nineteenth-century mind, shaping art, literature, and especially town planning. In City of Refuge, Michael Lewis takes readers across centuries and continents to show how Utopian town planning produced a distinctive type of settlement characterized by its square plan, collective ownership of properties, and communal dormitories. Some of these settlements were sanctuaries from religious persecution, like those of the German Rappites, French Huguenots, and American Shakers, while others were sanctuaries from the Industrial Revolution, like those imagined by Charles Fourier, Robert Owen, and other Utopian visionaries. Because of their differences in ideology and theology, these settlements have traditionally been viewed separately, but Lewis shows how they are part of a continuous intellectual tradition that stretches from the early Protestant Reformation into modern times. Through close readings of architectural plans and archival documents, many previously unpublished, he shows the network of connections between these seemingly disparate Utopian settlements—including even such well-known town plans as those of New Haven and Philadelphia. The most remarkable aspect of the city of refuge is the inventive way it fused its eclectic sources, ranging from the encampments of the ancient Israelites as described in the Bible to the detailed social program of Thomas More's Utopia to modern thought about education, science, and technology. Delving into the historical evolution and antecedents of Utopian towns and cities, City of Refuge alters notions of what a Utopian community can and should be.