In the first edition of the Bancroft Prize-winning Entertaining Satan, John Putnam Demos presented an entirely new perspective on American witchcraft. By investigating the surviving historical documents of over a hundred actual witchcraft cases, he vividly recreated the world of New England during the witchcraft trials and brought to light fascinating information on the role of witchcraft in early American culture. Now Demos has revisited his original work and updated it to illustrate why these early Americans' strange views on witchcraft still matter to us today. He provides a new Preface that puts forth a broader overview of witchcraft and looks at its place around the world--from ancient times right up to the present.
Fiddled out of Reason is a study of several poems spanning the life and career of Joseph Addison, who, along with John Dryden, Alexander Pope, Ambrose Philips, Isaac Watts, and many British poets of the turn of the eighteenth century, helped to cultivate a broad new current of nonliturgical "hymnic" verse that became immensely popular across that century, though it has eluded critical notice until now. The texts the book examines—Addison's St. Cecilia's Day odes (1692, 1699), his libretto for the opera Rosamond (1707), and a sequence of five hymnic works in The Spectator (1712)—precede by twenty-five years John Wesley's publication of the first hymnal for use in the Church of England. The book argues that "secular" hymnic works such as Addison's emerged alongside religio-political controversies and anxieties about British national identity, morality, and expressions of "enthusiastic" passions. Church and Tory interests largely rejected hymnic verse, claiming it would only "fiddle" unwitting readers "out of their reason" and reignite the dangerous fervor of Revolution-era Nonconformity and Dissent. As is evident from his poetry, Addison, a moderate Whig, ardently opposed this view, arguing that the hymnic could in fact be a portal to national and individual amelioration. After an introductory chapter exploring period conceptions of hymnic poetry and the highly contested term "hymn" itself, the argument proceeds through three sections to trace the hymnic's upward trajectory through Addison's early, mid-period, and mature verse. The book devotes the lion's share of its attention to the last of these three, which includes the five-poem Spectator sequence (a poem from the sequence, "The Spacious Firmament on High," will be familiar to many readers). Indeed, in addition to offering new readings of hymnic works by Dryden and Pope, Fiddled out of Reason provides the first extended critical treatment of these five important poems. Publication of the book coincides with the 300th anniversary of Addison's death and with the appearance of a new Oxford edition of Addison's nonperiodical writings.
DD 891 Captain John G. Denham, USN (Retired) There was no DD891. The Martin DD891, is a mythical Gearing class destroyer that represents nearly all of the "long-hull Sumner" class destroyers completed as Gearings; the last wartime designed "tin cans." Although 152 were originally ordered, only 98 were built and most were completed after WWII. The officers and enlisted personnel assigned to the Gearing class destroyers were impressed with the living and working spaces and the arrangement of the modern equipment installed. With an allowance of a dozen officers and over 300 in the crew, operational capability and working conditions were improved as was the "hotel" support features for all on board. The chiefs were still forward and the "snipes" were aft; no change. "New constructions" drew the best people and therefore the original crew of the Martin DD891 consisted of experienced leaders and qualified petty officers in all key position. As time passed, change was the only constant factor. The demands of naval operations required that the 25 hour day remain routine in destroyers. USS meant underway Saturday and Sunday. For 30 years the Martin aged and survived with competent leadership and dedicated crews. DD891, is not just about a ship, but its people and the families that support those who chose the Navy and its life. The Martin was a unit in a four ship destroyer division that was part of a squadron in a flotilla that made up the Pacific fleet destroyer force. As each crew member is a part of a team, each destroyer is part of a mission oriented task organization and must be ready when needed and prepared to function when called. The Martin and her people successfully fulfilled many missions for 30 years. The Martin, as were her cohorts, was commissioned to keep the peace, therefore the officers and men spent the majority of their time deterring those enemies threatening that objective. From beginning to end, " Ready" was the Martin's motto. The main characters are real, except for the names. The events and times are factual as are most of the scenarios however, some spice, humor and embellishment was added to preserve relevance.
In this unique book, John McPhee takes us into the world of several fascinating people. His inimitable style reveals the intricate details of his characters' lives. 1. Thomas P. F. Hoving 2. Euell Gibbons 3. M.I.T. Fellows in Africa 4. Robert Twynam, of Wimbledon 5. Temple Fielding
The history of American church music is a particularly fascinating and challenging subject, if for no other reason than because of the variety of diverse religious groups that have immigrated and movements that have sprung up in American. Indeed, for the first time in modern history-possibly the only time since the rule of medieval Iberia under the Moors-different faiths have co-existed here with a measure of peace- sometimes ill-humored, occasionally hostile, but more often amicable or at least tolerant-influencing and even weaving their traditions into the fabric of one another's worship practices even as they competed for converts in the free market of American religion. This overview traces the musical practices of several of those groups from their arrival on these shores up to the present, and the way in which those practices and traditions influenced each other, leading to the diverse and multi-hued pattern that is American church music at the beginning of the twenty-first century. The tone is non-technical; there are no musical examples, and the musical descriptions are clear and concise. In short, it is a book for interested laymen as well as professional church musicians, for pastors and seminarians as well as students of American religious culture and its history.
A History of Corporate Financial Reporting provides an understanding of the procedures and practices which constitute corporate financial reporting in Britain, at different points of time, and how and why those practices changed and became what they are now. Its particular focus is the external financial reporting practices of joint stock companies. This is worth knowing about given the widely held view that Britain (i) pioneered modern financial reporting, and (ii) played a primary role in the development of both capital markets and professional accountancy. The book makes use of a principal and agent framework to study accounting’s past, but one where the failure of managers always to supply the information that users’ desire is given full recognition. It is shown that corporate financial reporting did not develop into its current state in a straightforward and orderly fashion. Each era produces different environmental conditions and imposes new demands on accounting. A proper understanding of accounting developments therefore requires a careful examination of the interrelationship between accountants and accounting techniques on the one hand and, on the other, the social and economic context within which changes took place. The book’s corporate coverage starts with the legendary East India Company, created in 1600, and continues through the heyday of the statutory trading companies founded to build Britain’s canals (commencing in the 1770s) and railways (commencing c.1829) to focus, principally, on the limited liability company fashioned by the Joint Stock Companies Act 1844 and the Limited Liability Act 1855. The story terminates in 2005 when listed companies were required to prepare their consolidated accounts in accordance with International Financial Reporting Standards, thus signalling the effective end of British accounting.
The Gaylordsville Historical Society is most appreciative to the Flynn family, especially Aline and Peter, for their generous gesture in allowing us to republish and distribute this book. Ironically, since the book went out-of-print a few years back, the Historical Society has received numerous requests for copies of it. Fortunately, through the wonders of modern electronic publishing, this book will never go out of print again. Furthermore, because of this current technology, future revisions of this book can be made quite easily. Suggestions for future revisions can always be made to the Gaylordsville Historical Society through our website at www.gaylordsville.org, as we welcome your thoughts and ideas.
The colonial days of America marked not only the beginnings of a country, but also of a new culture, part of which was the first American music publishers, entrepreneurs, and instrument makers forging musical communities from New England to New Spain. Elements of British, Spanish, German, Scots-Irish, and Native American music all contributed to the many cultures and subcultures of the early nation. While English settlers largely sought to impose their own culture in the new land, the adaptation of native music by Spanish settlers provided an important cultural intersection. The music of the Scots-Irish in the middle colonies planted the seeds of a folk ballad tradition. In New England, the Puritans developed a surprisingly rich—and recreational—musical culture. At the same time, the Regular Singing Movement attempted to reduce the role of the clergy in religious services. More of a cultural examination than a music theory book, this work provides vastly informative narrative chapters on early American music and its role in colonial and Revolutionary culture. Chapter bibliographies, a timeline, and a subject index offer additional resources for readers. The American History through Music series examines the many different types of music prevalent throughout U.S. history, as well as the roles these music types have played in American culture. John Ogasapian's volume on the Colonial and Revolutionary period applies this cultural focus to the music of America's infancy and illuminates the surprisingly complex relationships in music of that time.
Parmelee shows how presidential primary campaign videocassettes serve many functions for candidates on their road to the White House. These videocassettes, which include images and issues often based on polling data and focus groups, are sent out before the primaries to battleground states to establish an initial image of the candidate. A variety of methods are used to explore the videocassettes of the Democratic and Republican presidential candidates—Gary Bauer, Bill Bradley, George W. Bush, Steve Forbes, Al Gore, and John McCain—who released presidential primary meet the candidate videos during the 2000 race. Frame analysis, quantitative content analysis, and in-depth interviews with the producers of these videos were employed to provide answers to Parmelee's main research question: What function do candidate videos serve in presidential primary campaigns? Findings indicate that these videos, which can run from 5 to 20 minutes in length, serve a clear educational function to explain the candidates' stand on key policy issues. The videos—which are mailed to voters, journalists, and potential doners, and shown to Democratic and GOP faithful at party functions—also serve as fundraisers, surrogate speakers, and inoculators. But, while the videos share some common functions, each campaign targets its video to a slightly different audience based on the campaign's overall strategy. Of particular interest to scholars, students, and other researchers involved with American presidential politics and political communications.
Drawn from classical and religious texts, as well as the work of poets and other artists, Worldwide Worship is a unique celebration of worship found in many religious traditions. These selections have been chosen singularly and as a group by John Marks Templeton, not only for their individual aesthetic beauty, but also to assist us in learning various lessons of life. From this rich mixture of prayer, song, and poetry comes a confirmation of the life-affirming universality of the human spirit. Together these works celebrate the universal principles found in the human mind, and attempt to bridge the gaps between religions, cultures, and peoples of the world.
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