Some Scripture Is Inspired by God: Late-Nineteenth-Century Protestants and the Demise of a Common Bible

1996 ◽  
Vol 65 (4) ◽  
pp. 609-623
Author(s):  
Peter J. Thuesen
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New Testament ◽  
Front Page ◽  
Late Nineteenth Century ◽  
Chicago Tribune ◽  
Fourth Estate ◽  
The Bible ◽  
Late Nineteenth ◽  
King James Bible

“A New Testament which Needs neither a Glossary nor a Commentary.” So proclaimed the New York Evening Post on 21 May 1881, in a front-page story announcing the publication of the Revised Version of the Scriptures. The first major English translation since the King James Bible, the Revised New Testament was billed as the most accurate version ever, and the Post writer did not hesitate to hyperbolize. The printing of the Revision, the reporter declared, would probably “rank among the great events of the nineteenth century.” Meanwhile, as buyers snatched up the first Testaments in New York, a bigger sensation was building in Chicago. Dubbing the new translation nothing other than “the Bible as it is,” the Chicago Tribune printedthe entire Revised New Testament—from Matthew to Revelation—in its regular Sunday edition. Although the Tribune pilfered its scriptural text from the Bible's authorized publishers, the paper lambasted the rival Chicago Times (“the fraudulent newspaper concern on Wells Street”) for printing a “forged” Testament of its own. The unsavory competition in Chicago's fourth estate did not deter an eager public, who bought 107,000 copies of theTribune'sTestament alone. Demand for bound editions of the updated Bible was no less intense, with nationwide sales figures quickly surpassing one million.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Theodore H. Friedgut, Stepmother Russia, Foster Mother America: Identity Transitions in the New Odessa Jewish Commune, Odessa, Oregon, New York, 1881–1891, together with Israel Mandelkern, Recollections of a Communist (ed. and annotated Theodore H. Friedgut). Boston: Academic Studies Press, 2014. 199 pp.

2018 ◽  
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Life Experience ◽  
Late Nineteenth Century ◽  
Foster Mother ◽  
History Of ◽  
Late Nineteenth ◽  
Identity Transitions ◽  
Israeli Kibbutz

This chapter reviews the book Stepmother Russia, Foster Mother America: Identity Transitions in the New Odessa Jewish Commune, Odessa, Oregon, New York, 1881–1891 (2014), by Theodore H. Friedgut, together with Israel Mandelkern, Recollections of a Communist (edited and annotated by Theodore H. Friedgut). Stepmother Russia, Foster Mother America is a two-in-one volume that explores an obscure episode in the history of the Jews in the late nineteenth century while at the same time connecting much of its content to the author’s own life experience as a son of western Canada’s Jewish farming colonies and, later, as an ideologically driven halutz on an Israeli kibbutz. Stepmother Russia, Foster Mother America retells one branch of the mostly forgotten history of the Am Olam agricultural movement and brings a new layer into the discussion of global Jewish agrarianism, while Recollections of a Communist offers an edited and annotated version of a memoir written by Mandelkern.

The Bible and Creationism

2017 ◽  
Author(s):  
Susan L. Trollinger ◽  
William Vance Trollinger
Keyword(s):  
Nineteenth Century ◽  
First Century ◽  
Late Nineteenth Century ◽  
Origin Of Species ◽  
Organic Evolution ◽  
The Bible ◽  
Late Nineteenth ◽  
Young Earth Creationism ◽  
Conservative Protestants ◽  
Over Time

Biblical creationism emerged in the late nineteenth century among conservative Protestants who were unable to square a plain, commonsensical, “literal” reading of the Bible with Charles Darwin’s theory of organic evolution. As this chapter details, over time a variety of increasingly literal “creationisms” have emerged. For the first century after Origin of Species (1859), old Earth creationism—which accepted mainstream geology—held sway. But with the 1961 publication of The Genesis Flood—Noah’s flood explains the geological strata—young Earth creationism took center stage. Waiting in the wings, however, is a geocentric creationism that rejects mainstream biology, geology, and cosmology.

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