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When industrialization swept through American society in the nineteenth century, it brought with it turmoil for skilled artisans. Changes in technology and work offered unprecedented opportunity for some, but the deskilling of craft and the rise of factory work meant dislocation for others. Journeymen for Jesus explores how the artisan community in one city, Baltimore, responded to these life-changing developments during the years of the early republic. Baltimore in the Jacksonian years (1820s and 1830s) was America's third largest city. Its unions rivaled those of New York and Philadelphia in organization and militancy, and it was also a stronghold of evangelical Methodism. These circumstances created a powerful mix at a time when workers were confronting the negative effects of industrialism. Many of them found within Methodism and its populist spirituality an empowering force that inspired their refusal to accept dependency and second-class citizenship. Historians often portray evangelical Protestantism as either a top-down means of social control or as a bottom-up process that created passive workers. Sutton, however, reveals a populist evangelicalism that undergirded the producer tradition dominant among those supportive of trade union goals. Producers were not socialists or social democrats, but they were anticapitalist and reform-minded. In populist evangelicalism they discovered a potent language and ethic for their discontent. Journeymen for Jesus presents a rich and unromanticized portrait of artisan culture in early America. In the process, it adds to our understanding of the class tensions present in Jacksonian America.

This book studies the early history of the Protestant revival movements of the eighteenth century.

Nobel laureate Elias Canetti wrote his novel Auto-da-Fe (Die Blendung) when he and the twentieth century were still quite young. Rooted in the cultural crises of the Weimar period, Auto-da-Fe first received critical acclaim abroad--in England, France, and the United States--where it continues to fascinate readers of subsequent generations. The End of Modernism places this work in its cultural and philosophical contexts, situating the novel not only in relation to Canetti's considerable body of social thought, but also within larger debates on Freud and Freudianism, misogyny and modernism's "fragmented subject," anti-Semitism and the failure of humanism, contemporary philosophy and philosophical fads, and traditionalist notions of literature and escapist conceptions of history. The End of Modernism portrays Auto-da-Fe as an exemplum of "analytic modernism," and in this sense a crucial endpoint in the progression of postwar conceptions of literary modernism.

William F. Bristow presents an original and illuminating study of Hegel's hugely influential but notoriously difficult Phenomenology of Spirit. Hegel describes the method of this work as a 'way of despair', meaning thereby that the reader who undertakes its inquiry must be open to the experience of self-loss through it. Whereas the existential dimension of Hegel's work has often been either ignored or regarded as romantic ornamentation, Bristow argues that it belongs centrally to Hegel's attempt to fulfil a demanding epistemological ambition. With his Critique of Pure Reason, Kant expressed a new epistemological demand with respect to rational knowledge and presented a new method for meeting this demand. Bristow reconstructs Hegel's objection to Kant's Critical Philosophy, according to which Kant's way of meeting the epistemological demand of philosophical critique presupposes subjectivism, that is, presupposes the restriction of our knowledge to things as they are merely for us. Whereas Hegel in his early Jena writings rejects Kant's critical project altogether on this basis, he comes to see that the epistemological demand expressed in Kant's project must be met. Bristow argues that Hegel's method in the Phenomenology of Spirit takes shape as his attempt to meet the epistemological demand of Kantian critique without presupposing subjectivism. The key to Hegel's transformation of Kant's critical procedure, by virtue of which subjectivism is to be avoided, is precisely the existential or self-transformational dimension of Hegel's criticism, the openness of the criticizing subject to being transformed through the epistemological procedure.

"Shakespeares works do not embody any doctrine or set of beliefs, as his critics have long been tempted to suggest, but they do stage encounters with certain kinds of thinking ethical, political, epistemological, even metaphysical that still concern us nowadays. They can be shown to draw on ancient philosophies Platonism, Stoicism, Scepticism either directly or through medieval and continental Renaissance thought. Or their scenarios can be likened to those of other kinds of intellectual argument, such as legal or theological discourse. The essays collected in this volume demonstrate the value of thinking with Shakespeare, either as embodied in Shakespeares own creative programme or in our use of philosophical paradigms as an approach to his works. The contributors are Colin Burrow, Terence Cave, Gabriel Josipovoci, Charles Martindale, Stephen Medcalf, Subha Mukherji, A. D. Nuttall and N. K. Sugimura."

"Examines 'community,' intimacy,' and 'authority' in the church at the formative, local ecclesial level; examines contributions of several theologians; concludes that a deeper appreciation for the enormous, practical authority of local communities can help ground a renewal of the church's self-understanding"--Provided by publisher.

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