Following up on Jonathan Wilson’s review of Spencer McBride’s Pulpit and Nation: Clergymen and the Politics of Revolutionary America (Charlottesville: University of Virginia Press, 2017), we’re pleased today to post this Q&A with Spencer about his book and his future research. McBride is a historian and documentary editor at The Joseph Smith Papers. He earned a Ph.D. in History at Louisiana State University, and is currently working on several book projects, which you can read about more here. Continue reading
Spencer W. McBride, Pulpit and Nation: Clergymen and the Politics of Revolutionary America (Charlottesville and London: University of Virginia Press, 2016).
The relationship between Christianity and the American founding is a topic of obvious contemporary political relevance in the United States. It is also a field in which historians during the last few years have labored with great energy. In Pulpit and Nation: Clergymen and the Politics of Revolutionary America, Spencer McBride adds to that labor with a book that is—at first glance—less politically charged than some other contributions have been. Yet Pulpit and Nation advances what may be a subversive claim. Continue reading
Following on from yesterday’s review of The American Revolution Reborn, The Junto was fortunate enough to get to ask a few questions of the volume’s editors. Both Patrick Spero, Librarian of the American Philosophical Society, and Michael Zuckerman, Professor of History Emeritus at the University of Pennsylvania, were instrumental in organizing the highly successful conference that led to the volume. In the Q&A below, the organizers/editors reflect back on both the conference and the volume, their effect on their own views of the Revolution, and their hopes for the legacy of both the conference and the volume. The Q&A is published here in its entirety. Continue reading
The American Revolution Reborn, ed. Patrick Spero and Michael Zuckerman (Philadelphia: University of Pennsylvania Press, 2016).
Between May 30 and June 1, 2013, hundreds of historians, teachers, and students came together in Philadelphia to discuss twenty-first-century perspectives on the American Revolution at a landmark conference, “The American Revolution Reborn.” That conference, which received and receives regular shout-outs here at The Junto, forms the basis for The American Revolution Reborn, an edited collection of essays designed to “upset the patterns of history inquiry that have defined scholarship for the past generation” (3). Much like The Oxford Handbook on the American Revolution (New York: Oxford University Press, 2012), The American Revolution Reborn seeks to regenerate interest in the Revolution with “new perspectives” that, the editors and contributors hope, “will produce new interpretations of the past that move our understanding forward in new directions” (5). Continue reading
This Colonial Couture post is by Zara Anishanslin, assistant professor of history and art history at the University of Delaware. Her latest book is Portrait of a Woman in Silk: Hidden Histories of the British Atlantic World (Yale University Press, 2016). Follow her @.
“Please, sisters, back away from the pink.”
So women planning to attend the January 2017 Women’s Marches were urged by the writer of an opinion piece in The Washington Post. “Sorry knitters,” she continued, but making and wearing things like pink pussycat hats “undercuts the message that the march is trying to send….We need to be remembered for our passion and purpose, not our pink pussycat hats.” To back up her point, the author opined that “bra burning” dominated—and thus damaged—popular (mis)conceptions of women’s rights protests in the 1960s. Please, ladies, she exhorted, don’t repeat the mistakes we made in the ‘60s by bringing fashion into politics. Continue reading
This Colonial Couture post is by guest contributor Joanna M. Gohmann, Andrew W. Mellon Postdoctoral Curatorial Fellow in 18th– and 19th-Century Art, at The Walters Art Museum in Baltimore.
While acting as the American ambassador to France, Benjamin Franklin wore a fur hat to express his American status. The French enthusiastically accepted Franklin’s use of the topper, seeing it as an embodiment of the ambassador and a symbol of America and the American cause. When he first came to France in 1767, Franklin wore the clothes of a polite, fashionable Frenchman—a fine European suit and powdered wig—as a way to show respect to the French court. When he returned in 1776, he abandoned all the decorum of French dress and instead wore a simple, homespun brown suit, spectacles, and a large fur hat. He cleverly adopted this style as a way to garner attention and appeal to the French for support of the American cause.
You’re invited…to The Junto’s first roundtable on fashion as history in early American life. In step with New York Fashion Week, we’ll present a new perspective daily on how the material question of “what people wore” shaped personal politics and national identity. We’re, er, bursting at the seams with guest contributors, so watch this space for a new post (or two!) every day. Thanks to a diverse array of scholars, over the next week we’ll get a better look at the sartorial identities of the enslaved; explore Native Americans’ role in the textile trade; take in the view from Benjamin Franklin’s Versailles; meet the artisans who bound up the loose threads of Atlantic World couture; and more. Continue reading