From 1917 19, the Tharaud brothers immersed themselves in Morocco while observing the determined imposition of the French Protectorate at first hand. With unique access to both colonial manoeuvres and a now-vanished Moroccan way of life, they settled for periods in Marrakesh, Rabat and Fez to absorb and observe. We join them on visits to the Sultan one day and to the shrine of Sidi Ben Achir part shrine, part mental asylum on another. They watch the son and heir of the Glaoui dynasty die from wounds received in a mountain battle, and lovers weaving and ducking across the rooftops of Fez to reach their trysting place. This is the first translation of these vivacious works into English, giving access to the majesty, the squalor and above all the liveliness of this extraordinary period of Moroccan history.

How nineteenth-century Protestant evangelicals used print and visual media to shape American culture In nineteenth-century America, "apocalypse" referred not to the end of the world but to sacred revelation, and "geography" meant both the physical landscape and its representation in printed maps, atlases, and pictures. In Apocalyptic Geographies, Jerome Tharaud explores how white Protestant evangelicals used print and visual media to present the antebellum landscape as a “sacred space” of spiritual pilgrimage, and how devotional literature influenced secular society in important and surprising ways. Reading across genres and media—including religious tracts and landscape paintings, domestic fiction and missionary memoirs, slave narratives and moving panoramas—Apocalyptic Geographies illuminates intersections of popular culture, the physical spaces of an expanding and urbanizing nation, and the spiritual narratives that ordinary Americans used to orient their lives. Placing works of literature and visual art—from Thomas Cole’s The Oxbow to Harriet Beecher Stowe’s Uncle Tom’s Cabin and Henry David Thoreau’s Walden—into new contexts, Tharaud traces the rise of evangelical media, the controversy and backlash it engendered, and the role it played in shaping American modernity.

How nineteenth-century Protestant evangelicals used print and visual media to shape American culture In nineteenth-century America, "apocalypse" referred not to the end of the world but to sacred revelation, and "geography" meant both the physical landscape and its representation in printed maps, atlases, and pictures. In Apocalyptic Geographies, Jerome Tharaud explores how white Protestant evangelicals used print and visual media to present the antebellum landscape as a "sacred space" of spiritual pilgrimage, and how devotional literature influenced secular society in important and surprising ways. Reading across genres and media-including religious tracts and landscape paintings, domestic fiction and missionary memoirs, slave narratives and moving panoramas-Apocalyptic Geographies illuminates intersections of popular culture, the physical spaces of an expanding and urbanizing nation, and the spiritual narratives that ordinary Americans used to orient their lives. Placing works of literature and visual art-from Thomas Cole's The Oxbow to Harriet Beecher Stowe's Uncle Tom's Cabin and Henry David Thoreau's Walden-into new contexts, Tharaud traces the rise of evangelical media, the controversy and backlash it engendered, and the role it played in shaping American modernity.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.