Four Steeples over the City Streets
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Kyle T. Bulthuis. Four Steeples over the City Streets
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Early American Places is a collaborative project of the University of Georgia Press, New York University Press, Northern Illinois University Press, and the University of Nebraska Press. The series is supported by the Andrew W. Mellon Foundation. For more information, please visit www.earlyamericanplaces.org.
ADVISORY BOARD
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Chapter 4 explores the place of women in the churches in the growing city. Women constituted a numerical majority in each congregation. After 1800, wealthy women quietly entered the public sphere. They organized charitable institutions that focused on widows and children. These benevolent societies preserved traditional assumptions about poverty and the organic vision of society of the colonial era. Paradoxically, however, such organizations opened the way for more radical forms of action, as they provided public spaces, however circumscribed, for society’s wealthiest women. Many more women in the churches preserved conventional gender roles by choosing private pious contemplation and steady attendance at worship services. The close connection of some of these women to their ministers heightened social tensions in the churches.
The fifth chapter explains the intersections of gender with race in church life. In the larger society, slavery, poverty, and menial status meant that black men risked being labeled feminine and without power. Thus in the black churches men, not women, took primary place, mimicking the white church’s example in an exaggerated form. Black women, however, remained numerous in the churches, and supported their leaders through the emergence of auxiliary benevolent societies and in quiet, obedient forms of piety, similar to most white women. Just as white women gained a place in the public sphere through benevolence, so did black men in public processions and benevolent societies. These black men used a universal language of unity, which mirrored colonial-era church language, but like those earlier forms masked the strongly middle-class and masculine identities of the actors.
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