In the Shadow of a Grain Elevator: A Portrait of an Irish Neighborhood in Buffalo, New York, in the Nineteenth and Twentieth Centuries

Éire-Ireland ◽  
2002 ◽  
Vol 37 (1-2) ◽  
pp. 14-37 ◽  
Author(s):  
William Jenkins

The Theosophical Society (est. 1875 in New York by H. P. Blavatsky, H. S. Olcott, and others) is increasingly becoming recognized for its influential role in shaping the alternative new religious and cultural landscape of the late nineteenth and twentieth centuries, and perhaps especially for being an early promoter of interest in Eastern religions and philosophies. Many scholars now point to the Theosophical Society’s early popularization of Eastern concepts in the West and that Blavatsky and Olcott were the first known Westerners to convert to Buddhism, but despite this increasing awareness many of the central questions relating to the early Theosophical Society and the East still remain largely unexplored. This volume is the first academic anthology specifically dedicated to a more detailed study of the early Theosophical Society and the East (1875–1900). In addition to locating and analyzing new historical material, this book explores how the Theosophists approached the East and how in so doing they were similar to and different from Orientalists at the time. It explores how Theosophists represented the East and engaged with the people they came into contact with. Major topics include Sanskrit, Buddhism, Hindu philosophy, Eastern masters, yoga, and how such subjects were written about in Theosophical journals and in modernist literature. The innovative studies in this volume also explore the close relation between Theosophy, Hindu reform movements, and Indian politics and thereby offer new insights into the role of modern esotericism, globalization, and cross-cultural dynamics in the nineteenth century.


Author(s):  
Emanuele Pellegrini

In his description of the magnificent Vanderbilt collection located on Fifth Avenue in New York, Earl Shinn pointed out the presence of a medieval Venetian ivory casket in the Japanese parlor. Wonder serves as the guiding principle for the display of objects selected according to their provenance and for their very different chronologies. In this context, eclecticism concerns more than a mere display of heterogeneous artifacts, it is a way to create resplendent interiors and to allow visitors sink into a sense of wonder. This chapter reconsiders the key concepts of curiosity and eclecticism, not just as a fashion or as display modes, but as new steps in the long-term history of the Wunderkammer.


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