Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2005. / Includes abstract and vita. Includes bibliographical references (leaves 126-130).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2005. / Includes abstract and vita. Includes bibliographical references (leaves 126-130).

John Hartwell Cocke was a Virginia planter and amateur architect whose style evolved from Jeffersonian Classicism to a revival of English Tudor-Stuart or Jacobethan architecture. This dissertation discusses the Cocke family's Elizabethan roots and advances four theses. The first of these theses is that John Hartwell Cocke implemented Thomas Jefferson's principles for the reform of Virginia architecture. Cocke's most ambitious project, a Jeffersonian Palladian mansion called Bremo, was in the planning stages by 1815. The second thesis is that Cocke's off-plantation buildings signals his break from the Palladianism of Thomas Jefferson in favor of the Jacobean style for his houses and his acceptance of classical Jeffersonian elements for public buildings. The third thesis proposes John Hartwell Cocke as the first practitioner of the Romantic Colonial Revival movement in America in his revival of Tudor-Stuart architecture. The fourth thesis is that John Hartwell Cocke's architectural legacy was expanded by Philip St. George Cocke, the second of his three sons, when the younger Cocke commissioned Alexander J. Davis to build Belmead and later promoted Davis among his circle of family and friends.

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 60-63). Also available via the World Wide Web.

Martha Jefferson Randolph, Daughter of Monticello: Her Life and Times. By Cynthia A. Kierner. (Chapel Hill: University of North Carolina Press, 2012. Pp. ix, 281.)

Thesis (M.S.)--Florida State University, 2006. / Advisor: Yassir AbdelRazig, Florida State University, College of Engineering, Dept. of Civil and Environmental Engineering. Title and description from dissertation home page (viewed Sept. 15, 2006). Document formatted into pages; contains xiii, 341 pages. Includes bibliographical references.

Thesis (Ph.D.) -- University of Canberra, 2002. / Typescript (photocopy). "February 2002". Includes bibliographical references: (leaves 225-256).

This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.

No description available.

This thesis examines three groups of northern Methodists who made their way to north Florida during Reconstruction: northern white male Methodists, northern white female Methodists, and northern black male and female Methodists. It analyzes the ways in which these men and women confronted the differences they encountered in Florida‟s southern society as compared to their experiences living in a northern society. School catalogs, school reports, letters, and newspapers highlight the ways in which these northerners explained the culture and behaviors of southern freedmen and poor whites in Jacksonville, Gainesville, and Monticello. This study examines how these particular northern men and women present in Florida during Reconstruction applied elements of “the North” to their interactions with the freedmen and poor whites. Ultimately, it sheds light on northern Methodist middle class values in southern society