One of the most striking phenomena in the first half of the 20th century was the influx of Chinese intellectuals into America to receive Western education. Studies in the past, however, often depicted the history of American-educated Chinese students simply as the history of Chinese students returning from America. For a long time the foreign exposure and experience of the Chinese intellectuals did not draw enough attention from the academia. If we agree that one of the valuable contributions that the West can make to China was the spiritual values in Western civilization, the encounter between the intellectuals and the Christian idealism would probably be a very important issue. It is not the purpose of this research to re-write the history of American-returned students in any depth. The author would like to focus on a group of "China's American-educated youths" who has encountered modern Christianity. Although they were not all followers or baptized Christians, they adhered to the principles of Christianity as the highest standard for measuring the changing circumstances in China and in the world. / To unite the Chinese Christians in the United States, the Chinese Students' Christian Association in North America was founded in 1909 by a group of Chinese Christian students. The objective of the Association was similar to the Young Men's Christian Association. Through a case study of the Chinese Students' Christian Association in North America, the author attempts to depict the spiritual feature of the American-educated Chinese students as a single group. This dissertation argues that they intentionally chose the social gospel, which adopted the Kingdom of God as the key concept, in the quest fort he modern religious belief. By making critical assessment and judgment on the non-Christian order in the society, political arena and the internationals cene, they longed for the realization of the earthly democratic kingdom which suited to the home country and the world. Disappointed in politics, the China's American-educated youths did not turn into mere spectators. The Christian idealism made them profoundly aware of the sociopolitical realm of China and the world. This thirst for a Kingdom of God became the driving force for the continuous development of the students' Christian movement. / 梁冠霆. / Adviser: Tze-Ming Ng. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 2073. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 159-167). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Liang Guanting.

Chan Chiu-yuen Lawrence. / Thesis (M.Div.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 60-65). / Abstracts in English and Chinese. / Introduction / Chapter Chapter One / Chapter A. --- Root of Pentecostalism: the Black Heritage / Chapter B. --- Transcending Race & Class / Chapter a. --- History of the Marginalized Black Slave in America / Chapter i. --- Social Context in America: Slavery & Racism / Chapter ii. --- Formation of Black church / Chapter b. --- The Outpouring of the Spirit: Transcending Race and Class / Chapter Chapter Two --- Transforming Christianity: Inculturation / Chapter a. --- The Concept of Inculturation / Chapter b. --- Worship in the Azusa Street Revival / Chapter c. --- African Heritage / Chapter d. --- Worship / Chapter e. --- Spirit Possession / Chapter Chapter Three --- Yielding Detraditionalization / Chapter a. --- Marginalization of Women in Mission / Chapter i. --- Masculine Domination of Missionary Societies / Chapter ii. --- Traditional Roles of Women / Chapter iii. --- Opposition of a Single Woman as a Missionary / Chapter iv. --- Resistance of Setting-up of Women's Board / Chapter v. --- Unjust Criticisms from Masculine Organizations / Chapter vii. --- Widow Case / Chapter b. --- Patriarchal Christian Tradition / Chapter c. --- Pentecostal Women in Mission / Chapter d. --- The Power of Holy Spirit: Detraditionalization / Conclusion / Bibliography

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The myth of the West is still very much alive in contemporary America. Lately, there has been a resurgence of new Western movies, TV series, and fiction. Until recently the West has been the exclusive domain of the quintessential masculine man. Women characters have featured only in the margins of the Western hero's tale. Contemporary Western fiction by women, however, offers new perspectives. Women's writing about the Old and New West introduces strong female protagonists and gives voice to characters that are muted or ignored by traditional Western literature and history. Western scholarship has largely been polarized by two approaches. First, the myth and symbol school of Turner, Smith, and followers celebrated American exceptionalism and rugged male individualism on the Western frontier. Second, the reaction against these theories draws attention to the West's legacy of racism, sexism and violence. The purpose of the present study is to collapse these theoretical fences and open a dialogue between conflicting theoretical positions and contemporay Western fiction. Molly Gloss's 1989 The Jump-Off Creek and Karen Joy Fowler's 1991 Sarah Canary selfcritically re-write the Old West. This study has attempted to explore the following questions: How can one re-write history in the context of a postmodern culture? How can "woman," the quintessential "Other" escape a modernist history (and thus avoid charges of essentialism) when she has not been in this history to begin with? In this study I analyze how these two contemporary feminist authors, Molly Gloss, and Karen Joy Fowler, face the dual challenge of writing themselves into a history that has traditionally excluded them, while at the same time deconstructing this very historical concept of the West. Fowler's and Gloss's use of diverse narrative strategies to upset a monolithic concept of history-- emphasizing the importance of multiple stories of the Old West-- is discussed in detail.

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In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting.

This thesis outlines the early developmental history of concrete block in America with special attention being placed on the years leading up to the St. Louis Louisiana Purchase Exposition of 1904. In general, the history of concrete block in contemporary building material histories begins with the innovations in block machinery that took place at the turn of the 20th century. However, the history of concrete block begins much earlier than these innovations. Harmon S. Palmer invented the first commercially successful concrete block machine in 1900, but there were many reasons why concrete block became widely used during the first half of the 20th century. The establishments of a domestic Portland cement industry, the innovations in concrete block machinery, and the marketing and promotion of concrete and concrete block at the 1904 St. Louis Louisiana Purchase Exposition, are all major reasons why concrete block began to be widely used in America. / Concrete : primer -- Concrete : a brief history -- Concrete block : an early history -- Portland cement -- The commercialization of concrete block -- Concrete block on the world stage : the 1904 Louisiana Purchase Exposition. / Department of Architecture

In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate