Were the years of the Fundamentalist/Modernist Controversy (1890-1936) in the Presbyterian Church in the USA years of doctrinal development? This dissertation argues that the answer to this question is both "yes" and ''no." This dissertation, in exploring this particular era of modem American church history, takes its structure from well-known Catholic theologian, John Courtney Murray, and his contribution to the discussion of doctrinal development as it applied to the years of the Arian Controversy culminating in the Council of Nicaea. Murray identified three factions in that struggle: the Futurists, the Archaists, and the Centrists. The Futurists, represented by Arius and his followers, sought to identify Christianity with the prevailing philosophies of the day, thereby reinterpreting and altering certain affirmations of the faith. The Archaists, as seen in the person of Eusebius of Caesarea, reacted strongly to the Arians' proposals by not admitting any doctrinal formulation not couched in the 'sacred words' of Scripture. The Centrists, representing more balanced judgment, as seen in St. Athanasius, prevailed in the end. He saw that doctrinal development, which is herein defined to mean further definition, clarification, and application of existing truths, does indeed take place but not at the expense of denying the historic affirmations of the faith. After investigating development, tradition (the results of doctrinal development over time) and historicism (the theory that doctrine develops out of the historical process itself), Murray's structure is then applied to the struggles in the Presbyterian Church in the early twentieth century. Beginning with Charles Briggs of Union Seminary in New York and his avocation of historical criticism as applied to the Scriptures, the Presbyterian Church in the USA was thrown progressively into turmoil regarding just what constituted the historic affirmations of the faith. Briggs and those who followed, the Liberals or Futurists, wanted to jettison or remold a sizeable portion of the historic Westminster Confession of Faith, the doctrinal heritage of Presbyterianism. Further events, such as the confessional revision of 1903 and the Cumberland reunion of 1906, helped to propel the entire church in a Futurist direction. Opposition from the beginning came primarily from Princeton Seminary. Princeton's professors sought to maintain the historic, confessional stance of the church. In this endeavor they were at times Archaists, Centrists, and even Futurists. The efforts of those who would preserve the traditional, confessional stance of Presbyterianism, however, were doomed to failure as the church moved steadily in a Futurist direction. After some brief insights into the more prominent Futurist personalities and the rise of Fundamentalist opposition, the remainder of the dissertation is taken up with the exploits of J. Gresham Machen and his expulsion from an increasingly Futurist church. Machen was viewed as a trouble maker for opposing this trend. Those of more moderate sentiments often sided with the Liberals/Futurists over against Machen. After much anguish and a lengthy trial, Machen was deposed from the office of minister in the Presbyterian Church in the USA. He immediately proceeded to found a new Presbyterian denomination. Into this new church came both Archaist and Centrist alike, who had previously formed an uneasy alliance in opposition to the Futurism in the mother church. The coalition, however, did not last, and after a short time fragmented into smaller constituencies. Although things did not change all at once in the Presbyterian Church in the USA, Liberalism/Futurism became the norm and remains so until this day. This dissertation argues that the confessional revision of 1903 and the work of J. Gresham Machen can be classified as doctrinal development and, thus, Centrist endeavors. All of the other events of significance that characterize the Fundamentalist/Modernist Controversy were either Archaist in character or Futurist endeavors more concerned with changing the historic affirmations of the faith than developing them. / Church History / M.Th. (Church history)

Edith Wharton uses characterization in the primary three characters in The Age of Innocence to explore the aspects of her life. Early adulthood is represented by May Welland Archer, who was born into New York 400, where society suppressed an individual's emotions, aspirations, and freedoms. The intermediate phase of her life is depicted in Newland Archer, who tests the confining limits of the society to which he belongs and strives to understand the role of emotions in achieving personal satisfaction. Wharton rejected and craved the ties of the New York 400 in the final phase of her life as portrayed in Ellen Olenska who left the 400, lived in Europe, and returned to New York. By developing these characters, Wharton attempts to retrospectively reconcile the transformations she experienced. Indeed, it will be clear that Wharton's work serves as a personal assessment of her self-actualization. / bt Betty Feuerberg. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

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For decades prior to National Prohibition, the "liquor question" received attention from various temperance, prohibition, and liquor interest groups. Between 1880 and 1920, these groups gained public interest in their own way. The liquor interests defended their industries against politicians, religious leaders, and social reformers, but ultimately failed. While current historical scholarship links the different liquor industries together, the beer industry constantly worked to distinguish itself from other alcoholic beverages. To counter threats from anti-alcohol groups, beer industry advocates presented their drink as a wholesome, pure, socially and culturally rich, and economically significant beverage that stood apart from other alcoholic beverages, especially distilled spirits. Alongside these responses, breweries industrialized, reflecting scientific and technological innovations that allowed for modern production, storage, and distribution methods. Despite popularity and economic successes, the beer industry could not survive the anti-saloon campaigns, the changing nature of the American economy and taxation, political ambitions of the anti-liquor interests, and the influence of the First World War, which brought with it anti-German sentiments. This thesis will uncover the story of the American beer industry's attempt to adjust to several threats facing it and how beer was ultimately condemned to the same fate as wine and spirits when National Prohibition went into effect.

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This study examines the birth of television and the modern media corporation that launched it, through the archives of the designer of the "first" set, John Vassos, a Greek-born American industrial designer, interior decorator, and illustrator (1898-1985). Vassos's early career is used as a case study to analyze the historical and cultural forces that shaped the emergence of this new media and the new profession of industrial design, through archival materials housed in the Archives of American Art at the Smithsonian Institution in Washington D.C. and at Syracuse University. Specifically, this thesis unites various parts of Vassos's early career, from his modernist illustrations to industrial design, through the aesthetics and practices of modernism. As RCA's lead industrial designer for over 40 years, Vassos was involved in the design and promotion of RCA's electronic products, including radios and televisions and studio equipment. Vassos also designed the new spaces carved out for their use in the home including the "living room of the future" featured at the 1939 World's Fair. Drawing from his skills as an illustrator, designer and display expert, Vassos helped develop RCA's public image at a time of its greatest expansion in radio and television manufacturing and broadcasting. This reading of Vassos's work is both diachronic, taking into account his work over the early part of his career to analyze his specific contribution and synchronic, in relationship to other designers working contemporaneously. Thus, this thesis explores Vassos's double role as a participant, with active agency within the emergence of the new field and as a subject, constrained by social roles and forces. Ranging from turnstile to the transmitter, Vassos along with other industrial designers used the streamlined aesthetic to create visual unity among mechanical and electronic products, from home to office, from subway to skyline.

The architectural practice of Michael and Louis Beezer, identical twin brothers, lasted from 1892 until 1932. They practiced in Altoona, Pennsylvania, from 1892 until 1899; Pittsburgh, Pennsylvania, from 1900 until 1906; and in Seattle, Washington, from 1907 until 1932. During their practice, they produced a wide variety of designs including homes, banks, churches, rectories, schools, and hospitals. Today, seventy-two confirmed designs still exist around the country in Pennsylvania, Washington, Oregon, California, Montana, and Alaska. This creative project documents the Beezer Brothers' surviving buildings through current and historic photographs and a short amount of text with information on the history, style, and features of each building. A history of the firm, supplemented with biographical information, is also included. / Department of Architecture

American tuberculosis sanitarium architecture developed largely from trends set by European health spas and sanitarium design. The first American tuberculosis sanitariums largely resembled European health spas and resorts and catered to rich clientele. The spread of the White Plague, however, urged American states to develop sanitarium institutions that could provide for all classes. These first sanitariums melded nineteenth century resort architecture with radial prison designs and Kirkbride insane asylums to create large hospital complexes devoted exclusively to tuberculosis treatment and research. By the 1920s and 1930s, the European modernist movement had created modern tuberculosis sanitariums that inspired American sanitarium design. Despite the important role these institutions played in curing consumptives and limiting the spread of the White Plague, the increased use of drug therapy made sanitariums obsolete by the 1970s. Today, many of these sanitariums have been abandoned, demolished, or rehabilitated for new uses. / History of the disease -- The European and American health spa movements -- The development of the European sanitarium movement -- The development of the American sanitarium movement -- The American sanitarium movement : borrowing from European modernist innovation. / Department of Architecture

The impact of the Cold War on architecture in the United States is exemplified in the promotion and construction of fallout shelters. The development of the hydrogen bomb by the United States and Soviet Union in the first half of the 1950s increased fears of the far-reaching effect nuclear war could have on public health and safety. Government agencies, such as the Office of Civil Defense, promoted the widespread construction and use of the fallout shelter as a safeguard against human annihilation in the event of nuclear war. This thesis examines the various types of residential fallout shelters designed by public and private entities. The location of the fallout shelter within the family residence had the largest impact on the style and construction method adopted. This thesis investigates a wide variety of examples and techniques used to encourage fallout shelter construction. An in-depth discussion of the preservation of the residential shelter completes the text, including two examples of current preservation practices. / Nuclear weapons, the Cold War and a need for shelters -- Evolution, promotion and requiremens for residential fallout shelters -- Interior residential shelters -- Exterior residential shelters -- Preservation issues of the residential fallout shelter. / Access to thesis permanently restricted to Ball State community only / Department of Architecture