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Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: William Deegan. Dissertation Committee: Thomas Leemon. Bibliography: leaves 226-242.

Thesis (Ph. D.)--Columbia University, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 484-554).

This thesis explores how Protestant Charlestonians and Philadelphians interpreted and responded to the secession crisis of 1860-1861. "Christian duty" was a vital part of these responses, not only informing the worldview of Protestants, but directing their actions in the midst of the crisis. Charlestonians and Philadelphians defined the concept of "Christian duty" in similar ways, however as the crisis progressed they applied it in increasingly different manners. Early in 1860, Protestants in both cities emphasized their shared spiritual and political heritage, often defining Christian duty in regard to unity and conciliatory speech. However, the secession crisis marked a transition away from this shared unifying rhetoric toward the expression of regional exceptionalism. Increasingly, both Philadelphians and Charlestonians understood themselves and their respective governments to be specially anointed by God. Accordingly by the end of 1861, Charlestonian and Philadelphian Protestants described Christian duty as tied to serving the Confederacy or the Union. / Master of Arts

No description available.

No description available.

Modern architecture has lost its sense of place by the adoption of practices like standardization and universal modularity, over the focus and influence of unique local building practices. However, looking outside of the cultural main stream works of architecture, there exists some built structures with such purity around how they were constructed and a form of honesty deeply embedded within their material usage. Having been idealized in such a locally specific manner, these attributes become the essence of belonging that ties the building to its particular place. In this thesis, I have considered architecture both within regional or vernacular architectural traditions and the unconstrained means and methods of modern architecture. I looked at how modern technologies related to fabrication can be influenced by the subtle adaptations that traditional architecural crafts have developed, unique to specific regions. / Master of Architecture

To Bach, the Circle of Fifths was the language of the universe. Similar to the constellations used to understand the sky, the Circle of Fifths is a visualization device to understand the fundamental concepts of key signatures, which are the foundation for music. The Circle of Fifths is a guide for writing music because its structure helps compose and harmonize melodies, build chords, and move to different keys within a composition. The Octave is the most significant key signature because it completes the circle of fifths. The Octave, if in perfect tune will create an overtone, which is a tune unable to be created on its own. The movement through the Circle of Fifths led to a contemplation described by Pythagoras as "Music of the Spheres" or meeting between heaven and earth, between spiritual and material realms. The Well Tempered Building uses the Circle of Fifths as the underlying geometry for the foundation of the conservatory. Proportions from the Circle of Fifths, including the Octave, shaped the conservatory making the musicians, audience, sound, light, water and air tuned to each other. / Master of Architecture

Thesis (Ph. D.)--Florida State University, 2003. / Advisor: Dr. Neil Betten, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Oct. 9, 2003). Includes bibliographical references.

This paper examines the role of enslaved craftsmen in Charleston cabinetmaking shops during the late-eighteenth century and how wealthy Charlestonians’ desire fashionable goods fueled the demand for this labor force. The first chapter examines the rise of the wealthy Charlestonians and the origins of their taste for fashionable goods. The second chapter explores the increased use of enslaved craftsmen in Charleston cabinetmaking shops during the last half of the eighteenth century and how they affected the production of fashionable cabinet goods.