The Senate Munitions Committee of 1934-1936, chaired by Gerald Nye of North Dakota, provided the first critical examination of America's modern military establishment. The committee approached its task guided by the optimism of the progressive Social Gospel and the idealism of earlier times, but in the middle of the munitions inquiry the nation turned to new values represented in Reinhold Niebuhr's realism and Franklin D. Roosevelt's Second New Deal. By 1936, the committee found its views out of place in a nation pursuing a new course and in a world threatening to break out in war. Realist historians writing in the cold war period (1945-1990) closely linked the munitions inquiry to isolationism and created a one-dimensional history in which the committee chased evil "merchants of death." The only book-length study of the munitions investigation, John Wiltz's In Search of Peace, published in 1963, provided a realist interpretation. The munitions inquiry went beyond the merchants of death in its analysis of the post-World War I American military establishment. A better understanding emerges when the investigation is considered not only within an isolationist framework, but also as part of the intellectual, cultural, and political history of the interwar years. In particular, Franklin Roosevelt's political use of the investigation becomes apparent. Sources used include the committee's hearings, exhibits, and reports, the Gerald Nye Papers, the Franklin Roosevelt Papers, the Cordell Hull Papers, the R. Walton Moore Papers, the Henry Stimson Papers, the Homer Cummings Diaries, and the State Department's decimal files.

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Master of Music / School of Music, Theatre, and Dance / Reginald L. Pittman / This Master’s Report is an examination of four vocal song cycles for the baritone voice. Song cycles researched, interpreted, and performed include An die ferne Geliebte (1816) by Ludwig van Beethoven, Sei Romanze (1838) by Giuseppe Verdi, Don Quichotte à Dulcinée (1932-1933) by Maurice Ravel, and Let Us Garlands Bring (1938-1942) by Gerald Finzi. In this report you will find information on the history of vocal song cycles, biographical information about composers and poets/lyricists, compositional analysis, historical breakdowns of the musical periods, musical and poetic interpretations, original texts and English translations, pedagogical and performance practice insights, and never before published transpositions of “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” and “Nell’orror di note oscura” from Giuseppe Verdi’s Sei Romanze (1838). Songs in this report are: “Auf dem Hügel sitz ich spähend,” “Wo die Berge so blau,” “Leichte Segler in den Höhen,” “Diese Wolken in den Höhen,” “Es kehret der Maien, es blühet die Au,” and “Nimm sie hin den diese Lieder” from An die ferne Geliebte by Ludwig an Beethoven. “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” “In solitaria stanza,” and “Nell’orror di note oscura” from Sei Romanze by Giuseppe Verdi. “Chanson romanesque,” “Chanson épique,” and “Chanson à boire” from Don Quichotte à Dulcinée by Maurice Ravel. “Come away, come away, death,” “Who is Silvia?,” “Fear no more the heat o’ the sun,” “O Mistress Mine,” and “It was a lover and his lass” from Let Us Garlands Bring by Gerald Finzi. The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 9th, 2017 in All Faiths Chapel on the campus of Kansas State University. The recital featured the talents of baritone Matthew D. Cyphert and pianist Mitchell S. Jerko.

This thesis deals with the theme of the dark night in the work of St. John of the Cross and its influence on the formation of contemporary spiritual authors. Firstly, it focuses on the Spanish Carmelite mystic, John of the Cross social and biographical facts. These provide background to John's spiritual formation and without them the symbol of the dark night loses its historical context. This is followed by a list and brief description of the key works of John of the Cross. Of these texts, the dark night motif is dealt with in "Ascent of Mount Carmel" and "Dark Night," which constitute two aspects of a single journey leading to union with God. We encounter the dark night motive itself in the third chapter. First, we look at the dark night as described by John from the Cross. Then we focus on the symbolism of the dark night in the saint's work, its articulation and outcome. The last chapter introduces us to the view of contemporary spiritual authors, namely Thomas H. Greene, Thomas Halik, Iain Matthew, Gerald G. May, and Wilfrid Stinissen on the dark night theme.

Par la présente recherche nous tentons de comprendre la croissance du mouvement pentecôtiste québécois dans les années soixante-dix et quatre-vingt. Dans une première section nous traitons les développements internes des Assemblées de la Pentecôte du Canada : leur méthodologie missionnaire, le programme FLITE, la fondation du Collège biblique Formation Timothée, les leaders principaux ayant contribué à l'expansion pentecôtiste, et la gérance d'un conflit culturel et politique qui a porté ombrage au réveil. Dans la deuxième section nous établissons le contexte socio-historique dans lequel la croissance du mouvement pentecôtiste a eu lieu. Nous abordons, dans la troisième section, la notion polysémique du réveil. Ainsi, nous montrerons que la compréhension pertinente de l'essor du mouvement implique de considérer celui-ci comme un réveil parmi d'autres apparus dans le cadre de l'éveil qu'était la Révolution tranquille.

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From 1838 until the end of the European Revolutions in 1852, the French Revolution provided Chartists with a repertoire of symbolism that Chartists would deploy in their activism, histories, and literature to foster a sense of collective consciousness, define a democratic world-view, and encourage internationalist sentiment. Challenging conservative notions of the revolution as a bloody and anarchic affair, Chartists constructed histories of 1789 that posed the era as a romantic struggle for freedom and nationhood analogous to their own, and one that was deeply entwined with British history and national identity. During the 1830s, Chartist opposition to the New Poor Law drew from the gothic repertoire of the Bastille to frame inequality in Britain. The workhouse 'bastile' was not viewed simply as an illegitimate imposition upon Britain, but came to symbolise the character of class rule. Meanwhile, Chartist newspapers also printed fictions based on the French Revolution, inserting Chartist concerns into the narratives, and their histories of 1789 stressed the similarity between France on the eve of revolution and Britain on the eve of the Charter. During the 1840s Chartist internationalism was contextualised by a framework of thinking about international politics constructed around the Revolutions of 1789 and 1830, while the convulsions of Continental Europe during 1848 were interpreted as both a confirmation of Chartist historical discourse and as the opening of a new era of international struggle. In the Democratic Review (1849-1850), the Red Republican (1850), and The Friend of the People (1850-1852), Chartists like George Julian Harney, Helen Macfarlane, William James Linton, and Gerald Massey, along with leading figures of the radical émigrés of 1848, characterised 'democracy' as a spirit of action and a system of belief. For them, the democratic heritage was populated by a diverse array of figures, including the Apostles of Jesus, Martin Luther, the romantic poets, and the Jacobins of 1793. The 'Red Republicanism' that flourished during 1848-1852 was sustained by the historical viewpoints arrived at during the Chartist period generally. Attempts to define a 'science' of socialism was as much about correcting the misadventures of past ages as it was a means to realise the promise announced by the 'Springtime of the Peoples'.