An Englishwoman's twenty-five years in tropical Africa: being the biography of Gwen Elen Lewis, missionary to the Cameroons and the Congo, by George Hawker

http://www.archive.org/details/anenglishwomanst00hawkuoft

Metlakahtla : a true narrative of the red man / by George T.B. Davis.

http://www.archive.org/details/metlakahtltruena00davirich

Missionary life among the cannibals : being the life of the Rev. John Geddie, D.D., first missionary to the New Hebrides : with a history of the Nova Scotia Presbyterian mission on that group / by George Patterson.

http://www.archive.org/details/cannibalmission00pattuoft

Missionary morale by George A Miller, Bishop

Boston University Theology Library

Experiences of a backwoods preacher, or, Facts and incidents culled from thirty years ministerial life / by Joseph H. Hilts.

http://www.archive.org/details/experiencesofab00hiltuoft

The Missionary pioneer, or, A brief memoir of the life, labours, and death of John Stewart, (man of colour) founder, under God of the mission among the Wyandotts at Upper Sandusky, Ohio / Published by Joseph Mitchell.

http://www.archive.org/details/missionarypionee00stewrich

Post card to George Whitaker 06/27/1881

Postal card to George Whitaker. Mailed from Ocean Grove, NJ. Dated June 27, 1881.

Carl H. Kraeling Papers, 1947-1955

This file contains a finding aid for the Carl H. Kraeling Collection. To access the collection, please contact the archivist (asorarch@bu.edu) at the American Schools of Oriental Research, located at Boston University.

The Least of These: American Evangelical Parachurch Missions to the Poor, 1947-2005

This dissertation narrates the historical development of American evangelical missions to the poor from 1947-2005 and analyzes the discourse of its main parachurch proponents, especially World Vision, Compassion International, Food for the Hungry, Samaritan's urse, Sojourners, Evangelicals for Social Action, and the Christian Community Development Association. Although recent scholarship on evangelicalism has been prolific, much of the historical work has focused on earlier periods. Sociological and political scientific scholarship on the postwar period has been attracted mostly to controversies surrounding the Religious Right, leaving evangelicalism's resurgent concern for the poor relatively understudied. This dissertation addresses these lacunae. The study consists of three chronological parts, each marked by a distinctive model of mission to the poor. First, the 1950s were characterized by compassionate charity for individual emergencies, a model that cohered neatly with evangelicalism's individualism and emotionalism. This model should be regarded as the quintessential, bedrock evangelical theory of mission to the poor. It remained strong throughout the entire postwar period. Second, in the 1970s, a strong countercurrent emerged that advocated for penitent protest against structural injustice and underdevelopment. In contrast to the first model, it was distinguished by going against the grain of many aspects of evangelical culture, especially its reflexive patriotism and individualism. Third, in the 1990s, an important movement towards developing potential through hopeful holism gained prominence. Its advocates were confident that their integration of biblical principles with insights from contemporary economic development praxis would contribute to drastic, widespread reductions in poverty. This model signaled a new optimism in evangelicalism's engagement with the broader world. The increasing prominence of missions to the poor within American evangelicalism led to dramatic changes within the movement's worldview: by 2005, evangelicals were mostly unified in their expressed concern for the physical and social needs of the poor, a position that radically reversed their immediate postwar worldview of near-exclusive focus on the spiritual needs of individuals. Nevertheless, missions to the poor also paralleled, reinforced, and hastened the increasing fragmentation of evangelicalism's identity, as each missional model advocated for highly variant approaches to poverty amelioration that were undergirded by diverse sociological, political, and theological assumptions.

Solo and Chamber Music of Pulitzer Prize-Winning Composers

The Pulitzer Prize in Music, established in 1943, is one of America's most prestigious awards. It has been awarded to fifty-three composers for a "distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year." Composers who have won the Pulitzer Prize are considered to be at the pinnacle of their creativity and have provided the musical world with classical music compositions worthy of future notice. By tracing the history of Pulitzer Prize-winning composers and their compositions, researchers and musicians enhance their understanding of the historical evolution of American music, and its impact on American culture. Although the clarinet music of some of these composers is rarely performed today, their names will be forever linked to the Pulitzer, and because of that, their compositions will enjoy a certain sense of immortality. Of the fifty-four composers who have won the award, forty-seven have written for the clarinet in a solo or chamber music setting (five or less instruments). Just as each Pulitzer Prize-winning composition is a snapshot of the state of American music at that time, these works trace the history of American clarinet musical development, and therefore, they are valuable additions to the clarinet repertoire and worthy of performance. This dissertation project consists of two recitals featuring the solo and chamber clarinet music of sixteen Pulitzer Prize-winning composers, extended program notes containing information on each composer's life, their music, the Pulitzer Prize-winning composition and the recital selection, and a complete list of all Pulitzer Prize-winning composers and their solo and chamber clarinet music. Featured Composers Dominick Argento, To Be Sung Upon the Water Leslie Bassett, Soliloquies William Bolcom, Little Suite of Four Dances Aaron Copland, As it Fell Upon a Day John Corigliano, Soliloquy Norman Dello Joio, Concertante Morton Gould, Benny's Gig Charles Ives, Largo Douglas Moore, Quintet for Clarinet and Strings George Perle, Three Sonatas Quincy Porter, Quintet for Clarinet and Strings Mel Powell, Clarinade Shulamit Ran, Private Game Joseph Schwantner, Entropy Leo Sowerby, Sonata Ernst Toch, Adagio elegiaco

Limited Excavations at the Gassaway-Feldmeyer House, 18AP49, 194 Prince George Street, Annapolis, Maryland

194 Prince George Street, known as the Gassaway-Feldmeyer house, was excavated in April of 1988. The property, in residential use from the 19th century, is owned by Historic Annapolis Foundation. Excavators found evidence of some intact 19th century levels and no trace of the 18th century. Unfortunately, parts of the site were disturbed by 20th century gardening activities. Further excavation is recommended since the Gassaway-Feldmeyer house may provide valuable information about residences in the 19th century.

Archaeological Testing at the John Brice II (Jennings-Brice) House, 18AP53, 195 Prince George Street, Annapolis, Maryland

In the fall of 1989, emergency excavation was undertaken in conjunction with restoration work at the John Brice II (Jennings-Brice) House, 18AP53. The exact date of construction for this brick home is problematic, and it was hoped that archaeological investigation could provide conclusive evidence to firmly establish the structure's date of construction. Excavation of one 5 X 5 ft. unit revealed the presence of 10 separate soil layers and four features of note, described in detail below. Unfortunately, no builders trench or similar feature by which we might date the house's construction was recovered. Future plans and possibilities for excavation at the property are outlined with the hopes of performing subsequent work at this rich site. We anticipate a focus on the arrangement and changes in use of the houselot, amassing evidence to support the presence of a vernacular garden on the property during the 18th century, as well as researching refuse disposal patterns, and clues to changing lifeways through the 18th century.

SELECTED TWENTIETH-CENTURY BRITISH & AMERICAN ENGLISH SONG REPERTOIRE WRITTEN FOR SOPRANO

English language song (both British and American) is influenced by a variety of cultures, races, and musical forms and has produced a broad range of song repertoire. Like songs in all countries and throughout history, these songs can be classified into three categories: imitative songs, experimental songs, and songs of individuality. Music experimentation, necessary and welcome as it is, can hardly command broad international attention. Thus, the songs of this dissertation performance project are chosen from the first and third categories: imitative songs and individual songs in the composer's own unique style. This project concentrates its exploration on twentieth-century solo songs written in English. Although twentieth-century British & American composers also produced solos and chamber music in other languages, this dissertation focuses upon their English repertoire. This performance project consists of three programs: one British repertoire and two American. The first program titled An Evening of British Song examines twentieth-century British song written by Roger Quilter, Peter Warlock, William Walton, Benjamin Britten, Thomas F. Dunhill, Ivor Gurney, and Frank Bridge. It was presented on December 12, 2001, in Homer Ulrich Recital Hall with the collaborative pianist Meriel Owen. The second program titled An Evening of American Song I comprises music written by Dominick Argento, Samuel Barber, Ned Rorem, Leonard Bernstein, and Lee Hoiby. It was presented on October 23, 2002, in Joseph & Alma Gildenhorn Recital Hall with the collaborative pianist R. Timothy McReynolds. The third program titled An Evening of American Song II written by John Duke, John Corigliano, Charles Ives, Richard Hundley, Lori Laitman, Frederick Loewe, George Gershwin, and Jerome Kern was presented on December 18, 2003, again in Joseph & Alma Gildenhorn Recital Hall with the collaborative pianist R. Timothy McReynolds and the flutist Jessica Dunnavant. Each of these three dissertation recitals occurred at the University of Maryland in College Park and was recorded. These CD recordings are held by the Michelle Smith Performing Arts Library at the University of Maryland.