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Discipline, Discours INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. 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These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University MicnSilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 1332181 Discipline, discourse and deviation: The material life of Philadelphia Quakers, 1762-1781 Garfinkel, Susan Laura, M.A. University of Delaware (Winterthur Program), 1986 Copyright ©1986 by Garflnkel, Susan Laura. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a checkV mark . 1. Glossy photographs or pages_____ 2. Colored illustrations, paper or print , 3. Photographs with dark background* 4. Illustrations are poor copy_______ 5. Pages with black marks, not original copy______ 6. Print shows through as there is text on both sides of page______ 7. Indistinct, broken or small print on several pages i / 8. Print exceeds margin requirements______ 9. Tightly bound copy with print lost in spine_______ 10. Computer printout pages with indistinct print_______ 11. Page(s)____________ lacking when material received, and not available from school or author. 12. Page(s) seem to be missing in numbering only as text follows. 13. Two pages numbered . Text follows. 14. Curling and wrinkled pages 15. Dissertation contains pages with print at a slant, filmed as received 16. Other University Microfilms International Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DISCIPLINE, DISCOURSE AND DEVIATION: THE MATERIAL LIFE OF PHILADELPHIA QUAKERS, 1762 - 1781 by Susan Laura Garfinkel A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture December 1986 Copyright 1986 Susan Laura Garfinkel All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DISCIPLINE, DISCOURSE AND DEVIATION: THE MATERIAL LIFE OF PHILADELPHIA QUAKERS, 1762 - 1781 by Susan Laura Garfinkel Approved: Bernard L. Herman, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: ,/h . _______________ Barbara M. Ward, Ph.D. Acting Director, Winterthur Program in Early American Culture Approved:_________________________________________ Richa7_*d B. Murray, Ph.D. Associate Provost for Graduate Studies Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgements Hannah's fingers reached up to touch her bonnet. Somehow it didn't feel tight any longer. It felt light and beautiful. It was something to be proud of just as it was — without any flowers or ribbons like Cecily's. She looked up at Mother with the 'inner light' shining through her eyes. "Thee dear, Hannah" said Mother. My arrival at this topic stems from a long­ standing interest in Philadelphia (in all its phases) and the memory of a book read many times as a child, Thee Hannah! by Marguerite de Angeli. My work has been sustained by the enticing challenge of unravelling a puzzle, and the encouragment and interest offered by so many. There are several individuals, in particular, whose contributions have helped to bring it into being. The insight of two teachers at the University of Pennsylvania has influenced much of my subsequent study. Robert M. Zemsky first taught me to recognize cultural frameworks, making clear the nature of historical evidence. Anthony N. B. Garvan's synthetic understanding iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iv of culture suggests a model for interpretation that I hope to someday achieve. Barbara Ward was instrumental in the initial definition of the project; her subsequent comments have proved to be of value. Mark Amsler took the time to thoughtfully consider a subject other than his own, helping me to puzzle through the third chapter in particular. Bill Macintire and Stacia Gregory shared the weekly ups and downs of work in progress. Jack Michel, Stanley Johanneson and Karen Falk kindly made available their unpublished work. The curators and proprietors of the various pieces I examined were generous with their time and knowledge. To Bernie Herman I can only begin to offer my thanks. As both teacher and advisor he has provided inspiration with his sound knowledge, undiminished enthusiasm, and esoteric conversation. His ability to help me beyond the intellectual stumbling blocks I so often create for myself has been most appreciated. Nor can I adequately thank my family — for their patient support, their love, and their excellent editorial skills. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Contents Acknowledgements ................................... iii List of Diagrams and Tables........................ vii Introduction ....................................... 1 Notes to Introduction............ 10 Chapters 1 "The Wisdom of Truth, According .... 13 to Our Discipline": A Code of Expressive Intent Notes to Chapter 1 ................. 48 2 "Narrowly Inquire into the Manner ... 56 of Their Conversation": Interpret­ ing Expressive Behaviors Notes to Chapter 2 ................ 86 3 "Little Things in Appearance but. 89 Great in Consequence": Furniture as Systemic Expression Notes to Chapter 3 ............... 117 C o n c l u s i o n ........................................... 123 Notes to Conclusion ............. 128 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Contents (cont.) List of Illustrations............................... 129 Illustrations....................................... 131 Bibliography ....................................... 144 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. List of Diagrams and Tables Diagram Is Conceptual states in Quaker . theology Diagram II: Conceptual states in Quaker . theology showing the place of silence and speech Diagram III: Conceptual states in Quaker . theology showing the centrality of conversation Table I Cabinetmaker's Price List for High Chests and Chest- on-Chests vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Introduction The issue of Quaker plain style in the eighteenth century has long been in need of focused attention. Theological plainness and its relationship to actual objects is as yet incompletely understood; disparities have been noted but are not yet resolved. When faced with two bodies of information — theology and arti­ facts — scholars have too often allowed one or the other to predominate. Either decorative arts objects are forced into a preconceived definition of theological plainness, or they are assumed, in their reality, to deviate from the theology which informs them. If our interest is in their relationship, however, we must accord both equal importance. Just as theology informs objects, objects inform theology. Each
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