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47. Wesley M. Gewehr: The Great Awakening in Virginia, 1740-1790 (Durham, North Carolina, 1930), p. 256.
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48. 关于在教育方面的努力，见Posey: op. cit., chapter 8
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49. McLoughlin: Modern Revivalism, pp. 219-20.
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50. Gamaliel Bradford: D. L. Moody: A Worker in Souls (New York, 1927), p. 61.
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51. McLoughlin: Modem Revivalism, p. 273.
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52. Bradford: Moody, pp. 24, 25-6, 30, 35, 37, 64, 212.
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53.Lectures on Revivals of Religion, pp. 9, 12, 32. 芬尼对人在奋兴重生上的主动积极作用，我在此仅做简略的讨论。他在自己的书中第一章有详尽的论述。
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54. 关于穆迪的奋兴宣道手腕，见McLoughlin: Modern Revivalism, chapter 5, “Old Fashioned Revival with the Modern Improvements.”
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55. Bernard Weisberger: They Gathered at the River, p. 21.2.
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56. Op. cit., p. 243.
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57.Silhouettes of My Contemporaries (New York, 1921), p. 200.
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58. McLoughlin: Modem Revivalism, pp. 167, 269, 278; Bradford: op. cit., pp. 220-1.
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59. McLoughlin: Modern Revivalism, p. 245; cf. Bradford: op. cit., P. 223.
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60. McLoughlin: Modern Revivalism, p. 433-4; also Billy Sunday Was His Real Name, pp. 127-8.
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61.Memoirs, pp. 90-1. 芬尼对于讲道方式的看法，详见于他的Lectures on Revivals of Religion, chapter 12. 他对于讲道技巧有以下原则：“要口语化”，“要使用日常生活用语”，“要从日常生活中找比喻”。要重复，但不能单调。
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62. Roland H. Bainton: Here I Stand: A Life of Martin Luther (New Yorkand Nashville. 1940), p. 354.
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63. McLoughlin: Modem Revivalism, p. 140.
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64. Bradford: op. cit., p. 101. 关于他的宣道风格，也请见McLoughlin: Modern Revivalism, pp. 239 fl.; 更广阔的见地，见J. Wilbur Chapman: The Life and Work of Dwight L. Moody (Boston, 1900).
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65. Bradford: op. cit., p. 103.
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66. McLoughlin: Modem Revivalism, p. 288.
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67. 关于森戴的人生，见William G. McLoughlin全面而富有洞见的传记：Billy Sunday Was His Real Name.
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68. McLoughlin: Billy Sunday, pp. 164, 169.
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69. Weisberger: They Gathered at the River, p. 248; McLoughlin: Billy Sunday, pp. 177, 179. 森戴的用语展现了一种新的语言暴力风格，这在第一次世界大战时期常见于牧师的讲道中。参见Ray H. Abrams: Preachers Present Arms (New York, 1933).
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第五章 对现代性的反抗
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1. 基要主义者普遍表现出对正常与反常性别的恐惧。有人常常感觉后来的基要主义宣道面向的是那些害怕自身性别的听众。这方面，考察一下福音运动对跳舞和卖淫的态度就可以了解一二。森戴觉得，“方块舞的身体动作在体面的社会里是不被容忍的”，并建议立法禁止十二岁以上的学生进舞蹈学校，禁止人们在婚前跳舞。McLoughlin: Billy Sunday, pp. 132, 142.
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