Robert C. Merton. / "Presented at the Italian-American Conference in honor of Franco Modigliani, at Martha's Vineyard, September 19-20, 1985." / Includes bibliographical references.

by Paul Tseng and Dimitri P. Bertsekas. / Cover title. / Includes bibliographical references. / Supported by the National Science Foundation. NSF-ECS-8519058 Supported by the Army Research Office. DAAL03-86-K-0171

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ABSTRACT “THE BLESSED SPIRIT”: AN ANALYSIS OF THE PNEUMATOLOGY OF BENJAMIN BEDDOME AS AN EARLY EVANGELICAL Daniel Scott Ramsey, Ph.D. The Southern Baptist Theological Seminary, 2017 Chair: Dr. Michael A. G. Haykin The pneumatology of Benjamin Beddome, a Particular Baptist and early evangelical, provides the historian with a verifiable continuum between the theology of the Puritans and the early evangelicals with their common emphasis on the ministry of the Holy Spirit, and a latter-day outpouring of the Spirit with millennial implications. Serving over five decades as pastor in the town of Burton-on the-Water, Beddome was a prolific writer, producing hundreds of sermons and hymns. While he held many of the same views as his contemporaries, Jonathan Edwards and George Whitefield, his pneumatology bears the influence of earlier Puritans, and especially those of his Baptist forefathers. The typical Reformed emphases, such as preaching, the Word and the Spirit, and an expectation of periodic outpourings of the Holy Ghost, were carried over by early Baptists in London, after their birth from an independent Puritan church in Southwark. The seven original congregations multiplied rapidly, producing several confessions that aligned with other churches of the Reformed tradition. Beddome’s ontology of the Spirit reflects his strong Trinitarian views upholding His deity, along with His distinct personhood. His pneumatology bears all the imprints of classic Reformed theology, but along with other early evangelicals, gives special emphasis to its teaching on periodic outpourings, renewal, and conversions. These similarities show amazing continuity as Puritan pneumatology came to full fruition with Beddome and the early evangelicals.

The aim of this paper is to examine Horace Walpole's contribution to the reawakening taste for Gothic in the eighteenth century and to relate his curiously ephemeral art forms to the broad historical development of the Gothic. No attempt has been made, except in an incidental way, to treat the initial flourishing of Gothic architecture; that the reader has at least a passing acquaintance with the architecture of the Middle Ages is assumed. Instead, the emphasis has been placed upon the Gothic survival of the sixteenth and seventeenth centuries; as Gothic architecture was virtually eclipsed during this period, many readers may feel that this emphasis is unwarranted. However, some study of the Gothic architecture in these two centuries is necessary in order to understand how and why the Gothic took the turn it did in the eighteenth century. Chapter one is a collection of evidence to show that, despite opinion otherwise, Gothic architecture did survive as a potent force. Chapter two then proceeds to discuss Walpole's creation of Strawberry Hill and to show how the attitudes and skills of previous generations helped to mould its form. The conclusion reached is that Strawberry Hill, while Gothic in design, lacked most of the medieval Gothic spirit; that Walpole was in fact using the Gothic for a new purpose. Chapter three is again a collection of evidence, this time a survey of the prevailing trends in "Gothic" literature before Walpole. In a sense, chapter four is the culmination of this discussion of the Gothic, since here the attempt is made to show how Walpole's Gothic novel, The Castle of Otranto, was at once clearly in the earlier traditions of a classical interpretation of Gothic, and also a forerunner of an entirely new conception of Gothic. Walpole's influence upon later writers and his indebtedness to neo-Gothicizers is made clear by juxtaposing Walpole against the later school of Gothic novelists. To avoid a repetitious summary, some attempt has been made to characterize the essential differences existing between Walpole's Gothic and that of medieval artists by linking Walpole's creations with the rococo. An equation of eighteenth century Gothic with the rococo is of course foolish, and this was never contemplated; rather, the hope was to show that much of the spirit which stimulated Walpole's artistry is also endemic to the rococo. The eighteenth century Gothic, in particular Walpole's contribution, was actually a Gothic-rococo. / Arts, Faculty of / English, Department of / Graduate

No discreet study of the Spanish voyages of discovery and exploration to the northwest coast of North American during the 1770's has been published in English. The purpose of this thesis is to examine the Spanish expeditions of 1774, 1775, and 1779, directed by New Spain's Viceroy Antonio Maria Burareli y Ursua (1771-1779).

Militärmarsch auf die Melodie "Prinz Eugen, der edle Ritter" zur Schlacht bei Belgrad 1717, die erhalten ist in "Musikalische Rüstkammer auf die Harffe", Leipzig, begonnen 1719, aber dort ein NACHTRAG blind geschätzt 1800, und einer nicht total identischen Doublette davon als Einzelblatt unbekannter Herkunft des Heeresgeschichtlichen Museums, Wien. Die musikalische Verarbeitung folgt NICHT der preussisch-deutschen Tradition, sondern steht in der k.u.k. österreichisch-ungarischen Tradition der sogenannten "(Musik-) Militärbanda" und besitzt eine gewisse "Italienita". Das Werk wurde von der Abteilung Militärmusik beim Österreichischen Bundesheer angenommen. Weitere Papierausgaben mit Einzelstimmen befinden sich in der National Szechenyi Library, Budapest und in der Deutschen Nationalbibliothek. Wegen des Content-Schutzes fehlt das Einzelstimmenpaket. / On the melody of "Prince Eugene, the wright honourable knight" in the Battle of Belgrad 1717 as preserved in "Musikalische Rüstkammer auf die Harffe", Lipsiae, started in 1719, but there an APPENDIX from estimated only around 1800, a doublette of which as single sheet of unknown origin is in Museum for Army History, Vienna. Musical treatment is NOT following Prussian-German traditions - but "k.u.k. Austrian-Hungarian" traditions of socalled "(Military) Banda" with some "Italienita" in it. This work has been accepted by today Austrian Army, Military Music Branch and complete paper-editions are additionally avaiable in National Szechenyi Library, Budapest and in German National Library. For the reason of content-protection, single voices pack is missing here.

Militärmarsch auf die Melodie "Prinz Eugen, der edle Ritter" zur Schlacht bei Belgrad 1717, die erhalten ist in "Musikalische Rüstkammer auf die Harffe", Leipzig, begonnen 1719, aber dort ein NACHTRAG blind geschätzt 1800, und einer nicht total identischen Doublette davon als Einzelblatt unbekannter Herkunft des Heeresgeschichtlichen Museums, Wien. Die musikalische Verarbeitung folgt NICHT der preussisch-deutschen Tradition, sondern steht in der k.u.k. österreichisch-ungarischen Tradition der sogenannten "(Musik-) Militärbanda" und besitzt eine gewisse "Italienita". Das Werk wurde von der Abteilung Militärmusik beim Österreichischen Bundesheer angenommen. Weitere Papierausgaben mit Einzelstimmen befinden sich in der National Szechenyi Library, Budapest und in der Deutschen Nationalbibliothek. Wegen des Content-Schutzes fehlt das Einzelstimmenpaket. / On the melody of "Prince Eugene, the wright honourable knight" in the Battle of Belgrad 1717 as preserved in "Musikalische Rüstkammer auf die Harffe", Lipsiae, started in 1719, but there an APPENDIX from estimated only around 1800, a doublette of which as single sheet of unknown origin is in Museum for Army History, Vienna. Musical treatment is NOT following Prussian-German traditions - but "k.u.k. Austrian-Hungarian" traditions of socalled "(Military) Banda" with some "Italienita" in it. This work has been accepted by today Austrian Army, Military Music Branch and complete paper-editions are additionally avaiable in National Szechenyi Library, Budapest and in German National Library. For the reason of content-protection, single voices pack is missing here.