In performing an analysis of the pneumatology of Thomas Erskine it is first necessary to look for the presence of a traditional Trinitarian Pneumatology which is based on the historical findings of the church and which deals with the subject of hypostasis and the relationships between the Persons within the Godhead. This kind of pneumatology is found to be lacking in Erskine's writings. The next step is to proceed to look for anything that could replace it. Erskine's concept of the “first bond” of the flesh, the role of the human conscience, and the place of the living Word are three things that partially take the place of a formal pneumatology in Erskine's thinking. Erskine was very interested in the West Country revival which began in Scotland in 1829. He visited the area and wrote about his observations and experiences there. This increased his interest in the actions of the Holy Spirit both in experience and the scriptures. Even though he later recanted his endorsement of these manifestations in his own day, he held to his belief that such phenomena should appear in a healthy church which follows a New Testament pattern. In this thesis Erskine's writings are analyzed by scanning all of them into a computer database and searching for references to the actions of the Holy Spirit. From this a dynamic pneumatology emerges. A dynamic pneumatology is not concerned with historic creeds or the relationships within the Godhead, John McIntyre defines a dynamic pneumatology as one that speaks of what the Holy Spirit does. McIntyre's taxonomy sets forth eleven patterns of dynamic pneumatology with many sub-patterns. This examination of the writings of Erskine reveals a strong dynamic pneumatology which is both relational and ecclesial.

When Captain James Cook sailed into Botany Bay in Australia for the first time in 1770, his botanist Joseph Banks described the behaviour of the Aboriginals to be 'totally unmovd' and 'totally engagd'.During this same few days Cook named the place Stingray Bay. Within eight days the name was changed by Cook to Botany Bay. Banks' phrases generate oscillating perceptions and Cook's name change poses questions. The perceptions documented in Banks' journal, refer to an invisibility of the Aboriginals themselves. The name 'Stingray' and its change to 'Botany' raises political questions about the necessity for the change. The change also sheds light on a viewpoint at odds with its subject. The events that occurred during the eight days Cook was anchored in Botany Bay will be discussed firstly in the framework of an analysis of the implications of the terms 'totally unmovd' and 'totally engagd' in Banks' journal, and secondly in a discussion about the various historical notions concerning the name change. Did these curly histories and viewpoints render the indigenous culture invisible? Can these inscriptions made by Cook and Banks and the subsequent mythologies surrounding them, including those about the actual place, be a metaphor for 'further understanding'? / Master of Arts (Hons) (Visual Arts)

This thesis seeks to explain how Lord George Gordon Byron achieves catharsis through the writing of his truth in Don Juan. In the poem the narrator expresses Byron's innermost emotion while at the same time the protagonist, Juan, relates to readers on a more conscious level. The ability that Byron has to work through the narrator in Don Juan provides him with an avenue of expression for his suppressed and frustrated emotions that are largely subconscious and inexpressible. Byron's poetry, and especially Don Juan, is poetry in which the scope of human experience reaches into every aspect of life as he shares with readers his innermost emotion, emotion that is significantly more intense than that of most 19th century writers. Studying Byron may be considered a study of life itself and an opportunity for literary and historical experience on a uniquely intimate level. Byron left England with his friend Hobhouse to travel through Portugal, Spain, Switzerland and Italy in 1809. At this time he wrote Childe Harold, which brought him great fame after his return. The second and final time Byron left England was in 1816. At this time the intense emotional experience and social criticism contained in his poetry brought on severe public criticism which caused him to leave in self-exile. During Byron's second exile he traveled throughout Italy, Turkey and Greece. He ultimately died in Missolonghi, Greece, in 1824 while helping the Greek people fight in a civil war with the Turks. Byron felt that it was important to remain in Greece and help the people, even though his health was failing, ultimately resulting in his death. Byron sought a hero through the writing of Don Juan, and the catharsis he achieved as a result of writing his truth uncovered the hero he was seeking. / Graduation date: 1999

Graduate

This thesis is a study in the history of ideas which discusses the work and thought of the Unitarian biblical critic, classical historian and philologist John Kenrick (1788-1877). It examines evidence to suggest that during his productive life Kenrick made an intellectual transition from the ideas of the radical English Enlightenment to the more Romantic perspectives of the nineteenth century. The first part of the discussion as a whole is concerned largely with the nature of the context from which Kenrick emerged as a thinker while the second is related to Kenrick’s own changing ideas. Chapter two reveals the monist philosophical and theological tendencies which supported the Socinian beliefs of the polymath Joseph Priestley (1733-1804), who was the dominant influence on Unitarians in the late eighteenth and early nineteenth centuries. This discussion of Priestley’s thought, which is brought into relief by means of a comparison with that of the moral and political philosopher Richard Price (1723-1791), has two objectives, the first to reveal something of the context of Unitarianism of the time and the second to establish a foundation from which the nature and extent of later intellectual change may be measured. Chapter three concentrates on another aspect of the Unitarian context closely connected to Socinian beliefs, and that is the tradition of historical biblical criticism which contained the seeds of a new historical consciousness. The fourth chapter is an analysis of the relationship between these radical Unitarian biblical critics and scholars in Germany and discusses some similarities and differences between the two sets of thinkers. Chapter five focuses upon John Kenrick himself and the integration of his Unitarian historical biblical ideas with elements of German thought on the interpretation of classical myth. It points out the implications for his own ideas in terms of the development of Romanticism and cultural relativism. Chapter six is concerned with Kenrick’s historical approach to language and shows how it may be compared with the ideas of the German philologists of the time. The seventh chapter is an account of Kenrick’s opinions on the truth of Genesis and the origins of man. It considers in what ways the uneasy relationship between theology and the science of the mid-nineteenth century helped to bring about changes in his thought which linked it to a transformed Unitarianism and also to the intellectual milieu of the later nineteenth century. Chapter eight concludes the thesis with an assessment of the nature and extent of the changes which had taken place since the domination of the ideas of Joseph Priestley. The thesis offers a study of the transition in thought of an eminent scholar whose work has never been examined before. It opens up some new perspectives with regard to the linkages between the radical English Enlightenment and the historical consciousness and Romanticism of the nineteenth century.

No description available.

Thesis (M.S.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 161-169).

This thesis deals with a set of compositions by C. P.E. Bach, referred to as "The Last Fourteen Rondos". Thirteen of these are contained in the collections of sonatas, fantasias and rondos for connoisseurs and music lovers. The fourteenth is a separate work, entitled "The Farewell From a Silbermann Clavier in the Form of a Rondo". After establishing the background and the history of these rondos, the thesis then proceeds to a detailed analysis of the various compositional aspects. First, it tries to explain the overall design of the rondos, a design which differs from that normally associated with rondo form. It then deals with the structure of the thematic material and shows Bach's preference for phrase parallelism and a relatively simple melodic and harmonic outline of the various subjects. Special chapters are devoted to the manner in which C.P.E. Bach treats the musical substance, namely, by means of Variation and by systematic development. A short chapter is then devoted to the fantasia sections, which are included into most of the rondos. It is in the field of harmony where C.P.E. Bach emerges as a most important forerunner of nineteenth century musical trends and, consequently, some detailed analyses form a major portion of the chapter dealing with harmony. Special attention is then given to the various aspects of C.P.E. Bach's style and, in particular, to the pianistic · traits. The thesis ends with a brief survey of the influence which C.P.E. Bach exerted on his contemporaries and on later composers.

Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2013-02-26T21:53:26Z No. of bitstreams: 1 DISSERTAÇÃO_EstéticaAfirmativaArthur.pdf: 2390115 bytes, checksum: b5d069994f769b72f8e0526e3a0c8caf (MD5) / Approved for entry into archive by Neide Nativa (neide@sisbin.ufop.br) on 2013-03-01T18:04:08Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_EstéticaAfirmativaArthur.pdf: 2390115 bytes, checksum: b5d069994f769b72f8e0526e3a0c8caf (MD5) / Made available in DSpace on 2013-03-01T18:04:08Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_EstéticaAfirmativaArthur.pdf: 2390115 bytes, checksum: b5d069994f769b72f8e0526e3a0c8caf (MD5) Previous issue date: 2012 / A tradição filosófica caracteriza a filosofia de Arhur Schopenhauer como pessimista como dado acabado e incontornável. Esta dissertação tem como principal objetivo demonstrar que sua parte estética se insere como uma alternativa a esta constatação e demonstrar que existe um grande contraste entre criação e negação. Através de uma reconstrução de sua teoria do conhecimento, a chamada pré-estética, e reconstrução de sua estética, nos alçamos àquela que serve como força apaziguadora da Vontade, a intuição estética e seu produto, a contemplação estética.

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2010 / Bibliografia: f.87-89 / A dissertação tem por objetivo analisar a filosofia de Arthur Schopenhauer e apontar a fundamentação de uma 'metafísica imanente' como o mais importante dos feitos do filósofo, que através dela efetua o passo considerado como impossível de ser dado por Ka / The dissertation aims to analyze the philosophy of Arthur Schopenhauer and point out the reasons for a immanent metaphysics as the most important feats of the philosopher, which means it performs the step considered impossible to be given by Kant, namely,