The problem of this study is (1) to expand the 980 division (designated by the term History: South America, Latin America, Spanish America) of the Dewey Decimal Classification for the history of Latin America as a whole and for national histories of several typical countries, and (2) to translate the expanded tables into Spanish.

In 1978 a group of evangelical philosophers and theologians held a meeting to decide what the definitive statement on the doctrine of inerrancy would be. Drawing on the thought of B.B. Warfield and others this group came up with a statement comprising of a short statement, nineteen articles including both statements of affirmation and denial, as well as, an exposition of these articles. Taken in its entirety, this statement is intended to be the Evangelical statement determining all subsequent information about the doctrine of inerrancy. Leading evangelicals, including Carl F.H. Henry signed this document in order to establish a consensus on what one meant when using the term inerrancy. Almost three decades later this term is still used with a sense of confusion and the doctrine is no less controversial. In fact, it still is responsible for the division of departments in many evangelical institutions of higher education in North America. The following thesis hopes to help loosen this doctrine from its theological ‘stronghold’ and place it in a position where it will be less likely to cause division amongst evangelicals. By examining the thought of both B.B. Warfield, who helped create the doctrine, and Carl F.H. Henry, who played a contemporary role in the formation of the Chicago Statement and who might rightly be considered the evangelical theologian of the twentieth century, this thesis brings to light certain presuppositions of the doctrine of inerrancy that allow it take a position that undergirds other theological doctrines. By identifying the nature of truth and authority as the main tenants of the inerrantist position, the thesis examines these terms in light of the thought of both Warfield and Henry. Their thought is found to be remarkably similar to certain principles and concerns raised by Enlightenment philosophers and it is concluded that the understandings of truth and authority presupposed by the doctrine of inerrancy ultimately are biased by Enlightenment philosophy and so are an inadequate representation of the terms as used in Scripture and tradition. The thesis suggests that an adequate understanding of truth would be primarily Christological in nature and, therefore, a larger category than the one presupposed by the doctrine of inerrancy. Also, an adequate understanding of authority would presuppose the contemporary work of the Holy Spirit, which again makes for a much larger pneumatological category than the one presupposed by the doctrine of inerrancy as it is currently defined. Enlarging these categories in no way necessitates the denial of inerrancy altogether. Rather it removes the doctrine of inerrancy from its theological pedestal and places it amongst other beliefs that might support the truth and authority of Scripture but by no means establish them. The concluding chapter ends with a statement of what this new doctrine of inerrancy might look like.

« Des arts décoratifs aux arts industriels. Contribution à la genèse de l’Art Nouveau en Belgique. (1830-1893) » Thèse réalisée sous la direction de M. Michel Draguet et présentée en vue de l’obtention du titre de Docteur en Histoire de l’Art. Bruxelles, janvier 2005 RÉSUMÉ Dès la fin du XVIIIe puis tout au long du XIXe siècle, le secteur décoratif connaît une mutation profonde sous l’impulsion de la Révolution industrielle. La production décorative, jusqu’alors issue d’un artisanat de longue tradition, se développe désormais également dans le registre industriel (production et diffusion à grande échelle). Cette nouvelle situation est la source d’un renouvellement important quant à la nature des disciplines décoratives, aux missions qui leur sont assignées ainsi qu’à l’organisation générale du secteur. L’étude présentée sous le titre susmentionné vise à observer l’impact de ce bouleversement sur le secteur industriel belge durant le XIXe siècle, depuis la fondation du pays en 1830 jusqu’au moment d’éclosion de l’Art Nouveau en 1893, amorçant une nouvelle phase d’évolution du secteur. Notre étude vise dès lors à établir une nouvelle lecture de l’évolution décorative belge de cette période. Au-delà des manifestations stylistiques, majoritairement passéistes tout au long du siècle, le secteur connaît une mutation profonde s’opérant autour de nombreuses interrogations quant à ses nouvelles orientations et ses nouveaux objectifs. La question de l’équilibre délicat entre la nouvelle nature industrielle et le caractère artistique de la production décorative en constitue le point central. Nous décelons deux phases clefs dans l’évolution de cette problématique. Dans un premier temps (durant la première moitié du XIXe siècle) deux catégories distinctes – l’une nouvelle, l’autre ancienne – cohabitent désormais au sein du seul secteur décoratif : d’une part un « art industriel » moderne aux missions sociales, d’autre part un « art décoratif » traditionnel et généralement luxueux. Si les objets produits dans les deux registres répondent communément à une destination utilitaire, leur rapport au « Beau » s’oppose. Dans un deuxième temps (durant la seconde moitié du XIXe siècle) – et suite à l’Exposition universelle de Londres de 1851 qui mettra à jour les limites de la situation développée durant la première moitié du siècle –, la majorité des acteurs du secteur ambitionneront la dissolution de cette dichotomie par la fusion de ces deux registres. L’alliance de l’art et de l’industrie constituera effectivement l’objectif principal d’une large partie du secteur décoratif belge de l’époque. Deux chantiers principaux viseront à l’accomplissement de cet objectif : d’une part, la réforme de l’enseignement décoratif et d’autre part, la création d’un musée d’arts décoratifs et industriels. Ce cheminement révélera, simultanément, la nécessité d’une réforme stylistique. Celle-ci est alors conçue comme un aboutissement des deux principaux chantiers……..

The study indicates that the motives which impelled the creation of the Protectorate of Southern Nigeria were complex, variable, and sometimes contradictory. Many Englishmen within and without the government, indeed, advocated the occupation of the area to suppress the slave trade, but this humanitarian ambition, on balance, was not as significant as political and economic interests. The importance of the Niger waterway, rivalry with France and other maritime nations, andmissionary work, all led Britain to adopt a policy of aggrandizement and to proclaim a protectorate over the Niger districts, thereby laying the foundation for modern Nigeria. The London government acquired territory through negotiating treaties with the native chiefs, conquest, and purchase. British policy and consular rule between 1851 and 1906 was characterized by gunboat diplomacy, brutality, and flagrant disregard for treaty rights; nonetheless, the British presence has made a positive impact on Nigeria's historical, political, economic, intellectual, and cultural development.

The decade of the 1850s saw the Texas press separate into two opposing groups on the issue of filibustering. The basis for this division was the personal beliefs of the editors regarding the role filibustering should have in society. Although a lust for wealth drove most filibusters, the press justified territorial expansion along altruistic lines. By 1858, however, a few newspapers discarded this argument and condemned filibusters as lawless bands of ruffians plundering peaceful neighbors. Throughout the decade, the papers gradually drifted from a consensus in 1850 to discord by the date of William Walker's third attempt on Nicaragua in 1858.

This thesis represents a study of Kate Chopin's groundbreaking novel, The Awakening. Further, it applies Nietzsche's principles of Dionysiac and Apollonian impulses to the literary analysis of the novel. I argue that the protagonist of the novel, Edna Pontellier, embarks on a quest to determine how she may live an authentic life - that is, a life whereby she is true to herself above all others. Ultimately, her search for self is overwhelmed by the imbalance of the Apollonian and Dionysiac impulses against which she struggles. Because Edna cannot successfully mediate this struggle, she reaches the conclusion that she may only attain a truth to her self if she finds that truth in death. / by Jessica Salamin. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Parisian musical life underwent a tectonic shift in the late nineteenth century. Throughout the 1800s, and particularly during the Second Empire (1852-70), opera and other forms of theatrical entertainment had dominated the French musical scene. In the final decades of the century, however, a generation of French composers devoted considerable efforts to large-scale symphonic forms. A driving force in the advancement of orchestral music was the "Franck circle" or bande à  Franck--a group of more-or-less young composers mentored by an unassuming organ professor at the Paris Conservatoire. In their symphonic works, these musicians challenged the longstanding Austro-German dominance of serious instrumental genres and cultivated a distinctly French musical voice. This dissertation explores the burgeoning symphonic culture of Paris circa 1880-1900 by examining four representative compositions by prominent members of the Franck circle: Augusta Holmès's Les Argonautes (1880), Ernest Chausson's Viviane (1882-83, revised 1887), César Franck's Psyché (1886-87), and Vincent d'Indy's Istar (1896). Each of these pieces, the subject of an individual chapter, offers a study in the relationship between compositional practice and cultural identity. The critical success of Les Argonautes catapulted Holmès to national prominence and established her reputation as one of the most progressive composers in France. Chausson's extensive revisions to Viviane, his first major orchestral work, reveal his evolving attitudes about descriptive music and Wagner--the composer who cast the longest shadow in fin-de-siècle France. Although Franck based Psyché on a legend from Greek antiquity, his approach to musical signification allowed his disciples to interpret the piece variously as a Christian allegory or as absolute music. D'Indy's polemical stances on genre, artistic influence, and morality belie the ideological complexities and paradoxes in his Istar. In addition to illuminating these works through reception history, musical analysis, manuscript studies, and the composers' own writings, the dissertation will address three interrelated topics in each chapter. First, I explore how the bande à  Franck understood the concept of "serious" music, and how this conception shaped Third Republic attitudes about orchestral genres, absolute music, and program music. Second, I examine how French composers responded to the legacy of Wagner in non-theatrical genres. Finally, I discuss how these four musicians fashioned a cultural, national, and personal identity through--and sometimes in tension with--their orchestral works.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2013-09-23T13:46:32Z No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_GermesGrandezaAntonio.pdf: 882707 bytes, checksum: 678171fa4fbb3961a9fc95c996936692 (MD5) / Approved for entry into archive by Ana Rosa Silva(arosa@ufpa.br) on 2013-10-10T11:57:50Z (GMT) No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_GermesGrandezaAntonio.pdf: 882707 bytes, checksum: 678171fa4fbb3961a9fc95c996936692 (MD5) / Made available in DSpace on 2013-10-10T11:57:50Z (GMT). No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_GermesGrandezaAntonio.pdf: 882707 bytes, checksum: 678171fa4fbb3961a9fc95c996936692 (MD5) Previous issue date: 2006 / O objetivo desta dissertação é analisar o conjunto da obra do português Antônio Ladislau Monteiro Baena, bem como sua atuação militar na província do Pará nas primeiras décadas do século XIX. Através da descrição física e política da província paraense, Antônio Baena forneceu dados estatísticos de uso político para o Império brasileiro. O escritor e militar Baena, a serviço do Império, viveu e escreveu em um momento ímpar para o Brasil e para o antigo Grão-Pará. Sua obra reúne e traduz uma série de dados que ajudarão a compor a tensa ligação entre as províncias do norte com as do sul do Brasil. É a partir de sua obra intitulada Ensaio Corográfico sobre a Província do Pará, publicada em 1839, que o presente estudo envereda pela escrita comprometida do autor e dos seus principais apontamentos sobre a riqueza em potencial da província, embasada na variedade e na virtude de seus produtos naturais. Ademais, a análise atenta para outras produções de Antônio Baena, cujo tema principal era a província do Pará, constantes na Revista do Instituto Histórico e Geográfico Brasileiro e publicadas no cenário imperial. Estas produções acabam por inserir-se nos debates do referido Instituto e no contexto de formação política do Império brasileiro. / The aim of this dissertation is to analyse the corpus of the portuguese writer Antônio Ladislau Monteiro Baena as well as his military work in the Province of Pará in the first decades of Nineteenth Century. Through physical and political description of the Pará‟s Province, Antônio Baena provided statistic data of political use for the Brazilian Empire. The writer and military man Baena, working for the Empire, lived and wrote in a singular moment in Brazil and the old Grão Pará. His writings gather together a great amount of information wich will help to explain the tense connection between the provinces of North and South Brazil. Starting with his book Ensaio Corográfico sobre a Província do Pará, published in 1839, our study tries to show the author‟s political agenda as well as the main considerations about the potential wealth of the province, based in the variety and qualities of its natural products. Furthermore, this analyse deals with other works of Baena, whose principal theme was the Province of Pará, inputed in the Review of Brazilian Historical and Geographical Institute and published in the imperial era. The articles in the Review end up being part of the debates of the Institute aforementioned, during the period of political definition of the Brazilian Empire.

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This thesis starts with an overview of the historical record tied to the birth of a new nation studied by Alexis de Tocqueville and Henry Steele Commager. It singles out the works of Henry Nash Smith and Eugene D. Genovese for an understanding, respectively, of the "myth of the frontier" tied to the conquest of the American West and the "plantation myth" that sustained slavery in the American South. Both myths underlie the concept of hybridity or cross-cultural relations in America. This thesis is concerned with the representation or lack of representation of hybridity and the roles played by female characters in connection with the land in two seminal American novels and their film versions---James Fenimore Cooper's The Last of the Mohicans, and Margaret Mitchell's Gone With the Wind---and Alice Randall's rewriting of Mitchell's novel, The Wind Done Gone , as a point of contrast. Hybridity is represented in the mixed-race bodies of these characters.