abstract: This study examines history museums in Arizona and New Mexico to determine whether New Western History themes are prevalent, twenty years after the term was conceived. Patricia Limerick is credited with using the expression in the 1980s, but she had to promote the concept frequently and for many years. There was resistance to changing from the Frederick Jackson Turner thesis of looking at the frontier as an expansion from the East, even while others were already writing more current historiography. Limerick’s four “Cs”—continuity, convergence, conquest, and complexity—took a view of the West from the West, worthy of a separate perspective. These themes also allowed historians to reflect on what was happening locally, how and why various people were interacting, how there was less of a benevolent imbuing of European culture on Native Americans than there was a conquest of indigenous people, and how resource extraction created complex situations for all living things. While scholarly works were changing to provide relevant material based on these themes, museums were receiving thousands of visitors every year and may have been providing the Anglo-centric view of events or creating more inclusive displays. Label texts could have been either clarifying or confusing to a history loving audience. Three types of museums were visited to determine whether there was a difference in display based on governing body. National Park Service sites, state sponsored institutions, and local city-based museums served as the study material. The age of the existing long-term exhibits ranged from brand new to fifty-one years extant. As important to the use of New Western History themes as the term of the current exhibit was the type of governing body. Monographs, essays, and museum exhibits are all important to the dissemination of history. How they relate and how current they are to each other creates an opportunity for both academic and museum professional historians to reflect on the delivery systems used to enlighten a history-loving public. / Dissertation/Thesis / Doctoral Dissertation History 2015

Det här arbetet behandlar min prestationsångest inom låtskrivningsprocessen. Mitt syfte var att undersöka hur jag kan få en mer glädjefylld, kravlös process i mitt låtskrivande. Detta gjordes med hjälp av en genomgång av relevant litteratur inom ämnet samt skapandet av sex egenskrivna låtar med enkel produktion. I låtskapandet användes Robin Fredericks Song Starter teknik ur boken Song Starters: 365 Lyric, Melody, & Chord Ideas to Kickstart Your Songwriting, samt en metod som liknar det Gary Ewer kallar för ”Speedwriting” på sin blogg www.secretsofsongwriting.com och som gick ut på att skriva en låt inom en timme. Mitt resultat visar att den mentala inställningen spelar stor roll för hur mycket plats prestationsångesten får i min skaparprocess. För att få en mer kravlös process bör jag bland annat lägga fokus på processen snarare än på resultatet, inte se misstag som misslyckanden utan som en nödvändig del av processen, tillåta mig själv att leka och experimentera samt ta mig tid till pauser och miljöombyten. Dessutom är det viktigt att jag vågar släppa taget om prestationsångesten och inte ser dess avsaknad som ett tecken på att jag inte tar uppgiften på allvar. Song Starters hjälpte mig att minska prestationskraven i början av skapandeprocessen medan entimmeslåtar minskade prestationskraven under hela processen. Jag upptäckte att det inte är den första brainstormingperioden i låtskrivarprocessen som är den mest kritiska fasen för mig när det gäller prestationsångest, utan snarare perioden när jag ska värdera om mitt material är bra nog för att bli en låt. Dessutom verkar jag gilla mina låtar mer när de har mognat ett tag än när jag precis har skrivit dem och därför är det viktigt att jag inte dömer mina låtar för snabbt.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-02-01T21:29:15Z No. of bitstreams: 1 EugenioMarianoFonsecaDeMedeiros_TESE.pdf: 8281444 bytes, checksum: 0bb0b58d20d0823e77224f0cb2366b35 (MD5) / Approved for entry into archive by Elisangela Moura (lilaalves@gmail.com) on 2016-03-11T12:21:20Z (GMT) No. of bitstreams: 1 EugenioMarianoFonsecaDeMedeiros_TESE.pdf: 8281444 bytes, checksum: 0bb0b58d20d0823e77224f0cb2366b35 (MD5) / Made available in DSpace on 2016-03-11T12:21:20Z (GMT). No. of bitstreams: 1 EugenioMarianoFonsecaDeMedeiros_TESE.pdf: 8281444 bytes, checksum: 0bb0b58d20d0823e77224f0cb2366b35 (MD5) Previous issue date: 2014-12-15 / Tomando como ponto de partida a Teoria do Ambiente Restaurador (TAR), criada por Frederick Law Olmsted em meados do s?culo XIX, segundo a qual, os parques urbanos podem contribuir significativamente para a solu??o dos problemas advindos do crowding, particularmente o estresse urbano, analisamos como a TAR chegou ao s?culo XXI, tendo como foco de an?lise o Central Park de Nova Iorque (CP). Considerando que o CP e o cinema foram criados mais ou menos ? mesma ?poca, questionamos: (1) se as propostas do projeto de Olmsted para o CP, atendem ?s demandas do s?culo XXI e, caso tenham apresentado modifica??es, quais foram e como se deram; e (2) se, como ferramenta contempor?nea, o cinema apresenta/representa essas modifica??es ou perman?ncias. Respondendo a estas quest?es, defendemos duas hip?teses: (H1) embora mesmo na ?poca de sua execu??o j? tenha havido ajustes e modifica??es, o projeto do CP manteve-se fiel ?s premissas da teoria, propiciando os efeitos restauradores previstos pela TAR; (H2) o cinema ? uma ferramenta adequada ? documenta??o e verifica??o da TAR no CP, tanto devido ao contexto cultural comum que os gerou, quanto pela rela??o existente entre eles. O principal objetivo da tese foi, portanto, compreender semelhan?as e diferen?as entre os ideais do s?culo XIX que geraram o CP e o modo como o cinema do s?culo XXI representa sua atual utiliza??o. Metodologicamente, a tese recorreu ? an?lise bibliogr?fica e documental para subsidiar os cap?tulos iniciais e ao cinema como instrumento anal?tico destinado ? investiga??o da TAR. Os resultados referendam a H2, pois o cinema mostrou-se uma ferramenta adequada a esta pesquisa, por?m, n?o confirmou-se plenamente a H1, uma vez que, embora o projeto do CP mantenha-se relativamente intacto e fiel ? TAR (propiciando os efeitos restauradores), v?rios dos comportamentos que caracterizam a contemporaneidade n?o foram previstos anteriormente, o que se evidencia com rela??o ? pr?tica esportiva, ? maci?a presen?a feminina e, sobretudo, ? criminalidade. / Taking into account the Environmental Restorative Theory (ERT) , created by Fre derick Law Olmsted in mid XIX ce ntury , according which, urban parks can contribute to solve problems arisen from crowding , particularly urban stress, we analize how the ERT arrived at XXI century, having as approach the evaluation of New York Central Park (CP). Considering that the CP and the cinema were born around at the same, we question if the North American cinema produced between 1960 and 2013 show the ideals, which engendered the CP. By answering this question we defend the hypothesis that, even though has existed adjusts and modificati ons in the CP plan through time, it kept reasonably faithful to the ERT premises, propitiating to the XX and XXI centuries cinema identify and bring forth the presence of the Olmsted?s Ideals in the present days. The thesis main objective was nonetheless u nderstand similarities and/or differences between the XIX century ideals (that gave birth to CP) and the way the cinema represents the present uses of the place, taking into account that the Olmstedian ERT proposal have survived to the context changes (soc ial, economic, political and cultural). Methodologically , we drew upon bibliographical and documental analysis to build the first chapters and to the cinema as analytical lenses to investigate the ERT. The results point that although the CP plan has kept r elatively intact and faithful to the ERT ? with the presence of natural elements in the films (notably vegetation and water) ? many of contemporary behaviors were not foreseen previously, especially in relation to sports practice, the massive feminine pres ence, as well as criminality.

From Introduction: Frederick Denison Maurice is generally remembered in connection with the rise of Christian Socialism. That his activities in this Movement were the most important aspect of his career is doubtful. ... Maurice's fundamental theological principles were: first, the idea of unity - unity in the Godhead, "Unity in Trinity", and unity among men in the human family; secondly, the Fatherhood of God - a Fatherhood which had at its heart the principle of sacrificial love. The events of Maurice's life proved to be fertile ground for the growth of these convictions. It was these convictions which shaped his whole understanding of the Atonement. Davies (3) points out that, in his teaching on the Atonement, Maurice turned away from the Western and Augustinian insistence that the basis of man's relationship to God was the Fall, and held, with the theolo Gians of the Eastern Church, that Christ's redemption of man is best understood as a restoration of man's relationship to God in Creation.

The problem of 'authority' is of paramount importance in determining the theological stance of any religious movement and not least is this the case where the movement is labelled 'fundamentalist' both by its protagonists and its antagonists. Intro. p. 1.

The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

The Luther College Concert Band has enjoyed nearly 150 years of success. International tours, regional tours, concerts, service to the college and recording projects aided the success of this small college band that retained its Lutheran, liberal arts identity. Published documents exist about the Luther College band before 1948 but no comprehensive published documents are available after that time. This essay provides a more complete history of the band since 1948 based upon archival research and interviews with Weston Noble, Fredrick Nyline and Joan deAlbuquerque. The Concert Band started as a student led activity, which set it apart from other university bands of the late nineteenth century that had military connections. The Luther band eventually became an academic area of study and performed solely for campus concerts and on tours. The band took tours to Norway and Europe long before most college bands had touring programs. Later the band toured to Japan, China and Europe and continued regional tours throughout the United States. The Concert Band conductors, particularly the tenures of Carlo Sperati, Weston Noble, Frederick Nyline and Joan deAlbuquerque, helped shape the band program and music department at Luther College. This is a study of their educational philosophies that shaped the band, and the support the program received from the college administration, students and alumni. Also included is information about the Dorian Band Festival hosted by Luther College, works commissioned by the band, a review of works programed by conductors, a listing of recordings by the Luther College Concert Band and biographical information about each conductor.

Dr. Alexis F. Lange is living forever in this chosen field, not in a mosaic of marble, but in the lives and actions of men and women today, who came in personal contact with his warm congenial personality and the inspiration of his spirit and ideals. It was largely through his efforts in establishing the junior high schools and the junior colleges, that the school children of today are able to live in situations better adapted to their educational needs.

Employing a textual analysis within an auteur theory framework, this thesis examines Frederick Wiseman's films At Berkeley (2013), National Gallery (2014), and Ex Libris (2017) and the different ways in which they reflect on the theme of time. The National Gallery, University of California at Berkeley, and the New York Public Library all share a fundamental common purpose: the preservation and circulation of "truth" through time. Whether it be artistic, scientific, or historical truth, these institutions act as cultural and historical safe-keepers for future generations. Wiseman explores these themes related to time and truth by juxtaposing oppositional binary motifs such as time/timelessness, progress/repetition, and reality/fiction. These are also Wiseman's most self-reflexive films, acting as a reflection on his past filmmaking career as well as a meditation on the value these films might have for future generations. Finally, Wiseman's reflection on the nature of time through these films are connected to the ideas of French philosopher Henri Bergson.

Willard Libby's development of carbon-14 dating at the University of Chicago immediately following World War II provided an unprecedented opportunity for the collaboration of archaeologists with a physical chemist. Libby's need for archaeological samples to test the dating process (1947-1951) meant that he relied upon the Committee on Radioactive Carbon 14, formed by the American Anthropological Association, for datable materials, as well as for assistance in all other archaeologically related aspects of the testing phase. The committee, under the leadership of archaeologist Frederick Johnson, served the mandated function of providing assistance to Libby, but simultaneously endeavored to utilize the new dating method to promote the development of the authority of anthropological professional organizations and further establish Americanist archaeology in a national and global context. Johnson's and the committee's approach to collaboration was informed by an understanding of opportunities provided by the postwar restructuring of the sciences. The purpose of the present study is to provide a history of the Committee on Radioactive Carbon 14 (1948-1952) as well as a to provide the context necessary to describe the bureaucratic and scientific goals of the committee. Frederick Johnson's career, and the manner in which it reflected general trends in twentieth century American anthropology, is discussed in detail, and utilized to present an explanation of his actions as committee chair. Willard Libby's development of carbon-14 dating is also discussed in detail, particularly in regard to his request for assistance from the archaeological community and subsequent collaborative work. The undeniable influence of carbon-14 dating on archaeological practice worldwide, and Libby's acceptance of the Nobel Prize in Chemistry (1960) for his development of the dating method, has provided reason enough for a plethora of articles and book length studies regarding carbon-14 dating. Yet, little has been written about the Committee on Radioactive Carbon 14 and its place in an analysis of the bureaucratic and collaborative science of the American mid-century. It is for this reason that the present study was undertaken.