The purpose of this research was to look at what sin or sins was human condemnation based on primarily. This study takes a look at the words or concepts, passages, and interpretations of the text and doctrines associated with the terms of sin and condemnation. In concerns to sin, this paper argues that the core of sin is an internal rejection of God. This is shown by looking at key Biblical passages and the words for sin and desire to find out how exactly sin is defined biblically. This section also deals with the historical and different systematic definitions of sin while taking a look at the doctrine of Original Sin and how sin was an inherited state of rejection. The concept of condemnation is also examined and defined in this paper. It is argued that condemnation is the result of God’s judgment on humanity because of their rejection of Him. This is shown through a similar method as defining the concept for sin.

Many contemporary writers maintain that a prime requisite of poetry is autobiographical sincerity. They would have the poet commit himself to an openness with his audience that is usually reserved for only the most intimate relationships. The thirty-two poems of this thesis were written as a reaction to current confessional trends and postulate that the creation of fictions to live by is an intrinsic part of the human process. Central to the work is the idea that past fictions, traditions, and myths are no longer functional, and no workable fictions have yet been created. The overriding image of the work is that of a dance in a mirrored room where illusion and reflection are difficult to separate from reality and where the dancers move without knowledge of the meaning of their movement.

The early years of childhood are characterize d by new ideas; experimentation; the building of relationships; fears, both real and imagined; and play, through which the child tries to assemble these experiences into a meaningful whole. The early years are an exciting, complex and vibrant time of learning while the child grows in his understanding of himself and the world around him.

The development and management of heritage sites, including prehistorical and historical archaeological sites, trading posts and aboriginal traditional-use sites, is of interest to governments for their potential in the fields of tourism, youth employment and economic development. In Canada, the issues of rights, ownership and management decisions for such sites are still in contention as multiple cultures (Aboriginal, French, English) may have occupied and used these sites either successively or concurrently. The First Nations often have some claim to these sites as they are of the original culture, but the government ministries at national and provincial levels maintain some control via heritage legislation. Increasingly, the First Nations are exercising their claim to a voice in the development of such heritage resources, and co-management agreements appear to be the most successful arrangements. Examples of successfully co-managed projects will be evaluated with respect to future development in the cultural heritage sector and the prospects for a World Heritage site designation in the Great Lakes region will be examined.

Thesis (Th. D.)--Rijksuniversiteit te Leiden.

A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies. / Dissertation, libretto and score of the opera. / Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005. / Bibliography: p. 138-141. / Introduction -- Historical background and literature review -- Structural and philosophic changes -- Chamber opera: a genre in evolution -- Chamber opera: its potential for the future -- The personal experiment -- Conclusion.. / From its origins as chamber opera just over four hundred years ago, Opera developed through the 18th and 19th centuries, in length and complexity, to attain the status of 'grand', a term that most people associate with opera to this day ... At the beginning of the 20th century, radical innovations in the arts influenced by movements such as the Bauhaus phenomenon, added to the aftermath of a world war that shattered existing socio-political structures and artistic sentiments turned from extroverted displays of grandeur to the creation of more cerebral, introverted styles. ... On the threshold of a new millennium, small, often experimental companies, passionately convinced of the relevance of, and excited by the artistic potential inherent in this revitalized form of opera, formed a loose consortium of creative artists internationally, similar in spirit to the original Camerata of the 16th century, making use of current technologies. Whether these newer works may be styled 'chamber opera' or 'music theatre', they represent a form in evolution, capable of further development into a new genre, a vital nexus of traditional skills applied to current issues, peculiarly suited to integration with electronic modes such as television. / Mode of access: World Wide Web. / 141 leaves music

Thesis (Th. M.)--Dallas Theological Seminary, 1991. / "May 1991." Includes bibliographical references (leaves 81-84).

Thesis (Th. D.)--Rijksuniversiteit te Leiden.

Thesis (Th. M.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 1995. / Includes bibliographical references (leaves 165-170).

Thesis (doctoral)--Georg-August-Universität in Göttingen, 1931. / Vita. Includes bibliographical references.