<p> The object of this study is to call into question the well established assumption that Baxter was entirely responsible for the failure of the Savoy Conference and that his combativeness and "overdoing" kept the non-conformists out of the Church.</p> <p> So vital an aspect in the history of the English Church and the history of non-conformity merits a thorough re-evaluation.</p> <p> In order to attempt a full discussion of the Conference and Baxter's role in it, it has been necessary to survey the historical background in which he developed. Thus the material in the thesis has been arranged in such a way as to reveal the relationship between the topics discussed and Baxter's personality, teaching and influence. In Chapter I we discover the general context in which his character was shaped and the marked influences in his early life and young manhood, It is shown how fully he embodied Puritan ideals which made him its [Puritanism] most notable representative. Chapter II presents Baxter's political thought. This is of enormous importance, because only as one understands how theology and politics were related in his mind, and how he viewed the function of the Pastor, the Magistrate or Governor and the paterfamilias, will one get a conscious appreciation of his role at the time of the Conference.</p> <p> Chapter III takes up the political and ecclesiastical conflicts which contributed to the degeneration of the Puritan forces into differing groups, and which led to the emergence of Presbyterianism as a dominant political and ecclesiastical power; the rise of Oliver Cromwell and the Independents and Baxter's influence in practical politics during the period of the Commonwealth and Protectorate.</p> <p> Chapter IV deals with Charles II and the Presbyterians. Attention is given to the causes which once more gave control of the Church and Parliament to the Presbyterians, and the reasons for restoring the monarchy. At this time also one notices that with the restoration of the throne came the re-establishment of Anglican authority in both Church and State. Baxter's part in the negotiations for and restoration of the King is carefully discussed because it was at this time (1660) that many of the disputes between him and some of the leading bishops began--disputes which greatly affected the Conference.</p> <p> Chapters V and VI discuss in detail some vital issues which had not been discussed in previous studies and which throw greater light on the study of English Church history in this period. For example much attention is given to the Worcester Declaration of 16 October 1660, the King's Warrant of 1661 and to Clarendon's influence prior to and during the Conference. The view is taken that the bishops did not conform to the requirements in the Declaration and the Warrant and thus frustrated the plans which both the King and Clarendon had hoped would bring about a compromise for a Church settlement.</p> <p> For the first time special study is given to the bishops in an attempt to identify the leaders among them and to isolate as far as possible the different factors which influenced them in their dealings with the non-conformists, For this reason it is maintained that the bishops were so controlled by political circumstances and the supposed rjghtness of their position that these prevented them from seeing their opponents point of view, or any reasons or necessity for comprehension.</p> <p> Chapter VI also discusses in detail the proceedings of the Conference. The various original documents are presented and analyzed with the hope of providing as clear as possible the issues at stake and the manner in which these were dealt with.</p> <p> Finally in a concluding chapter VII an attempt is made to assess the reasons for the outcome of the Conference and to refute the charge that Baxter was responsible for its failure. The chapter ends with an evaluation of his contribution and his relevance for our time.</p> / Thesis / Doctor of Philosophy (PhD)

No description available.

Thesis--Université de Lausanne. / Includes bibliographical references (leaves [15]-21) and index.

From 1926 to 1958, the Savoy Ballroom in New York's Harlem neighborhood played a critical role in the development and showcasing of African-American popular culture. During its lifetime, the Savoy Ballroom significantly affected the concurrent development of jazz music and jazz dance, and laid important groundwork for racial integration. The Savoy Ballroom served as the home base for such jazz greats as William "Chick" Webb, Lucius Venable "Lucky" Millinder, and David "Panama" Francis, and launched the careers of John Birk "Dizzy" Gillespie, Charlie Parker, and Thelonious Monk. Beyond music, the Lindy Hop, a partnered jazz dance that emerged at the Savoy during the late 1920s, was one of the Ballroom's cultural exports; it gained an unprecedented degree of fame and recognition during the late 1930s, and is still practiced today by communities across the United States and the world. The objective of this dissertation is to examine the cultural, social, and musical contribution made by the Savoy Ballroom to the promotion of African-American culture. The first and second chapters of this dissertation address the historical and cultural context of Harlem and the Savoy proper. The third chapter examines some of the emerging traditions behind the Savoy Ballroom's status as the "World's Finest Ballroom." The fourth and fifth chapters address the chronological and technical development of music and jazz dance at the Savoy, with particular attention given to the lasting impact of such advancements as the incorporation of swing feel into jazz. The sixth chapter examines the cultural impact of the Ballroom on contemporary and modern media, particularly print, music, film, and photography. Finally, the seventh chapter examines the Savoy Ballroom's participation in New York's World's Fair exhibition in 1939, and its impact on the worldwide export of Harlem's African-American culture.

Thesis (M.M.)--University of North Texas, 2003. / Includes bibliographical references (p. 102-107).

Submitted by Coordenação Hotelaria (hotelaria@vm.uff.br) on 2016-05-04T18:16:13Z No. of bitstreams: 1 TCC Juliana de Azevedo.pdf: 1975517 bytes, checksum: 78023843959b450003492289cc191703 (MD5) / Made available in DSpace on 2016-05-17T13:20:59Z (GMT). No. of bitstreams: 1 TCC Juliana de Azevedo.pdf: 1975517 bytes, checksum: 78023843959b450003492289cc191703 (MD5) / Este trabalho de conclusão de curso visa compreender as atividades exercidas durante a prática de estágio supervisionado (obrigatório) em recepção, vivenciada no Hotel Savoy Othon Travel – Copacabana-RJ, da rede de Hotéis Othon, no período de Agosto de 2013 até Março de 2014. Assim, o autor faz uma breve apresentação da rede e da estrutura física e organizacional do hotel onde o estágio ocorreu. Também são caracterizados os conceitos do estágio empregando-os ao curso e ao estágio em recepção hoteleira. A partir da vivência pessoal do autor, foram analisados os elementos práticos do estágio, como o manuseio do programa utilizado pelo hotel e as funções exercidas pelo recepcionista. Após analisar a estrutura teórica e prática chegou-se a conclusão de que o estágio em recepção, além de ser a porta de entrada para o profissional hoteleiro (pela grande oferta de vagas), também é um importante setor que colabora na formação do aluno, uma vez que a recepção é um dos setores que está em constante contato com os demais setores. Dessa forma na formação de futuros gestores, a prática na recepção permite uma visão operacional mais ampla do hotel, como um todo. / This document aims to understand the duties made by the author through the mandatory supervised practice at reception of Savoy Othon Travel (Copacabana - RJ) which is a branch of Othon Hotels chain, from August 2013 to March 2014. Accordingly, the author makes a brief presentation of the hotels chain and the structure of the hotel where the internship was done, reporting the physical and hierarchical structures of the hotel. This document approaches to concepts of internship and how they were employed to the course and to the internship as well. From personal experience of the author, the practical elements of the internship, such as the handling of the program used by the hotel and the duties performed by the receptionist were analyzed. After analyzing the theoretical and practical structure reached the conclusion that the internship in reception, in addition to being the gateway to the hotelier professional into the labor market (by the great number of vacancies), is also an important sector that contributes to formation of the student, since the reception is one of the sectors that are in constant contact with the other sectors. Therefore, in the formation of future managers the practice at reception allows a wider operational view of the hotel as a whole.

La restauration sarde de 1815 a créé une littérature qui, d'abord dévouée à la dynastie savoisienne, cherchait à en rétablir le caractère sacré. Cela a tendu à forger une mythologie, dont la question est de savoir si elle est de pure convention, ou si elle a un fondement plus profond dans le sentiment individuel.Les conditions objectives de la vie culturelle de la Savoie d'alors manifestent une constante recherche d'identité dans le passé féodal. Contrairement à ce qui s'est produit en France, on a, un temps, renoncé complètement à l'héritage de la Révolution, pour revenir à l'ancien état d'esprit. L'Académie de Savoie fut créée dans cette dynamique et, en instaurant un prix de poésie, elle participa à la restauration du merveilleux médiéval. L'éducation était, de son côté, rendue à des évêques soucieux d'instruire le peuple dans un sens religieux. Cependant, malgré le tempérament romantique de Charles-Albert, l'édifice va se fissurer, sous les poussées de l'évolution sociale.La Savoie est restée une région profondément catholique jusqu'au début des années 1900 (bénéficiant, un temps, des dispositions issues du traité d'Annexion pour conserver à son clergé ses prérogatives propres) ; son goût pour le merveilleux se déplaçant vers les traditions locales, elle a longtemps entretenu un imaginaire spécifique et chatoyant. Elle puisait, à cet égard, dans une tradition littéraire déjà riche avant 1792, dominée par l'œuvre de François de Sales, mais marquée également par les chroniques dynastiques et la poésie de cour ou plus généralement patriotique, apparue dès la Renaissance. Mêlant l'art baroque et le culte des princes et des saints locaux, elle fait apparaître l'ébauche d'une mythologie dès les XVIe-XVIIe siècles. L'influence de Rousseau, également, se fera sentir sur les nostalgiques d'une Savoie idéalisée, pensée plus proche de la divinité que ne le sont les villes des plaines françaises.Le paysage est transfiguré par la poésie romantique naissante et l'individu se regarde comme un résumé de l'histoire religieuse de l'humanité. Le héros en devient, par contrecoup, plus imprégné d'humanité, sans perdre pour autant son lien avec la divinité. Les créatures surnaturelles du merveilleux païen ou chrétien, populaire ou érudit, sont également irriguées de vie propre, se reliant aux montagnes, aux lacs, aux princes, au peuple, aux réalités ordinaires vécues par les auteurs. Loin d'être laissés dans des sphères abstraites, toutes de convention, elles s'insèrent dans la vie locale et semblent être l'expression d'un génie national conçu comme une vie secrète de la terre savoisienne, à laquelle il manque peu de chose pour être une âme pensante à part entière. De fait, les phénomènes naturels eux-mêmes sont regardés comme habités par la sagesse divine, et considérés dans leur harmonie globale ; on établit l'existence d'une sphère intermédiaire, située entre le monde physique et le monde divin, dans laquelle la Providence peut précisément se manifester et s'exercer. Une forme de science romantique, sur le modèle allemand, se développe donc. Mieux encore, on tente de sonder les desseins de la divinité dans l'histoire présente, pour l'humanité prise collectivement, pour l'Europe, mais aussi pour l'individu, dont les énigmes propres sont effleurées. Ainsi s'est créée une vraie mythologie, vivante et mouvante, en Savoie.Face à la richesse de cette inspiration qui n'est convenue qu'en apparence, la question se pose de savoir pourquoi les œuvres en sont aujourd'hui négligées par la critique. Des pistes sont proposées, parmi lesquelles l'inadéquation de la tradition savoyarde, marquée par l'Italie et l'Allemagne, aux catégories de l'Université française. / The Sardinian restoration, in 1815, aroused a literature that was first devoted to the Savoyan dynasty and which tried to restore its sacredness. As a matter of fact, this situation moved towards the emergence of a mythology whose nature may be questioned. Was this mythology a pure convention or was it based on deeper soul foundations ?The objective conditions of the Savoyan cultural life at the time are known to have shown a constant research for identity in the feudal past. In Savoy, contrary to what happened in France, at first the legacy of the French Revolution was rejected in order to return to the old state of mind. The Academy of Savoy was created in this impetus of cultural restoration, opening widely to a poetry, which would also revive the marvelous medieval. Education, on the other hand, was rendered entirely to the bishops who were anxious to instruct the people in a religious sense. However, despite the romantic personality of Charles Albert, this trend finally collapsed under the pressure of social evolution. Nevertheless, Savoy remained a deeply Catholic region in a remarkable way until the beginning of the 1900s, taking advantage of the arrangements of the Annexation Treaty to preserve its own prerogatives. As its taste for the marvelous focused on local traditions, for a long time Savoy succeeded in keeping ts specificity and rich, shimmering imaginations.In this field, it obtained its inspiration on a literary tradition which was already rich before 1792 and dominated by the work of Francis de Sales. It was also marked by dynastic chronicles and court, or even patriotic, poetry, which appeared in the Renaissance period. Mixing baroque art with the worship of princes and local saints, it brought out the outline of a new mythology from the sixteenth to seventeenth century. Furthermore, Rousseau influenced those who felt nostalgia for an idealized Savoy, perceived as closer to deity than the great cities of the French plains.The landscape was transfigured by a bourgeoning romantic poetry and individuals saw themselves as a summary of the religious history of humanity. As a consequence, the hero became closer to humanity, without losing his links with the deity. The supernatural creatures of the marvelous, pagan or Christian, popular or learned, were also provided with life, connecting themselves with mountains, lakes, princes, people and with all other ordinary realities experienced by the authors. Instead of remaining in abstract and conventional worlds , these creatures inregrated the local life, becoming the expression of a national genius conceived as a secret soul of the Savoyan land, which could even have a thought by itself. Hereafter natural phenomena were regarded as inhabited by divine wisdom, and considered in their overall harmony allowing the existence of an intermediate world situated between the physical world and the divine world and where Providence could communicate and act by itself. A sort of romantic science, similar to the German one, started to develop trying ti test the aims of divinity in the present not only for humanity, as a group, in Europe, but also for the individual, whose own enigmas were touched. This is how a real mythology, alive and moving, emerged in Savoy.Faced with the richness of this inspiration, we may wonder why today these works are disregarded by critics. Among the answers that could explain the situation we may point out the inadequacy of the Savoyan tradition, marked by Italy and Germany, to the standards of French University.

The church and monastery of Brou, Bourg-en-Bresse were built under the attentive patronage of Margaret of Austria (1480--1530), Duchess of Savoy, Regent of the Netherlands and daughter of Maximilian I and Mary of Burgundy. Brou was intended to symbolically and economically secure the region for the Habsburgs as well as memorialize the glory of its patron. Located in Savoy, a strategic territory in the battle for Italy between the Habsburg Empire and France, Brou's secular and religious references, chosen by the patron herself, reflect her and her family's political needs. This paper explores Margaret of Austria's role as patron and creator of Brou, her political and propagandistic agenda, her pivotal role in its planning and construction, her architectural and stylistic choices and the results of her efforts and their reception.

No description available.

This thesis examines the social factors surrounding the development of Lindy Hop in Harlem, New York during the 1920s and 30s from a sociocultural perspective, applying the findings to an instance of contemporary Lindy Hop practice at Jazz Attack, a Lindy Hop venue in Philadelphia, Pennsylvania, in order to ascertain where elements of Black culture are present or absent. As Lindy Hop practice has transitioned from its point of origin in the Black space of the Savoy Ballroom to primarily white spaces today, questions arise about cultural preservation and erasure in this historically Black dance.Using historical methodologies, this research examines the human experience of historical Lindy Hop participants to analyze the culture that developed within the dance. Ethnographic methodologies, including the use of participant observation and interviews, are then used in a cross-cultural comparison to examine where elements of historical Black Lindy Hop culture are present or absent in an instance of contemporary Lindy Hop practice. The findings argue that, while the reasons for engagement in Lindy Hop are intrinsically different between historical and contemporary participants, elements of emotional or spiritual release and an emphasis on community are present today. Other historical Black cultural elements surrounding the approach to movement source creation and bodily aesthetics are minimal or absent. / Dance