Wer war Erich Welter? Geboren 1900 in Straßburg, gelebt in Berlin, Frankfurt am Main und Mainz, gestorben 1982 in Frankfurt am Main. Sohn eines preußischen Beamten, Weltkriegsveteran des Ersten und Zweiten Weltkriegs, Wirtschaftsredakteur, wissenschaftlicher Autor, Politikberater, Professor für Volkswirtschaftslehre und Gründungsherausgeber der Frankfurter Allgemeinen Zeitung. Erich Welter war vieles, vor allem war er jedoch ein anpackender Unternehmer. Über 30 Jahre prägte er die Geschicke der F.A.Z. Sein Name findet sich mit der Betitelung Gründungsherausgeber bis heute im täglichen Impressum der F.A.Z., trotzdem ist er selbst langjährigen Lesern der Zeitung nicht geläufig. Erich Welter agierte nicht gerne im grellen Licht der Öffentlichkeit, er stand im Hintergrund. In der vorliegenden Biografie werden die vielfältigen Facetten des Mannes hinter der F.A.Z. verfolgt und in ihrer Gesamtheit beschrieben. / Who was Erich Welter? Born 1900 in Strasbourg, lived in Berlin, Frankfurt on the Main and Mainz, died 1982 in Frankfurt on the Main. Son of a Prussian civil servant, veteran of the First and Second World War, economic editor, scientific author, political consultant, professor of economics and founding editor of the newspaper “Frankfurter Allgemeine Zeitung”. Erich Welter was many things, but above all he was a hands-on entrepreneur. He shaped the fate of the F.A.Z. for more than 30 years. His name is still to be found in the daily masthead of the F.A.Z. with the title "Gründungsherausgeber" (Founding Editor), but yet he is not familiar even to long-time readers of the newspaper. Erich Welter did not like to act in the limelight, he stood on the sideline. In this biography, the manifold facets of the man behind the F.A.Z. are traced and described in their entirety.

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The present study focused on the educational and career experiences of four selected Swedish immigrant women at North Park College in Chicago from 1900-1920. There is a gap in the extant literature with regard to the Swedish immigrant women experiences, and this study attempted to shed some light on this fascinating topic.The study examined the lives of three selected Swedish immigrant women students at the College and their lives afterwards as missionaries in China. It also examined the life of Lena Sahlstrom, a faculty member at North Park College during the same period. The four women were exceptional individuals, each in her own way a pioneer. Hilma Johnson studied business for one year at North Park College before becoming the Covenant Church's first woman missionary to China in 1901, a commitment she maintained for 40 years. Hilda Rodberg was the first female graduate of the Swedish Covenant Hospital Nursing School in 1900, and she became a missionary in China for over thirty years. Victoria Welter was the first woman to graduate from North Park College's Seminary Department in 1903, after which she, too, left for China to serve as a missionary, where she married John Sjoquist, a medical missionary. Welter was the only one of the four to marry, and after the death of her husband in 1917 she returned to Chicago to complete her children's formal education.Caroline "Lena" Sahlstrom was the first female faculty member at North Park College. She was a teacher in the Primary Department and the Music Department, and she also served as the Dean of Women during part of her long tenure at North Park College. Her contributions to the school and the students were impressive, and she was a committed educator of her time.Each of the four women valued education and religion, and each was influenced in various ways by their experiences at North Park College. Hilma Johnson, Hilda Rodberg, and Victoria Welter chose professional careers as missionaries in China where they ministered to many people through teaching and health care. Influenced by her educational and religious background, Lena Sahlstrom chose to join the faculty at North Park College where her years of service and various roles impacted the lives of many students. While economic advancement was not a goal for any of the four, they all chose professional careers and lives of commitment that differed from the traditional roles filled by most women of their day. All four were role models who made a difference in many peoples lives.

Thesis (M.A.)--Cincinnati Christian Seminary, 1985. / Includes bibliographical references (leaves 232-233).

This thesis analyzes data from seven Swedish craft cider entrepreneurs to examine how they respond to challenges within the entrepreneurial contexts–institutional, business, social, and spatial–defined by Welter. Thematic analysis is used to identify the major challenges within each context and then Bourdieusian capital theory is employed to analyze how these artisan entrepreneurs use, convert, and combine capitals to overcome obstacles. Findings reveal that two major challenges are present within the various contexts–cider’s symbolic deficit in Sweden and the formation of a Swedish craft cider community and industry. In the face of these challenges Swedish craft cidermakers demonstrate creativity in using and converting non-economic capitals–social capital in particular.

Esta tese focaliza a obra de Neusa Welter Bocchese, artista nascida no Município de Vacaria, Rio Grande do Sul, em 1936, que reside em Antônio Prado, cidade que até hoje é tema de sua produção, iniciada em 1983. Com o objetivo de analisar suas representações da cidade, selecionamos 64 imagens de sua obra, distribuídas em oito grupos, para, sob a perspectiva de Burke (2017), avaliar o papel dessas imagens como evidências históricas e como testemunhos do processo cultural Itália-Brasil e, ainda, em que medida sua obra contribui para a preservação da identidade da região Nordeste do Rio Grande do Sul, considerando os fatores recepção, produção e temática. Olhando de uma perspectiva da história cultural, nossa análise é subsidiada pela metodologia acerca da representação ligada às práticas de leitura proposta por Chartier (2002). Também nos baseamos nos pressupostos teóricos de Stüben (2013), quanto à ideia de região como paisagem literária, aqui transposta para o campo da arte, e de Nora (1993), no que concerne aos lugares de memória, incluindo, ainda, as contribuições da literatura, por meio dos romances de Calvino (1990) e Pozenato (2000). Visto que a identidade é marcada por meios simbólicos, foi possível, a partir do cruzamento das leituras da artista acerca da cidade de Antônio Prado e das leituras que fazemos dos significados de suas representações, identificar que ela explicita o discurso do tombamento, mas, sobretudo, reescreve novos textos a partir do primeiro, sublinhando as diferenças que classificam um grupo cultural regional. Nas representações do vivido por outros, no tempo passado, e do vivido por Bocchese no tempo presente, a artista ora mantém similaridade com a cidade, ora a desmonta, reelaborando-a em novos arranjos, mas sem romper sua ligação com ela. Referindo-se às edificações e aos monumentos, Pozenato (2003) observa que, enquanto permanecem determinadas manifestações que identificam uma cultura, aquela cultura existe, mas na visão política de preservação cultural talvez não fosse necessário conservar o próprio monumento físico, já que a preservação da memória seria suficiente. Assim, podemos inferir que, do mesmo modo que Antônio Prado é lugar de memória, a obra de Bocchese surgida do/no contexto associado à imigração italiana torna-se lugar de memória. Suas representações são interpretações das práticas culturais de um grupo, constituindo-se em outro tombamento, antes mesmo do oficial, pelo IPHAN, em 1989. E, ainda, suas representações presentificam os elementos simbólicos não preservados em outras cidades da RCI, que são, então, materializados em sua obra – testemunho e identidade da regiã / This thesis focuses on the work of Neusa Welter Bocchese, an artist born in Vacaria in 1936, who lives in Antonio Prado, a city that until today is the theme of her production, which begun in 1983. In order to analyze her representations of the city, we selected 64 images of her work, distributed in eight groups, in order to evaluate, from Burke (2017), the role of these images as historical evidences and as testimonies of the Italian-Brazilian cultural process, and to what extent her work contributes to the preservation of the identity of the Northeast Region of Rio Grande do Sul, considering the reception, production and thematic factors. Looking from a cultural history perspective, our analysis is subsidized by the methodology of representation related to reading practices proposed by Chartier (2002). We also draw on the theoretical assumptions of Stüben (2013), on the idea of the region as a literary landscape, transposed here into the field of art and, on Nora (1993), regarding places of memory, including contributions of literature, through the novels of Calvin (1990) and Pozenato (2000). Since identity is marked by symbolic means, it was possible, from the intersection of the artist's readings about the city of Antonio Prado, and the readings we make of the meanings of her representations, to identify that she explicitly explains the discourse of the tipping, but, above all, rewrites new texts from the first, highlighting the differences that classify a regional cultural group. In the representations of what was lived by others, in the past tense, and of the lived by Bocchese in the present time, the artist sometimes maintains similarity with the city, sometimes dismantles it, reworking it in new arrangements, but without breaking its connection with her. Pozenato (2003) observes that, while certain manifestations that identify a culture remain, that culture exists, but in the political vision of cultural preservation it might not be necessary to preserve the physical monument itself, since preservation of memory would suffice. Thus, we can infer that, just as Antonio Prado is a place of memory, Bocchese's work emerged from the context associated with Italian immigration, which becomes a place of memory. Her representations are interpretations of the cultural practices of a group, forming another one, even before the official, by IPHAN, in 1989. Moreover, her representations prestige the non-preserved symbolic elements in other RCI cities, which are then materialized in her work – witness and identity of the region.