Kelsey, Texas, was a flourishing Latter-day Saint colony for more than a quarter of a century, beginning at a time when the Church of Jesus Christ of Latter-day Saints was encouraging its converts to stay in the mission field. Kelsey was an attempt by the Church to provide Latter-day Saints from the southern states a safe haven from persecution which existed in the South, while leaving them in a geographic area in which they could be comfortable. The growth and success for many years of the Kelsey Academy was the result of an interesting partnership, not always tranquil, between the Church and the state of Texas. Although the academy is closed and the community is little more than a collection of dairy farms at present, Kelsey served a valuable role in building up the strength of the Church of Jesus Christ of Latter-day Saints in East Texas.

The purpose of this study was to compile a history of dance in The Church of Jesus Christ of Latter-day Saints from 1830 to 1940. The following subproblems have been investigated: 1. What was the history of dance in The Church of Jesus Christ of Latter-day Saints? 2. What was the philosophy of dance in the LDS Church? 3. What were the dance forms, music, and attire in dance within the LDS church? 4. What was the contribution of the LDS Church towards the preservation of folk dances in America?

The purpose of this study was to determine and verify the historical accounts that describe and validate Lindsey Gardens in Salt Lake City as the first playground established in Utah and perhaps the first in the nation.

[pt] Jacob Burckhardt defendeu as vantagens de sua abordagem histórico-cultural, comparadas às abordagens historiográficas correntes no século XIX. Descrente com relação à prática acadêmica da História, às suas concepções progressistas e aos métodos científicos utilizados por seus pares, Burckhardt acreditou na legitimidade da Anschauung (contemplação intuitiva) como procedimento para a apreensão do conhecimento Histórico. A presente dissertação adota como ponto de partida a afirmação Burckhardtiana, contida em sua correspondência, de que, em sua concepção a História situava-se mais próxima da arte – mais especificamente da poesia - que da ciência. Partindo da análise dos seus escritos pretende-se discutir as implicações entre a História e a Arte, na concepção de escrita da História defendida por este historiador. / [en] Jacob Burckhardt supported the advantages of its cultural-historical approach to current historiographical approaches in the nineteenth century. Nonbeliever with the academic practice of history, with progressive ideas and the same with the scientific methods used by their peers, Burckhardt believed in the legitimacy of Anschauung (intuitive contemplation) as a procedure for the apprehension of history knowledge. This dissertation takes as its starting point the Burckhardtian assertion, contained in his correspondence that, for him, history was situated closer to art - specifically poetry - that of science. Based on the analysis of their writings, we intend to discuss the implications between History and the Arts in designing writing of history advocated by historian.

The European Witch-Hunts reached their peak in the sixteenth and seventeenth centuries. Betweeen 1590 and 1661, approximately 1500 women and men were accused of, and executed for, the crime of witchcraft in Scotland. England suffered the largest witch-hunt in its history during the Civil Wars of the 1640s, which produced the majority of the 500 women and men executed in England for witchcraft. Evidence indicates, however, that only three women were executed in Ireland between 1533 and 1670. Given the presence of both English and Scottish settlers in Ireland during the sixteenth and seventeenth centuries, the dramatic discrepancy of these statistics indicate that conditions existed in early modern Ireland that tended to suppress the mechanisms that produced witchcraft accusations and larger scale witch-hunts. In broad terms those conditions in Ireland were the persistence of Gaelic culture and the ongoing conditions of open, inter-religious conflict. In particular, two artifacts of Gaelic Irish culture had distinct impact upon Irish witchcraft beliefs. The office of the Poet, or fili (singular for filid), seems to have had a similar impact upon Gaelic culture and society as the shaman has on Siberian witchcraft beliefs. The Gaelic/Celtic Poet was believed to have magical powers, which were actually regulated by the Brehon Law codes of Ireland. The codification of the Poet’s harmful magic seems to have eliminated some of the mystique and menace of magic within Gaelic culture. Additionally, the persistent belief in fairies as the source of harmful magic remained untainted by Christianity throughout most of Ireland. Faeries were never successfully demonized in Ireland as they were in Scotland. The Gaelic Irish attributed to fairies most of the misfortunes that were otherwise blamed on witchcraft, including the sudden wasting away and death of children. Faerie faith in Ireland has, in fact, endured into the twentieth century. The ongoing ethno-religious conflict between the Gaelic, Catholic Irish and the Protestant “New English” settlers also undermined the need for witches in Ireland. The enemy, or “other” was always readily identifiable as a member of the opposing religious or ethnic group. The process of dual confessionalisation, as described by Ute Lotz-Huemann, facilitated the entrenchment of Catholic resistence to encroaching Protestantism that both perpetuated the ethno-religious conflict and prevented the penetration of Protestant ideology into Gaelic culture. This second effect is one of the reasons why fairies were never successfully associated with demons in Ireland. Witch-hunts were complex events that were produced and influenced by multiple causative factors. The same is true of those factors that suppressed witchcraft accusations. Enduring Gaelic cultural artifacts and open ethno-religious conflict were not the only factors that suppressed witchcraft accusations and witch-hunts in Ireland; they were, however, the primary factors.

Analysis of the Irish Republican Army (IRA) and their actions in the 1970s and 1980s offer insight into their use of just war theory in their conflict with the British government and ultra-loyalist Protestant forces in Northern Ireland. The historiography of Irish history is defined by its phases of nationalism, revisionism, and anti-revisionism that cloud the historical narrative of imperialism and insurgency in the North. Applying just war theory to this history offers a more nuanced understanding of the conflict of the Troubles and the I.R.A.’s usage of this framework in their ideology that guided their terrorism in the latter half of the twentieth century. The murders of influential members of British society and the I.R.A.’s statements on these events further posit just war theory as a guiding force of this group. In 1980-1981 the I.R.A. staged hunger strikes in the H Block of Long Kesh Prison and the writings of their leader Bobby Sands continued their use of just war theory in their efforts to be granted Special Category Status. This work concludes that the I.R.A. utilized just war theory throughout this period and that it was a guiding force of their ideology. It contributes a more nuanced analysis of just war theory and its applications to the I.R.A.’s struggles against the British. Ultimately, it demonstrates how this theory was used by this insurgent movement to claim legitimacy, defend their actions, and frame their anti-imperialist movement as a necessary means to combatting British forces.

This paper examines the political, economic and social influences that contributed to the development of the Madonna Inn in San Luis Obispo. I provide a brief history of the hotel industry and place the Madonna Inn within the historiography and argue that the nexus of three elements in the 1950s and 1960s led to the growth and popularity of the Madonna Inn: fear of nuclear war, growth of the middle class, and the rise of automobile culture in America.

The reviewed book's organization around themes reflects the domination of cultural history in the field of Renaissance Studies today.

This article focuses on a sliver of the individuals we now know as the Neo-Latinists, who viewed the vernacular as a vehicle for expression throughout the quattrocento.

This reviewed book offers a fascinating series of inquiries into the objects, architecture, and spaces in home interiors in early modern Italy, particularly in Florence, Venice, and Bologna.