Thesis (M.A.)--University of Hong Kong.

Friar Francisco Pareja represented the pinnacle of the achievement for the Franciscans in Florida during the Spanish colonial period. But who were the Franciscans? Why were they, and Friar Pareja in particular, so successful as missionaries? The bulk of the writing done thus far on the mission system in Florida has concentrated on retelling the lost story of the native peoples who once inhabited the land. The impact of the missions and the Spanish colony weighed heavily on native cultures and the Franciscans role in this has been discussed. However, little has been said about the religious order itself, and the Order of Friars minor is the focus of this manuscript. Research for this manuscript was conducted at several sites, in particular at the St. Augustine Historical Society and the P. K. Yonge Library at the University of Florida. In both microfilm and in reprints there exists in these locations several of the letters and other documents that were copied from the Archivo General de los Indias in Seville. Also, other writings and documents have been collected in journals and other sources accessible through the internet. Friar Pareja's Confesionario in 1613 was the earliest example of a Native American language translated into a European one. This feat was accomplished by a member of a religious order of the Roman Catholic Church, one that was dedicated to a principle that did not always fall in line with that of the Spanish colonial government. While the Franciscans did aid in cultural destruction, their dedication to their Faith should not be overlooked. Friar Pareja's Confesionario was just one example of the Friars' trust in God aiding them in making a lasting impact on Florida's past.

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In recent decades historians have documented the nature and impact of religious violence within French Catholicism during the French Wars of Religion (1562-1629). My dissertation introduces the question of religious nonviolence within French Catholicism in this era by examining the religiosity practiced and promoted by Francois de Sales (1567-1622). By interpreting the words, actions, and impact of this clergyman across three different contexts - the mission field of the Chablais, in lay spiritual counseling, and in the Order of the Visitation- this research presents a fresh perspective on the nature of Catholicism in early modern France and an important historical case study of the possibilities and limits of moderation in a society reeling from religious extremism.

This essay is an attempt to analyze, understand and reconstruct the Swedish Ballet's last work Relâche (1924) based on Richard Wagner's term Gesamtkunstwerk. Gesamtkunstverk in this case above allmeans the cross-border collaboration of artists and art forms in between, which leads according to Wagnerto a whole which is presented here as The Gesamtkunstwerk. The purpose of this essay is to take part in a work that literally no longer exist, and to try to understand itscultural-historical value. All that remains from the Swedish Ballet, is everything but the dance itself. Still we can take part of the Ballet through the artistic synthesis through innumerable collaborations shown in the sets, costumes, posters and musical compositions. I will in the analysis based on four points, try to find the tones indicating that the work is, on the basis of Wagner's definition, a Gesamtkunstwerk. The essay is also an attempt to show the innovation of this Company and to provide redress to which, according to me, is too forgotten in Swedish historiography. The thesis shows both the Swedish Ballet's historical background which includes previous works built by the same principles of collaboration presented. In this section I will also address something, according to me, important; The Swedish homophobia, mainly in the tabloids during the period in which the essay deals with, and the consequences for the company in question. Then I will analyze Relâche on the basis of the four theses, which, according to my investigation shows that the work is a Gesamtkunstwerk.

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No abstract available. / Thesis (M.A.)-University of Natal, Durban, 1988.

<p>Historically, the wind has functioned in multiple capacities, both physically and symbolically. The following study explores the ways in which natural history, myth and folklore, craft knowledge, and religion contributed to a growing body of knowledge about the wind at a moment in British history when wind knowledge assumed unprecedented political and economic significance. How did people come to know the wind and to narrate and communicate wind knowledge in the seventeenth century? What work did these complex and competing narrations perform? And what do they make visible? In pursuing these lines of inquiry, my work brings together three principle bodies of knowledge: Environmental History, History of Science, and British Imperial history; and it draws upon documents that include scientific treatises, written records of oral anecdotes and weather wising, religious sermons, travel narratives, fictional novels, and imperial correspondence. I argue that because the wind and wind knowledge were ubiquitous to the emerging success and identity of the British empire, a great variety of historical actors sought to control and narrate what wind knowledge was, where it came from, and what political work it should do. These efforts were unequivocally rooted in first hand experience and observation of the wind--maker's knowledge--and created what I call an intellectual commons that enabled commoners as well as elites to shape and briefly control the contours of wind knowledge in early Modern Britain and its expanding empire.</p> / Dissertation