Thesis (M.S.)--Boston University / In the following thesis I have attempted to illustrate words of a hundred years ago with appropriate photographs of present-day remains of an era. The years covered in the major sections are 1831 to 1848; the subject is slavery and abolition in New England. The Liberator was the most renowned antislavery paper. Selections from it form the text of the major part of this thesis. Complete bound editions of The Liberator may be found in the Boston Public Library, Main Branch, Copley Square. With the permission of the Supervisor I was able to photograph portions of the paper.

Nossa tese pretende analisar a história do conceito de Honor imperii no reinado de Friedrich I Barbarossa. Para tanto, estudamos as formas de legitimidade real entre os séculos X e XII buscando entender os pesos relativos dos elementos militares e sacros; as especificidades de Friedrich Barbarossa e as transformações estruturais por ele patrocinadas no regnum Teutonicorum. Depois realizamos o estudo quantitativo e o estudo crítico do Honor imperii na documentação produzida pela chancelaria imperial (diplomas e constituições) e na Gesta Friderici de Otto de Freising e Rahewin, principal fonte para o reinado de Friedrich. Também estudamos os significados do termo honra no contexto cultural germânico do século XII. O Honor imperii está ligado à projeção de poder do monarca devido a uma estrutura jurídica (os direitos Romano e Feudal) que o liga ao exercício militar através da doutrina da Guerra Justa e à punição pela quebra das Landfrieden. / Our thesis intends to analyze the history of the Honor imperii concept in Frederick I Barbarossas reign. For this we had to study the ways political legitimacy was obtained between the Tenth and Twelfth centuries seeking to understand the relative weights of military and sacred elements, Frederick Barbarossas singularities and the structural transformations sponsored by him in the regnum Teutonicorum After that we stablished a critical analysis of the Honor imperii in the documentation produced by the imperial Chancellery (charters and constitutions) and in Otto of Freising & Rahewins Gesta Friderici, the most important narrative source for Fredericks reign. We also studied the meanings of honor in the german cultural context of the Twelfth century. The Honor imperii was bound to the monarchs power projection by a proper legal structure (Roman and Feudal Laws) connecting it to the military exercise through the Just War Doctrine and the punishment of breaking the Landfrieden.

Nossa tese pretende analisar a história do conceito de Honor imperii no reinado de Friedrich I Barbarossa. Para tanto, estudamos as formas de legitimidade real entre os séculos X e XII buscando entender os pesos relativos dos elementos militares e sacros; as especificidades de Friedrich Barbarossa e as transformações estruturais por ele patrocinadas no regnum Teutonicorum. Depois realizamos o estudo quantitativo e o estudo crítico do Honor imperii na documentação produzida pela chancelaria imperial (diplomas e constituições) e na Gesta Friderici de Otto de Freising e Rahewin, principal fonte para o reinado de Friedrich. Também estudamos os significados do termo honra no contexto cultural germânico do século XII. O Honor imperii está ligado à projeção de poder do monarca devido a uma estrutura jurídica (os direitos Romano e Feudal) que o liga ao exercício militar através da doutrina da Guerra Justa e à punição pela quebra das Landfrieden. / Our thesis intends to analyze the history of the Honor imperii concept in Frederick I Barbarossas reign. For this we had to study the ways political legitimacy was obtained between the Tenth and Twelfth centuries seeking to understand the relative weights of military and sacred elements, Frederick Barbarossas singularities and the structural transformations sponsored by him in the regnum Teutonicorum After that we stablished a critical analysis of the Honor imperii in the documentation produced by the imperial Chancellery (charters and constitutions) and in Otto of Freising & Rahewins Gesta Friderici, the most important narrative source for Fredericks reign. We also studied the meanings of honor in the german cultural context of the Twelfth century. The Honor imperii was bound to the monarchs power projection by a proper legal structure (Roman and Feudal Laws) connecting it to the military exercise through the Just War Doctrine and the punishment of breaking the Landfrieden.

This thesis examines the British monarchy in the eighteenth century and how the philosophy of Frederick, Prince of Wales, helped to shape that monarchy. The early Hanoverians were seen with contempt by many of their subjects, often being ridiculed as ignorant outsiders. They helped matters none by their indifference to Britain, its people, or its culture. Prince Frederick, George II’s eldest son, however, changed all of this. His philosophy on kingship, influenced by Henry, Viscount Bolingbroke’s work, The Patriot King, helped to change the perception of the Hanoverian dynasty. When Prince Frederick died in 1751 before he could take the throne, it was left up to his son, Prince George, to carry out Frederick’s vision. As George III, he fulfilled the philosophy and became the embodiment of the patriot king. This resulted in a surge in popularity for the Hanoverians, solidifying their place on the British throne.

Gaslight, an Industrial Revolution technology, developed in the period 1780–1820. The foundations for the technology are partly found in the pneumatic chemistry of the eighteenth century, both in terms of the knowledge of gases and their properties, and the instruments used to manipulate them, such as the gasometer, making gaslight one of the earliest instances of a technology heavily based on science. Although many people experimented with lighting with gases in the late eighteenth century, the move to a commercial technology began with Philippe Lebon and William Murdock who had a clear commercial purpose in mind. The technology in its early phases was found everywhere in Europe, but it was at Boulton & Watt in Birmingham that it was first successfully applied. As Boulton & Watt developed the technology they identified many and solved some of the problems associated with scaling up the technology. They were not, however, very interested in gaslight and only sporadically gave attention to it, before effectively abandoning it around 1812. They nevertheless had an important role to play in its development not only because if their technical work, but also because they demonstrated the technology’s viability to the broad public, and by giving people experience in gas engineering. The technology's final form as a network utility was partly as a result of a battle fought between Boulton & Watt and Frederick Winsor's Gas Light and Coke Company in London during 1807–1810. Boutlon & Watt did not want a large limited-liability corporation as a competitor, and the contest in Parliament between the two groups resulted in a negotiated compromise where the Gas Light and Coke Company gave up all rights to manufacture apparatus, and focused exclusively on gas provision, effectively making it a utility. The years from 1812–1820 saw the technology mature into a large network which included not only technical development, such as the pressure balancing with valves and regulators, but also political and social elements, such as the control of user expectations through education and usage enforcement through inspectors. By 1820, the technology was sufficiently developed to be transferred to the Continent.

Gaslight, an Industrial Revolution technology, developed in the period 1780–1820. The foundations for the technology are partly found in the pneumatic chemistry of the eighteenth century, both in terms of the knowledge of gases and their properties, and the instruments used to manipulate them, such as the gasometer, making gaslight one of the earliest instances of a technology heavily based on science. Although many people experimented with lighting with gases in the late eighteenth century, the move to a commercial technology began with Philippe Lebon and William Murdock who had a clear commercial purpose in mind. The technology in its early phases was found everywhere in Europe, but it was at Boulton & Watt in Birmingham that it was first successfully applied. As Boulton & Watt developed the technology they identified many and solved some of the problems associated with scaling up the technology. They were not, however, very interested in gaslight and only sporadically gave attention to it, before effectively abandoning it around 1812. They nevertheless had an important role to play in its development not only because if their technical work, but also because they demonstrated the technology’s viability to the broad public, and by giving people experience in gas engineering. The technology's final form as a network utility was partly as a result of a battle fought between Boulton & Watt and Frederick Winsor's Gas Light and Coke Company in London during 1807–1810. Boutlon & Watt did not want a large limited-liability corporation as a competitor, and the contest in Parliament between the two groups resulted in a negotiated compromise where the Gas Light and Coke Company gave up all rights to manufacture apparatus, and focused exclusively on gas provision, effectively making it a utility. The years from 1812–1820 saw the technology mature into a large network which included not only technical development, such as the pressure balancing with valves and regulators, but also political and social elements, such as the control of user expectations through education and usage enforcement through inspectors. By 1820, the technology was sufficiently developed to be transferred to the Continent.

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

No description available.

The purpose of this study was to gain insights into the educational system in Finland, where art seem to be valued, and America, where it seems to struggle. I first studied how policies that promote a business-like ideology and standardized testing in schools have impacted art education in the United States. Then I investigated Finland’s educational system, which does not rely on standardized testing to monitor student learning and teachers. During my research I noticed that Finland uses a noncompetitive approach to education, which I assumed was connected to the art Folk School that originated in Denmark and moved throughout Europe. Based upon this information, I anticipated that art education was valued more in Finland than in the United States. I also anticipated that Finland’s educational success had a connection to its non-competitive system and its inclusion of the arts. In order to explore this idea, I investigated Finland’s approach to art education by interviewing Finnish professionals in the art education field.

William Henry Fry (1813-1864) and George Frederick Bristow (1825-1898) were the first important composers of grand opera in the United States. They were both avid promoters of American music and American composers during a most unstable time in American history--the mid-nineteenth century just prior to the American Civil War.The present study includes in Chapter I a survey of American culture in the mid-nineteenth century, and in Chapters II and III, brief biographical sketches of W. H. Fry and G. F. Bristow. The main aim of the study has been to explore American culture during the period of approximately 1845 to 1855, and then to show that W. H. Fry's opera Leonora and G. F. Bristow's opera Rip Van Winkle are products of that culture. A general musical analysis of the two operas under consideration is given as evidence of their relationship to the Italian operatic style of the mid nineteenth century. An attempt has been made to find specific examples in both Leonora and Rip Van Winkle that canbe shown to be reflections of the musical culture of Europe with which Fry and Bristow were familiar. The main characteristics of Italian opera, such as: melodramatic plots, popular-type melodies, expressive solo voice, orchestral coloratura sections (particularly for the prima donna), and colorful folk-like songs in this work.Fry was one of the leaders of his time in asserting the thesis that Americans, if they were ever going to develop a native art, must escape their subservience to foreign influence. The irony of the situation is that Fry himself was not able to break away from the European influence in his opera Leonora, except in his use of the English language.George Frederick Bristow, whose life spanned almost the entire nineteenth and the beginnings of American culture.Bristow's opera Rip Van Winkle is written in a style one would expect from a nineteenth-century musician. He tended to write music that was basically diatonic with a spice of chromaticism. Many of the arias, and most of the choruses, are presented in a simple, straightforward style which tends to give the opera a folk-like quality, while some other arias are in an ABA structure, and fit the style of Italian operatic arias of the time. A few of Bristow's melodies are in the French style of the period--that is, they are dance-like in character--and therefore are significant reminders that he was also familiar with nineteenth century French opera.What interest there was in opera in the United States in the mid-nineteenth century was focused primarily on Italian opera, and William Henry Fry and George Frederick Bristow wrote operas in that style.