Thesis (Ph. D.)--Wilhelms-Universität in Münster, 1914. / Vita. Includes bibliographical references in "Bücherangabe" (p. [5]-6).

Thesis (Ph. D.)--Wilhelms-Universität in Münster, 1914. / Vita. Includes bibliographical references in "Bücherangabe" (p. [5]-6).

Thesis (doctoral)-Universität, Düsseldorf, 2003. / Includes bibliographical references (p. 296-314) and index.

This paper sets out a particular concept of intellectual history for discussion and debate concerning the guidelines for our project for the International Dictionary of Intellectual Historians. First let me advance the idea that intellectual history is written everywhere, not only in West European countries, where it emerged, but in East European countries, too, and second that it really is a concept that applies not just to Europe alone but to the whole world, although this suggestion will vastly complicate our notions of intellectual history.

Many historians have acknowledged the temptation to portray people as they see themselves and wish to be seen, blending history and ideology. The result is "mythistory." Twentieth century Texas writers and historians, remarking upon the exceptional durability of the Texas mythistory that emerged from the nineteenth century, have questioned its resistance to revision throughout the twentieth century. By placing the writing of Texas history within the context of American and European intellectual climates and history writing generally, from the close of the eighteenth century to the beginning of the twentieth, it is possible to identify a pattern that provides some insight into the popularity and persistence of Texas mythistory.

The aim of this thesis is to explore and evaluate the scientific work of art historian Rudolf Chadraba who is generally considered to be one of the founders and the most distinctive representatives of an iconological method in czech art history. The Master's thesis doesn't make efforts to survey Chadraba's scientific career from biographic point of view in a clearly and chronologically way, because the main focus of the interpretation lies on starting points of Chadraba's work, specific influences on him, particular motifs and themes, which are penetrating and reflected in his academical works of art historian and which therefore form his peculiar method. Biographical information about Rudolf Chadraba is introduced here only briefly, the text tends to point out Chadraba's transdisciplinary approach and his extensive conception of iconology. Moreover, it pays a lot of attention to influences of such personalities as Max Dvořák, Ladislav Cejp, Alois Dempf, Josef Strzygowski or Herbert Read, who represent important source of inspiration in Chadraba's scientific work. Theories and methods of these scholars in connection with Chadraba's interest in tradition and triumphalism in christian art initiated his pursuing parallels between european and oriental art, which were insufficiently employed in czech art...

This dissertation analyzes the political and epistemological significance of the religious historical discourse produced in the viceroyalty of Peru between 1600 and 1682. The goal of this discourse was to respond to the secularizing pressure of the Spanish Crown on the religious Orders. Accused of being a burden to the Royal Treasury and slowing the development of colonial economy, colonial religious scholars belonging to the four main religious Orders (Augustinians, Franciscans, Jesuits and Dominicans) and based in the city of Los Reyes (Lima), created a historiographical discourse aimed at defending the missionary and political achievements of their corporations. Seventeenth-century religious historiography fused the medieval religious chronicle, the Counter-reformation sermon, the ars historica and the early modern period political literature (the memorial or arbitrio) to create the chronicle-memorial, a unique creole version of history and colonial Catholic statecraft. While pushing for the institutional claims of the colonial corporate Church, religious chroniclers, through the revision of colonial history, advanced the politic and economic agenda of Peruvian benemérito elites as well. Thus, this work goes from the text to the social and political context that produced it. It also tracks the efforts of the first class of Peruvian historians and political thinkers from Lima to Madrid and Rome in order to build their careers, connect with an imperial Republic of Letters and push for reforms in the body politic of the Spanish Empire.

This dissertation analyses academic military history and the writing of the World Wars in Canada. While there have been hundreds of books devoted to Canada???s role in the World Wars, few historians have examined the writing of that same history, or the archival records that were used to construct these narratives. It has been the official historians of the Department of National Defence who, for much of the twentieth century, have controlled the historical writing of the World Wars, and that military history has been narrowly defined as the history of military operations. Training, administrating and operational war-fighting remained the focus. Only recently have academic military historians pushed the discipline of military history to explore the impact of the World Wars on Canadian society. Nonetheless, it remains the publications of A.F. Duguid, C.P. Stacy, Gilbert Tucker, Fred Hitchins, Joseph Schull, and more recent official historians that provide the central narrative when examining the writing on Canada???s World Wars. An exploration of key historians and their works reveals historical themes underpinning how memory and narrative of the World Wars has been constructed within historical writing. The official historians were the guardians of memory and controllers of the past. Caught within the battles of reputations that followed the World Wars, they were forced to carefully navigate through these contested issues. Laying an interpretative frame-work, the official historians allowed subsequent generations to build upon and rework their findings, through writing their histories but also by acting as the archivists for their respective services. While the official histories have their flaws, they are also exceptionally important foundational studies that deserve greater attention and study in their own right.

The hypothesis for this research project is: Ammianus’ treatment of the emotion of anger reveals as much, if not more, about his education, values, beliefs, personality, than it does about the people he writes about and that he sees in emotion a major causative factor. This research contained within aims to contribute to a greater depth of understanding of the role of the key emotion of anger within the individual and collective lives of the characters as portrayed by Ammianus Marcellinus and how he uses them to influence the reader and colour his narrative. Scholars now tend to examine Ammianus to discern or evaluate the historical reliability of his authorship. Thus there is scope for examining how Ammianus shapes his narrative and tries to influence the reader by his portraits of individuals and collective characters. Although this approach seems an obvious one, the particular value of this thesis and of its contribution to late Roman historiography is that no one has hitherto done this in an extended and thorough way. While we welcome the importance Ammianus gives to emotions as historical agents, his treatment and representations of them have idiosyncratic features that crucially affect any assessment of him as a subjective observer and reporter of Rome and its past. Making the study keyword based reduces the need to make (possibly erroneous) inferences about whether it is really anger or some related emotion that we are dealing with. This has then lead to the compilation of lists of relevant anger words in Latin that relate to the individuals and groups who are the basis for my study.1 Following this analysis of the use of anger by Ammianus Marcellinus through a careful study of his Res Gestae and the characterisations he incorporated within it is hoped that we can better understand the discourse of Ammianus, by unearthing the bias, the propagandist elements and the general trends of his portrayals, through keywords that refer directly to anger. In this way it is anticipated that we can better understand the purpose behind many of these representations. / Thesis (Ph.D.) - University of Adelaide, School of Humanities, 2008

<p>The aim of this research is to find out more about traditional music in Gambian society, to get a wider view of the tradition and what is happening to traditional music in a modern society. Furthermore, I want to find out if the informers consider that the traditional music is fading away from the society and if, in that case, any actions are being taken to preserve the tradition. The research question is: How do the traditional masters in the Gambia consider the role of traditional musicians in a modern society?</p><p> </p><p>The research method consists of making observations at Maali’s Music School and in the E.C.C.O cultural camps in Njawara and Berefet, and interviews with traditional masters of different tribes. <strong></strong></p><p><strong> </strong></p><p>The results of the interviews show that the informers consider that the traditional music is ‘fading away’ from the society, that the role of traditional music in the society is changing and that there is no great support or protection for traditional music in the Gambia. Documentation of the music and interviews made by researchers from abroad often ends up in Europe and is seldom returned back to the informers. With regard to things that could be done to keep traditional music alive, the informers give the examples of building schools for teaching the tradition, teaching traditional songs in the ordinary schools and finding places for traditional masters to gather, where they can discuss, teach and play together.</p>