John Ludwig Krapf : the explorer-missionary of northeastern Africa / by Paul E. Kretzmann.

http://www.archive.org/details/johnludwigkrapfe00kretiala

Forty years among the Telugus : a history of the mission of the Baptists of Ontario and Quebec, Canada, to the Telegus, South India, 1867-1907 / by John Craig.

http://www.archive.org/details/fortyyearsamongt00craiuoft

James Evans : inventor of the syllabic system of the Cree language / by John McLean ... (Robin Rustler).

http://www.archive.org/details/jamesevans00maclrich

The life of John Brainerd, the brother of David Brainerd, and his successor as missionary to the Indians of New Jersey ... By Rev. Thomas Brainerd.

http://name.umdl.umich.edu/ABB4262

Women in the mission field : glimpses of Christian women among the heathen / by John Telford.

http://www.archive.org/details/womeninthemissio00telfuoft

John Wesley, the man and his mission

http://www.archive.org/details/johnwesleytheman00pikeuoft

Seventy-five years in the Madura Mission : a history of the mission in South India under the American Board of Commissioners for Foreign Missions, Boston, Massachusetts, U.S.A. / by John S. Chandler.

http://www.archive.org/details/75yearsmadurami00chanuoft

Bible illustrations from the New Hebrides : with notices of the progress of the mission / by John Inglis.

http://www.archive.org/details/bibleillustratio00ingluoft

Christology in the Epistle to the Hebrews: Martin Luther's Reception of John Chrysostom

Throughout the history of the Church, the Epistle to the Hebrews has been one of the most puzzling letters in the Canon, particularly regarding the implications of understanding the person of Jesus Christ. John Chrysostom, an important patristic writer, is acknowledged to have made significant contributions to the exegesis of this letter. Chrysostom's thought became the norm for traditional thinking and interpretation of this letter in the Middle Ages. Martin Luther's reception of Chrysostom's Homilies on Hebrews presents a unique interpretation that some scholars may describe as the "Reformation Discovery" on Hebrews. In tracing Luther's reception and appropriation of Chrysostom's exegesis of the letter to the Hebrews, there is a noticeable and significant shift in Christological interpretation. Whether or not these modifications were necessary is a matter of debate; however, they do reflect Luther's contextual and existential questions regarding faith, Christ and knowledge of God, which is evident in his Lectures on Hebrews.

John Ireland, "L’art déloyal, théâtralité et engagement dans l’oeuvre de J.P. Sartre", thèse New York University, 299 pages.

Paris

Uta Janssens, Mathieu Maty and the Journal Britannique 1750-1755 (Amsterdam 1975) 215 p.

info:eu-repo/semantics/published

Lyons (John), "Chomsky"

info:eu-repo/semantics/published

Archaeological Testing at the John Brice II (Jennings-Brice) House, 18AP53, 195 Prince George Street, Annapolis, Maryland

In the fall of 1989, emergency excavation was undertaken in conjunction with restoration work at the John Brice II (Jennings-Brice) House, 18AP53. The exact date of construction for this brick home is problematic, and it was hoped that archaeological investigation could provide conclusive evidence to firmly establish the structure's date of construction. Excavation of one 5 X 5 ft. unit revealed the presence of 10 separate soil layers and four features of note, described in detail below. Unfortunately, no builders trench or similar feature by which we might date the house's construction was recovered. Future plans and possibilities for excavation at the property are outlined with the hopes of performing subsequent work at this rich site. We anticipate a focus on the arrangement and changes in use of the houselot, amassing evidence to support the presence of a vernacular garden on the property during the 18th century, as well as researching refuse disposal patterns, and clues to changing lifeways through the 18th century.

VARIATION FORMS: A SURVEY THROUGH FOUR CENTURIES OF VIOLIN REPERTOIRE

Variation, or the re-working of existing musical material, has consistently attracted the attention of composers and performers throughout the history of Western music. In three recorded recitals at the University of Maryland School of Music, this dissertation project explores a diverse range of expressive possibilities for violin in seven types of variation form in Austro-German works for violin from the 17th through the 20th centuries. The first program, consisting of Baroque Period works, performed on period instrument, includes the divisions on “John come kiss me now” from The Division Violin by Thomas Baltzar (1631 – 1663), constant bass variations in Sonate Unarum Fidium by Johann Heinrich von Schmelzer (1623 – 1680), arbitrary variation in Sonata for Violin and Continuo in E Major, Op. 1, No. 12 “Roger” by George Friedrich Händel (1685 – 1759), and French Double style, melodic-outline variation in Partita for Unaccompanied Violin in B Minor by Johan Sebastian Bach (1685 – 1750). Theme and Variations, a popular Classical Period format, is represented by the Sonata for Piano and Violin in G Major K. 379 by Wolfgang Amadeus Mozart (1756 – 1791) and Sonata for Violin and Piano in A Major, Op. 47 No. 9 the “Kreutzer” by Ludwig van Beethoven (1770 – 1827). Fantasy for Piano and Violin in C Major D. 934 by Franz Schubert (1797 – 1828) represents the 19th century fantasia variation. In these pieces, the piano and violin parts are densely interwoven, having equal importance. Many 20th century composers incorporated diverse types of variations in their works and are represented in the third recital program comprising: serial variation in the Phantasy for Violin and Piano Op.47 of Arnold Schoenberg (1874 – 1951); a strict form of melodic-outline variation in Sonate für Violine allein, Op. 31, No. 2 of Paul Hindemith (1895 – 1963); ostinato variation in Johan Halvorsen’s (1864 – 1935) Passacaglia for Violin and Viola, after G. F. Handel’s Passacaglia from the Harpsichord Suite No. 7 in G Minor. Pianist Audrey Andrist, harpsichordist Sooyoung Jung, and violist Dong-Wook Kim assisted in these performances.