The economic development of Latin America in the twentieth century

Includes bibliography

Isolamento, caracterização e expressão em sistema bacteriano de um gene que codifica uma proteína transportadora de lipídeos de Piper nigrum

A pimenteira-do-reino (Piper nigrum L.) constitui uma das espécies de pimenta mais amplamente utilizadas no mundo, pertencendo à família Piperaceae, a qual compreende cerca de 1400 espécies distribuídas principalmente no continente americano e sudeste da Ásia, onde esta cultura originou. A pimenteira-do-reino foi introduzida no Brasil no século XVII, e tornou-se uma cultura de importância econômica desde 1933. O Estado do Pará é o principal produto brasileiro de pimenta-do-reino, contudo sua produção vem sendo afetada pela doença fusariose causada pelo fungo Fusarium solani f. sp. piperis. Estudos prévios revelaram a identificação de sequencias de cDNA diferencialmente expressas durante a interação da pimenteira-do-reino com o F. solani f. sp. piperis. Entre elas, uma sequencia de cDNA parcial que codifica para uma proteína transportadora de lipídeos (LTP), a qual é conhecida por seu importante papel na defesa de plantas contra patógenos e insetos. Desta forma, o objetivo principal deste trabalho foi isolar e caracterizar as sequencias de cDNA e genômica de uma LTP de pimenteira-do-reino, denominada PnLTP. O cDNA completo da PnLTP isolado por meio de experimentos de RACE apresentou 621 bp com 32 pb and 235 bp nas regiões não traduzidas 5‘ e 3‘, respectivamente. Este cDNA contem uma ORF de 354 bp codificando uma proteína deduzida de 117 resíduos de aminoácidos que apresentou alta identidade com LTPs de outras espécies vegetais. Análises das sequencias revelou que a PnLTP contem um potencial peptídeo sinal na extremidade amino-terminal e oito resíduos de cisteína preditos por formar quatro pontes de dissulfeto, as quais poderiam contribuir para a estabilidade desta proteína. O alinhamento entre as sequencias de cDNA e genômica revelou a ausência de introns na região codificante do gene PnLTP, o que está de acordo ao encontrado em outros genes de LTPs de plantas. Por último, a PnLTP madura foi expressa em sistema bacteriano. Experimentos adicionais serão realizados com o objetivo de avaliar a habilidade da PnLTP recombinante em inibir o crescimento do F. solani f. sp. piperis.

Latin Sources of Inspiration for 15th and 16th Century Orthodox Prints

The project studied the history of Orthodox graphic art in the context of artistic links between the Eastern and Western worlds, tracing the routes by which iconographic models from western Europe penetrated into eastern Europe and underscoring the role of central European countries in the shaping of the culture of the modern Orthodox church. One important element was the identification of graphic prototypes and export routes for woodcutting blocks which travelled from Germany via Prague, Cracow and Vilnius to Moscow and Kiev, revealing the artistic ties between followers of different religions. Another major element was a study of the appearance of copper engraving in the second half of the 17th century.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

Transregional Interactions between Jansenists, other Catholics, and Protestants in Seventeenth Century Northern Europe

This paper discusses the theological and cultural exchanges between Catholic clergy and theologians, and specifically between the neo-Augustinian-minded, the so-called “Jansenists”, and other Catholics, in Northern Europe during the seventeenth century. It also explores the Jansenists’ encounters and theological engagement with Protestantism. In this period, interaction and transfer between French Jansenist Catholics and other Catholics in other countries took place in various ways: 1. Via traveling and migration: French theologians and clergy returned home from their travels with reports about the situation of Catholicism and Protestantism in other countries; moreover, in the second half of the 17th century, French Jansenists fled to the northern Netherlands. 2. Via networking: it is little known that for a brief period on the North Sea island of Nordstrand, adherents to Port-Royal were buying land, and clergy of the Flemish Oratory provided pastoral care for the island’s Catholics. This project was not successful, but at the end it strengthened the network between French “Jansenists” and Catholics in the Dutch Republic. 3. Via publications by leading Jansenists and their counterparts. In this paper, the focus is on the view of Protestantism held by Jansenist writers.

The American portrait tradition : Cephas Thompson 1775-1856

"The purpose of this study is to reveal the work of Cephas Thompson in the context of the American Portrait Tradition as it existed in America from 1775 to 1856. European historic and artistic background serves as the foundation. A critical analysis of the most relevant American portraitists from the seventeenth to the midnineteenth centuries is provided to relate them aesthetically and ideologically with the work of Cephas Thompson and to provide insight into the artistic trends prevalent in Europe and America"

Letter from Artemas Ward to Benjamin Stone, 1787 July 18

Artemas Ward wrote this letter to Benjamin Stone on July 18, 1787, expressing his concern about the expense of his son, Henry Dana Ward's, imminent studies at Harvard. Ward complains to Stone about his own debts and the failure of the government to honor their financial obligations to him, and he also expresses hope that the President of Harvard will allow his son to spend part of his time "keeping a school" during his freshman and sophomore years, thus earning an income sufficient to pay for his studies. Ward also suggests that it might be preferable that his son board with a respectable family, rather than live at the College.

Triennial Catalogue annotated by Jeremy Belknap, 1791

The collection holds a heavily interleaved 1791 Triennial Catalogue annotated, in part, by Jeremy Belknap. A note by Harvard Librarian John Langdon Sibley, on the verso of the flyleaf, indicates a second annotator: "It should be observed that this catalogue is in the handwriting of two persons, Dr. Belknap & probably interlineations & additions by Rev. Dr. [John] Eliot. The interlineing part should not be too confidently relied on for accuracy. J. L. Sibley, April 14, 1848." The volume contains biographical notes, newspaper clippings, excerpts from manuscript and printed sources such as New England's First Fruits, the manuscript memoirs of Charles Chauncey, and John Winthrop's Journal, and a 1795 letter from Isaac Mansfield. In the letter, Mansfield references an item he believed to be written by his grandfather, Ames Cheever (Harvard AB 1707), and briefly describes his grandfather. A list of election sermon orators with dates is also pasted into the inside back cover, along with an obituary of the Rev. John Wales (Harvard AB 1728) from the Boston Post-Boy, March 4, 1765.

Commonplace book of John Holyoke, 1662 - May 1663

This unbound commonplace book was kept by John Holyoke during 1662 and 1663. The volume contains chiefly religious quotations and sermon notes (possibly of sermons preached by Holyoke himself), in English, Latin and Greek. Both ends of the volume were used to begin writing: the front page reads “Johannes Holyoke, adjunctu occupatu, May-1663” and the rear page reads “Johannes Holyoke [illegible] 1662.” The texts do not follow a straight tête-bêche model, where one text is upside down in relation to the other; rather, the texts change direction several times within the volume. The volume also includes part of letter sent to Holyoke’s grandfather Pynchon, September 16, 16?? [date illegible], as well as a series of alphabetically arranged quotations.

Treatise on mathematics and astronomy: written about the year 1680, in Boston

Bound volume containing a late 17th century handwritten mathematical and astronomical text in one hand. The text is separated into mathematical and astronomical sections with rules, instructions for performing calculations, tables, and drawings. The subjects include arithmetic, geometry, astronomy, and trigonometry, and segments have titles such as "Subtraction," "A decimal table of English coince," "Logarithes & their use," and "To find the true place of the sun." The text is undated and unattributed but references Briggs, Oughtred, Ramus, and Apollonius. Certain tables are calculated from latitudinal and longitudinal numbers associated with Boston, and many of the examples use dates in the 1670s and 1680. The manuscript pages are mounted onto unruled pages, and some of the manuscript pages are fragments.

The scourging of a race : and other sermons and addresses /

Mode of access: Internet.

Shaker sermons, scripto-rational : containing the substance of Shaker theology : together with replies and criticisms logically and clearly set forth /

Frontispiece is a portrait of H.L. Eads engraved by J.C. Buttre.