This study is concerned with the historical development and perpetuation of the leisure class in the Colombian society. The study is based on Thorstein Veblen's Theory of the Leisure Class. The main purpose of this study is to analyze in terms of the evolution of social institutions the problems that the Colombian society faces today. Spanish values and traditions are analyzed, as well as more recent values and modes of behavior adopted by the leisure class. Institutions such as the church, the educational, employment and political apparatus are analyzed in terms of how they contribute to the perpetuation of elites. This study concludes that as long as there is economic surplus in society, a leisure class will exist. The elites forming the leisure class may be displaced by counter-elites, which in turn will conform a new leisure class.

In this work, superficial to the extreme, it is my purpose to offer a review of the development of lyric poetry ("poesía lírica") in Colombia throughout its history. It is logical that because of the extent of the subject it is not possible to give a complete treatment of our political history, though I have tried not to leave out points of significance. The classification of authors and of poems, as well as the division of periods I have made arbitrarily, guided by my own criteria. Thus, I have the Romantic period divided into romanticism and post-romanticism, according to the dates generally regarded as the beginning and end of these two literary movements. In reality, romanticism only ended with the beginning of modernism, and one cannot therefore distinguish romantic poets from post-romantic poets. Due to the nature of this thesis, many poets--some of them well known--will not be mentioned. However, my intention is not to write a lyric anthology, but to reveal the spirit of Columbia through her poets and her poetry.

The purpose of this investigation is to examine the political factors which came into the creation and implementation of the Andean Foreign Investment Code. This study analyzes the political forces in the creation of the Code and examines the implementation of the Code in each of the Andean countries. This investigation concludes that although the Code has not been implemented uniformly in the Andean countries, it remains an important part of the Andean Common Market. In addition, the continual political consensus among the member countries is emphasized for the continuation of the Andean integration effort.

Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro preguntas (ca. 1890) by Pedro Morales Pino (1863-1926), ChirimÍa y bambuco (1930) by Antonio MarÍa Valencia (1902-1952), Bambuco en si menor by Adolf o MejÍa (1905-1970), El bambuco by Manuel MarÍa Párraga (c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by Guillermo Uribe HolguÍn (1880-1971).