Jonathan Edwards is rightly titled America's first great theologian and philosopher, yet in terms of his historical influence he is foremost a preacher. This thesis links Edwards' philosophy to his preaching passion by demonstrating how his desire to establish a communication theory brought cohesion to his far-reaching philosophical interests. More specifically, this study shows how Edwards' speculative analysis on the composition of the human soul is motivated by his desire to configure a preaching strategy compatible with the soul's content and conduct. Jonathan Edwards' philosophy and its relation to his sermon writing is introduced in the first two chapters. The third chapter presents Edwards' conception of the human soul as an arrangement of mental powers which he calls "principles." Although the converted soul owns both natural and supernatural principles, Edwards' evangelistic preaching strategically targets the natural principles operating unaccompanied in the sinner. Focusing on Edwards' preaching to the unconverted, the next four chapters are devoted to an examination of the four natural principles: human reason; simple imagination; common affection and natural conscience. Each natural principle is placed within Edwards' communication theory while sermon extracts are called in to demonstrate the principle's function in Edwards' awakening preaching. The significance of this study is enhanced by the introduction of 100 unpublished sermons which are cited and used as background reference. These unpublished sermon portions offer a rare glimpse into Edwards' homiletic genius and in many cases appear in this study for the first time in print.

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Thesis (Ph. D.)--Catholic University of America, 1936. / Vita. Bibliography: p. 160-165.

Thesis (Ph. D.)--Catholic University of America, 1936. / Vita. Bibliography: p. 160-165.

No description available.

No description available.

From minstrelsy to hip-hop, the black performer has always been entangled in a complex network of branding, packaging, and promotion. The black body is cultural capital and in hip-hop, the black thug and his dangerous body are the fetishized objects of desire. Despite these exploitative constraints, artists find spaces to enact what little resistance is possible. In the following report, I perform a close reading and close listening of Jay-Z and Kanye West’s “Otis.” Paying particular attention to the intersections of the visual and the aural, I find that Jay-Z and West encode desire, pleasure, and imagination beneath boastful rhymes and material opulence. Jay-Z and West adopt American symbols of prosperity and freedom and, in disruptive fashion, resignify black masculinity in the cultural imagination. Soul sound, as intoned through Otis Redding and James Brown, lends a politics of brotherhood and radicalism to Jay-Z and West’s articulation of affective black masculinity. I employ a collage-like network of theoretical frames that span performance, sound, and literary theory to trace how race and gender performance codes a discourse of disruption. I find that “Otis” is a type a blueprint—an instruction manual for youth of color to deconstruct, innovate, and feel deeply. Through linguistic and performative codes, Jay-Z and West create a safe space, a cipher for men of color to desire and, in turn, experience pleasure. I trace how Jay-Z and West move closer to a practice of hip-hop feminism and, in a field notorious for rampant homophobia, misogyny, and violence—that’s remarkable. / text

Thesis (M.A.)--Trinity Evangelical Divinity School, 1991. / Abstract. Includes bibliographical references (leaves 91-96).

Texte remanié de: Thèse de doctorat--Histoire--Marne-la-Vallée, 2006. / Bibliogr. p. 430-431 et 433-441. Filmogr. p. 431 et 442. Webliogr. p. 441-442. Index.

Thesis (M.A.)--Denver Conservative Baptist Seminary, 1994. / Includes bibliographical references (leaves 117-118).