This dissertation examines the manner in which Benjamin Keach used metaphors in his published sermons. The first chapter provides a thorough introduction to the dissertation, including the research objective, methodology, and source materials. Chapter 2 concerns Keach's role as a preacher. In particular, the chapter assesses the formative influences upon Keach's preaching, including the political and religious environment of England in the mid-seventeenth century. Keach's preaching in rural Buckinghamshire as well as his pastoral ministry in London are explored. Chapter 3 contains a survey of Keach's published sermons. These messages are organized into three primary groups: pastoral, doctrinal, and parabolic. Each sermon or collection of sermons is examined for general themes and textual basis. Chapter 4 considers Keach's own understanding of metaphors in general, which is necessary in order to demonstrate the ways in which Keach employed metaphors and perceived the relationship of metaphor to the task of preaching. Keach's Tropologia contains substantial material pertinent to this investigation. Chapter 5 explores the various ways in which Keach interpreted specific metaphors, both metaphors from Scripture and those from his personal experiences. His interpretive method was informed heavily by a commitment to the authority of the Bible. Chapter 6 details the manner in which Keach specifically used metaphors, and his sermons provide many supporting examples. The use of established rhetorical criteria makes possible the task of locating, categorizing, and evaluating the material. Chapter 7 synthesizes the pertinent information from the previous chapters and draws specific conclusions from the research. These conclusions support the thesis of the study and bring the dissertation to an appropriate end. This work contends that Keach utilized metaphors in his sermons as a primary means to enable a greater understanding of the biblical text and to connect readily with the intellect and emotions of his audience. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Antônio Vieira foi uma figura complexa que nos séculos após sua morte foi fragmentado como um mosaico. O espelho de mil faces da História Ibérica seiscentista foi fundamental para a consolidação da dinastia de Bragança frente à dominação espanhola no mundo português. Vieira reinventou e ressignificou a imagem do Desejado rei d. Sebastião, desaparecido no Marrocos em 1578 sob a imagem do duque de Bragança, aclamado em 1640 como d. João IV em Portugal. Esta pesquisa pretende discutir a influência dos Exercícios Espirituais na formação jesuítica e nas ações de intervenção teleológico-política no projeto de independência e consolidação do poder monárquico lusitano pelo padre Antônio Vieira, por meio de uma análise do Sermão de Santo Antônio, pregado em Lisboa no ano de 1642, onde propunha aos Três Estados da sociedade nobiliárquica, Nobreza, Clero e Povo, completa entrega à causa, principalmente com o pagamento de impostos, considerando os privilégios e a imunidade dos dois primeiros, e concomitantemente, produzir uma história em quadrinhos apresentando o percurso histórico português desde sua formação até a Restauração. / Antonio Vieira was a complex figure in the centuries after his death was fragmented as a mosaic. The mirror of a thousand faces of Iberian history seventeenth century was fundamental for the consolidation of the Bragança dynasty forward to the Spanish domination in the Portuguese world. Vieira reinvented and transformed the image of Desire king d. Sebastian, who disappeared in Morocco in 1578 under the picture of the Duke of Braganza, acclaimed in 1640 as d. John IV of Portugal. This research aims to discuss the influence of the Spiritual Exercises in Jesuit education and the teleological-political intervention actions in the independence project and consolidation of monarchical Lusitanian power by Father Antonio Vieira, through an analysis of the Sermon of St. Anthony, nailed in Lisbon year 1642, which proposed the Three States of nobility society, Nobility, Clergy and People, complete surrender to the cause, especially with the payment of taxes, considering the privileges and immunity of the first two, and concomitantly, produce a comic book depicting the Portuguese historical journey from its formation to the Restoration.

This thesis consists of two components: a 70,000-word verse novel and a 50,000-word critical component that has arisen out of the research process for that novel. Creative Component: The Marlowe Papers The Marlowe Papers is a full-length verse novel written entirely in iambic pentameter. As with verse novels such as The Golden Gate by Vikram Seth, or The Emperor's Babe by Bernadine Evaristo, its inspiration, derivation, conventions and scope owe more to the prose novel than to the epic poem. Though there is as yet no widely-accepted definition, a verse novel may be distinguished from an epic poem where it consists, as in this case, of numerous discrete poems, each constituting a ‘chapter' of the novel. This conception allows for considerable variations in form and tone that would not be possible in the more cohesive tradition of the epic poem. The Marlowe Papers is a fictional autobiography of Christopher Marlowe based on the idea that he used the pseudonym ‘William Shakespeare' (employing the Stratford merchant as a ‘front'), having faked his own death and fled abroad to escape capital charges for atheism and heresy. The verse novel, written in dramatic scenes, traces his life from his flight on 30 May 1593, through the back-story (starting in 1586) that led to his prosecution, as we similarly track his progress on the Continent and in England until just after James I accedes to the English throne. The poems are a mixture of longer blank verse narratives and smaller, more lyrical poems (including sonnets). Explanatory notes to the poems, and a Dramatis Personae, are included on the advice of my creative supervisor. Critical Component: Writing Marlowe As Writing Shakespeare This part of the thesis explores the relationship between early modern biographies and fiction, questioning certain ‘facts' of Marlovian and Shakespearean biography in the light of the ‘thought experiment' of the verse novel. Marlowe's reputation for violence is reassessed in the light of scholarly doubt about the veracity of the inquest document, and Shakespeare's sonnets are reinterpreted through the lens of the Marlovian theory of Shakespeare authorship. The argument is that orthodox and non-Stratfordian theories might be considered competing paradigms; simply different frameworks through which interpretation of the same data leads to different conclusions. Interdisciplinary influences include Kuhn's philosophy of scientific discovery, post-modern narrativist history, neuroscience, psychology, and quantum physics (in the form of the ‘observer effect'). Data that is either anomalous or inexplicable under the orthodox paradigm is demonstrated to support a Marlovian reading, and the current state of the Shakespeare authorship question is assessed. Certain primary source documents were examined at the Bodleian Library, at the British Library, and at Lambeth Palace Library. Versions of Chapters 2, 3 and 4, written under supervision during this doctorate, have all been published, either as a book chapter or as a journal article, within the last year (Barber, 2009, 2010a, b).

This thesis investigates the shifting representation of trash and trifles in the literature and art of sixteenth and early seventeenth century England. It connects previously disparate critical fields – religion, politics, national identity, travel, literary criticism – in order to offer new perspectives on the period. The investigation of the terms ‘trash' and ‘trifles' at the centre of this project reinstates a crucial literary perspective to the historical study of early modern England's crises in spiritual and material value, whilst retaining a keen awareness of the importance of interconnected historical contexts ranging from the mercantile to the spiritual and the cultural. I have traced the connected development of the terms trash and trifles across the period 1519-1614, and closely examined their use in response to various crises in value, whether spiritual or mercantile. How writers of polemic and drama develop a language in which to articulate such crises, and the ways in which that language necessarily combines elements of both the spiritual and the mercantile, is a central theme. Key elements of this development are marked by Queen Katherine Parr's invective about the mercantile corruption of spiritual treasure with material papal ‘tryfles'; Sir Thomas Smith's assertion of the spiritual immorality of material ‘trifles'; Thomas Harriot and John White's presentation of the mercantile and spiritual benefit of exporting trash and trifles to the New World; and in the staging of trash and trifles in a series of late sixteenth and early seventeenth century plays which, I argue, were in part designed to mount a defense against anti-theatrical allegations regarding the effeminate valuelessness of playing. This thesis illustrates how the deployment of the terms trash and trifles in early modern England can be productively used to trace the shaping of the Protestant English commonwealth as a destinct, secure and valuable entity in an unstable and increasingly global post-Reformation world.

This thesis investigates how the size, structure and function of the family presented in Shakespeare's plays relates to an early modern understanding of the importance and function of the family. By examining domestic manuals, pamphlets, treatises and diaries from the early modern period, I establish what was considered normative domestic behaviour at the time and analyse Shakespeare's plays through these contemporary attitudes, specifically their treatment of privacy, household structure and medical beliefs surrounding reproduction and gynaecology. This thesis seeks to focus on the way in which people's positions in the family change over time, from infancy to adulthood, and how these relationships are represented in Shakespeare's plays. Beginning with marriage, where the family is first formed; I examine Othello and Macbeth, and show how the marriages in these plays, while tragic, are cherished and valued. Succession was integral to the legacy and sustainability of a family, which is the topic of the next chapter, in which I explore the notions of how children are conceived and raised in Richard III and The Winter's Tale. The transition from childhood into adulthood was fraught with change in both housing and legal circumstances, and this struggle in adolescence is clearly depicted in Romeo and Juliet, which comprises the third chapter. Aside from the familial relationships of husband and wife and parent and child, the most influential relationships were those of siblings, which I investigate in a number of plays in the fourth chapter. Finally, I focus on the traditional and complicated nuclear families in The Merry Wives of Windsor, Hamlet and Coriolanus, and analyse how the family is highlighted and valued in each of these plays. The thesis concludes that throughout Shakespeare's work, the family is privileged over war, nobility and absolute patriarchal control, emphasising that it is vital to understanding and analysing Shakespeare's plays.

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El contingut d'aquesta tesi es divideix en tres aspectes: les fortificacions, els soldats i els allotjaments. El primer es centra en primer lloc a conèixer de quina forma van acusar les fortificacions catalanes la introducció a principis de l'Edat Moderna dels mètodes de construcció derivats del conjunt de novetats introduïdes per el que es coneix com la Revolució Militar, el més sobresortint dels quals va ser sens dubte l'edificació de perímetres de muralles poligonals flanquejades pels baluards. Una altra qüestió del capítol és l'aprofundiment en les repercussions financeres a Catalunya d'aquesta nova forma construir les fortaleses, abraçant des d'aquesta perspectiva a partir de la construcció del nou castell de Salses (1497-1503) fins a les fortificacions dels anys immediats a la guerra dels Segadors. Al capdavall es troben evidències suficients que permeten afirmar que Catalunya va assumir en la seva major part el cost de la construcció i manteniment de les seves fortificacions al llarg de tot el període abans indicat. Malgrat tot hi va haver alguna excepció a aquest autofinançament, la més notable de les quals va ser la fortalesa nova de Salses, que es va fer amb diners procedents de la hisenda castellana. Pel que fa al segon aspecte sobre els soldats s'exposa en primer lloc un nou model de classificació de les tropes presents a Catalunya abans de la guerra dels Segadors, atès que els que ha plantejat la historiografia fins al moment no reeixien a donar una imatge global del conjunt d'efectius militars en servei. Un altre aspecte que es desenvolupa és l'evolució del model d'administració militar descrit per I.A. Thompson per al conjunt de la Monarquia Hispànica, el qual ha pogut ser constatat amb les dades ofertes per la documentació consultada. És així que es presta una especial atenció a la descripció dels sistemes de mobilització i mètodes de lleva, així com a les competències que al llarg de l'Edat Moderna va tenir i desenvolupar la Diputació del General i altres institucions locals en aquesta qüestió. També es fa una aproximació al servei d'armes dels catalans als exèrcits de la Monarquia Hispànica fora de Catalunya. Es comprova que van ser presents a les conquestes i accions de defensa de les places nord africanes, en les tropes permanents als estats italians, i fins i tot a Flandes. Finalment també es tracten en el aquest capítol els mitjans militars utilitzats en la lluita contra el bandolerisme, a més de la relació entre aquest fenomen i l'exèrcit a través de les remissions de bandolers a canvi del servei en el segon.L'exposició del tercer aspecte dels allotjaments es fa de forma cronològica des dels inicis de l'Edat Moderna fins a la guerra dels Segadors. Igualment s'aprofundeix en el significat fiscal del fenomen a partir del plantejament que en va fer Eva Serra, autora que va considerar els allotjaments un expedient fiscal de la corona a Catalunya gens menyspreable si se li afegien altres com la tala de llenya per a la fàbrica reial de galeres, els carretatges fins a les Drassanes de Barcelona i els bagatges o transport de pertrets militars i de soldats pel territori. També se'n fa l'anàlisi de les implicacions polítiques, tant des d'un punt de vista legal com institucional. La suma dels tres aspectes permet establir un marc de referència per a situar el paper de Catalunya en l'estructura militar de la Monarquia Hispànica des de principis de l'Edat Moderna fins a la guerra dels Segadors de forma més precisa que la que fins ara era possible fer. / The content of this thesis is divided into three aspects: the fortifications, soldiers and troops accommodations. The aproach to the first aspect begins to know how the Catalan fortifications accused the introduction in early modern age of construction methods derived from the set of innovations wich is known as the Military Revolution. Another issue that is discussed is the deepening of the financial implications of this new form in Catalonia in order to build strengths from 1497 until the immediate war of the Reapers (Segadors). Regarding the second aspect of the soldiers it is made a new classification model of troops present in Catalonia before the war of the Reapers. Then it's possible to see the evolution of military administration model described by Ian A. Thompson set for the monarchy, paying special attention to the description of systems and methods of mobilization leads to Catalonia. It also describes the competencies throughout the modern age had developed the Diputació del General and other local government institutions on this issue. About the Catalans weapon service in the armies of Hispanic Monarchy outside Catalonia checks that they were present in all battle theatres where that fought. Finally this chapter focuses in the military units used against banditry. The approach to the third aspect of the troops accommodations is chronologically made along the period treated. But also deepens the meaning of the fiscal phenomenon, as well as analysis of its political implications, both from a legal standpoint and institutional. In short the sum of the three aspects can establish a framework to place better than has been done untill now the role of Catalonia in the military structure of the Hispanic Monarchy since the beginning of the Modern Age to the war of the Reapers.

The first chapter of this thesis examines the textual transmission of Pu Songling's collection of tales, Liaozhai zhiyi, and through a study of extant manuscripts and editions concludes that in its original format the work consisted of eight volumes. After a review of evidence for dating the composition of the collection, the two volumes of earliest and latest date are identified and their contents analysed. There is traced a pattern of development from relatively simple supernatural and romantic stories in Pu's early work to more complex character configurations in the later stories, where social criticism also plays a more conspicuous role. The second chapter focuses on the life and times of Pu Songling and discusses the process by which the social realities of Shandong in the early Qing period - famine, military campaigns, bandit raids - and particular aspects of the author's personal experience - examination failure, observation of administrative abuses, professional activities, and family and personal relations - intrude persistently into his stories. Special attention is paid to Pu's examination career and the institutional factors which impeded his progress; his criticisms of the selection system are shown to be qualified by passive acquiescence. The third chapter questions conventional definitions of Liaozhai zhiyi's place in literary tradition. After a survey of the Classical tale from l500 to l700, it is demonstrated that Pu's work can be distinguished from the early-Ming story, and should be regarded as a development of existing trends in late-Ming and early-Qing fiction. In its romantic orientation, realistic detail, and prose style, Liaozhai zhiyi has a kinship with its immediate literary forebears. What links it has to vernacular fiction concern thematic and descriptive emphases rather than the occasional use of colloquialisms. Methods of determining the derivation of plots and motifs in Pu's tales are critically examined, and a distinction is drawn between analogues and written sources.

La presente investigación estudia la serie de once cuadros de La Pasión de Cristo del Convento de San Francisco de Lima atribuidas al artista flamenco Pedro Pablo Rubens. Este trabajo pretende generar nuevos aportes a los dos grandes vacíos que dicho objeto de estudio presenta: la ausencia de documentos de su llegada a Lima y la falta de firma del responsable del taller. Para este fin se revisarán las dos propuestas de autoría más divulgadas, como son la de Ugarte Eléspuru y la de Saldías Díaz, con el objeto de contrastarlas a los escasos documentos encontrados alrededor de este enigmático conjunto, a saber, la relación escrita por Fray Juan de Benavides en 1674 y el texto redactado por Fray Fernando Rodriguez Tena en 1773. Este proceso se complementará con un trabajo de atribución para contrastar cada pintura con la producción de los artistas más cercanos al periodo de producción de Rubens, desde discípulos como Van Dyck hasta seguidores como Jordaens. Por último, se hace empleo de las técnicas de análisis fotográfico bajo la luz ultravioleta e infrarroja para conocer más detalles respecto al estado de las pinturas y estudiar los detalles ocultos a la simple inspección ocular. Como resultado de todo este proceso se concluye que la serie se encuentra erróneamente atribuida a Rubens, sin embargo, se atribuye la autoría a un artista flamenco desconocido, pero, altamente vinculado a su taller y que debió trabajar durante los años posteriores a la muerte de Rubens. Así mismo, además de proponer una nueva nomenclatura para cada una de las pinturas de la serie, se ha podido establecer que este encargo debió arribar al convento entre los años 1654 y 1670 teniendo como principales encargantes al matrimonio de Antonio Clavijo y Beatriz Altamirano. / Tesis

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