From the seventeenth century, North America has experienced a succession of powerful and nationally significant revivals. Such movements of the Spirit emanated from the seed of a reformed tradition that was maintained by the Pilgrim Fathers, Scots and Irish hesbyterians, Dutch Reformed and German Lutherans. For example, this heritage was foundational to the First Great Awakening, which produced a remarkable turn in favour of the Christian faith among the colonies during 1730-1750. Furthermore, following the American War of Independence this reformed heritage became the ground for promoting the Second Great Awakening, another movement of the Spirit that continued for a period of over twenty years. However in the 1820-30's, this heritage was seriously confronted by a different form of revivalism. During this decade, new theologicaVphilosophical thinking, together with an updated method of evangelism, began to upset an accepted and traditional understanding of revival and revivalism. Existing friendships or loyalties between pro-revivalists were tried and tested and their eventual division over the issues meant that two alternative or separate views of revivals became common. The traditionalists tended to emphasize the sovereignty of God in revival, whilst the innovators appealed more to the use of human means in promoting 'outpourings of the Spirit.' This thesis will attempt to answer a central question: Can the church promote a revival? Is revival only, or always, directly attributable to God's sovereignty? Does God operate outside the employment of human agency in revival? If not, then at what level, to what degree, or by what means, does or can the church actively participate in the process of revivals? These questions will be considered £roman overview of American revivalism during 1730-1860. This thesis will aim to present a case, based on biblical exegesis and historical illustration. / Thesis (Ph.D. (Church and Dogma History))--North-West University, Potchefstroom Campus, in association with Greenwich School of Theology, U.K., 2005.

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-29T03:23:54Z (GMT). No. of bitstreams: 1 Fonseca_SoniaMaria_M.pdf: 5560710 bytes, checksum: ab92e58c179621df3938c6d164c09a97 (MD5) Previous issue date: 2001 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História

清代乾嘉时期書家王文治（1730-1802）為帖派健將，以一手瀟灑流麗的書法垂譽書史，有"淡墨探花"之稱。其學書歷程漫長、取法廣博，由明末董其昌（1555-1636）開始上溯晉唐，終以王羲之（303-361）為代表的晉人書風作最終堂奧，更直言"書以右軍為宗"。在眾多書法經典中，尤對《蘭亭序》情有獨鍾，認為"禊敘一帖關乎書法源流"，將之置於最關鍵的位置，成為一生臨習不斷的典範。其一生所見、所學、所跋《蘭亭》版本眾多，又以"定武蘭亭"致為鍾愛，自言研究超過二十年。此種書學取態，非但是個人性情之因，亦與當時皇家和文人圈締造的蘭亭風尚有關。 / 本文核心共包含四個篇章：第一章"蘭亭風尚"，從清代前中期皇家和文人圈對《蘭亭序》的刻藏、研究和臨寫，來窺看當時的蘭亭之風。指出時人對蘭亭修禊的效仿已變成雅集的一種，是蘭亭風尚中最為突出的表現之一。第二章"蘭亭情結"，重組三次武昌借園的修禊，集中環繞乾隆五十八年（癸丑，1793）春舉行的"借園修禊"。從王文治的《蘭亭》集詩及書畫題跋中，尤其挪用"歲在癸丑，暮春之初"的年款，探究他對《蘭亭》的深厚情結。第三章"蘭亭品鑒"，先論王文治在考據時風下不依考據，純以"品韻"鑒別書畫的因由與方法；繼而梳理他品鑒過的《蘭亭》版本，分析他"禊敘一帖關乎書法源流"之論背後的含義，並討論他對不同《蘭亭》版本的看法。最後，指出不論何本王文治都視為原帖化身，將之與王羲之緊扣。第四章"蘭亭之路"，則重塑王文治在書壇董趙書風籠罩下，以董其昌為起步，借鑒歷代書家學王之徑，逼近王羲之，進入《蘭亭序》的臨池自運過程。特別詳細分析他如何通過對《蘭亭》的臨寫、集詩和集聯來演繹《蘭亭》，將之化入腕底，最終自出機杼，在清代書壇芸芸帖學高手中脫穎而出。從王文治對《蘭亭序》的取態和學習，可窺看在金石考據學方興未艾、碑學萌芽的時代，《蘭亭》的魅力和位置，從而更全面瞭解十八世紀中國書壇面貌，比起傳統認識上的碑興帖衰，來得更多元並蓄。 / This dissertation is a study of the 18th century Chinese calligrapher, Wang Wenzhi (1730-1802). Being famous for his elegant and graceful brushwork with relatively light ink tone, Wang Wenzhi advocated the Model-book School (tiexue) throughout his life. He regarded the late Ming master Dong Qichang (1555-1636) as his primary source in the study of the Two Wangs tradition. Starting from the works of Dong Qichang and the other calligraphy masters preceding him, he finally traced back to the style of Wang Xizhi (303-361), who was his target. Among all the classical works of calligraphy, the Preface to the Orchid Pavilion Gathering (Lanting xu) by Wang Xizhi was his favorite, which he regarded, more than any other, to be the origin of Chinese calligraphy. Wang Wenzhi has seen, studied, and practiced a large number of different versions of the Lanting xu in his life. This interesting phenomenon is closely related to his time, which was a "Lanting fashion" period. / This dissertation includes four chapters. The first one reconstructs the "Lanting fashion" in the 18th century. During this period, both emperors and scholars had great interests in collecting, reproducing and copying the Lanting xu. They also loved to follow and imitate the Orchid Pavilion gathering. The second chapter focuses on the three literati gatherings in the Jie Garden in Wuchang during the 1790s. It especially focuses on how Wang Wenzhi expressed his passion for the Lanting xu during the third gathering in 1793. The third chapter studies Wang Wenzhi’s principle of connoisseurship in calligraphy and painting, and analyses his attitude towards different versions of the Lanting xu. The fourth chapter is about how he learned from and practiced copying the Lanting xu. This dissertation, finally tries to argue that the practice of calligraphy in the 18th century was more varied and diversified than previously thought, the Model-book School being at its most glorious. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 陳冠男 = Wang Wenzhi and Preface to the Orchid Pavilion Gathering / Chan Kwun Nam. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 177-202). / Abstracts also in Chinese. / Chen Guannan = Wang Wenzhi and Preface to the Orchid Pavilion Gathering / Chan Kwun Nam.

Melchiorre Cesarotti (1730-1808) produced a blank verse translation into Italian of the rhythmic prose of James Macpherson's Ossian. On the basis of the numerous amendments to be found the three subsequent Italian editions of the Ossian (Padoa 1763 and 1772, Pisa, 1801), it could never be ascertained which English editions had served as source text for Cesarotti's translations and whether Italian variations could be led back to similar variations in the the English texts, or whether they were rather the independent and unwarranted work of the Italian translator. Our first successful search enabled us to clarify the nature of Cesarotti's role, somewhere between that of a translator and of a deft stylist looking for a new language for Italy's infant Romanticism. The first part of this dissertation is explanatory, critical and historical, it is followed by thorough appendixes, listing variants and cross-references leading back to the English original texts. The whole makes up a philological apparatus which will be put to use in the forthcoming publication of the Italian and English ossianic texts, side by side.

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Sebastien de Brossard (1655-1730) was a French priest, a zealous collector and historian, a musician of merit, and the author of one of the first dictionaries of musical terminology, the Dictionnaire de musigue of 1703. Largely self-taught in music, Brossard studied theology and philosophy at Caen. He was appointed curate at Strasbourg A in 1687 and maitre de musique in 1689. In 1698 he was made grand chapelain and mattre de musique at Meaux, where he remained until his death. His complete works and immense personal library are contained in the Bibliotheque Nationale in Paris. The first edition of Brossard's solo motets was published in 1695 under the title Elevations et motets a voix seule, avec la basse continue. The title Prodromus Musicalis was used for the second edition, published in 1702, and may be loosely translated "Musical Forerunner" or "Musical Prelude." The motets contain a vocal line with text and a figured bass. The present edition presents a faithful rendering of the figured bass and was prepared from a second edition copy contained in the North Texas State University Music Library. In order to enhance the performance and understanding of the eight motets, much of the prefatory material included in the first edition is translated, the formal and tonal structures are analyzed, and English versions of the texts are given. The many ornaments emplayed in the vocal line are categorized, and their execution is explained.

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<p>This essay concerns itself with the historical background to what it refers to as <em>existential pedagogy</em>, which designates the way in which existential literature presumably seeks to affect the reader so that he experiences his existence as isolated, and how this is done through the employment of harsh and uncompromising language and rhetorical devices. The assumption underlying this project is that there is a pedagogical purpose to the existential manner of de-livery, and this essay traces this purpose back to how in the 18th century certain thinkers – Johann Georg Hamann and Friedrich Schlegel – came to look back at Socrates rhetorical en-deavour in order to perfect their own desire to place the question of ‘meaning’, ‘knowledge’ or ‘truth’ into the hands of the receiving individual – the reader of a text or the student of a teacher. By studying the manner in which Hamann and Schlegel used this Socratic rhetoric in their own authorship, I seek to establish how they considered it vital that the recipient experi-enced himself as thoroughly alone in order to cultivate his ability to infuse meaning into the world. The essay continues to examine how Sören Kierkegaard – in his capacity as the mythi-cal ‘father of existentialism’ – conceived of the Socratic rhetoric as lacking in sufficiently accounting for the despair and sinfulness he saw as being intertwined with experiencing one-self as lonely and ignorant. By studying how Kierkegaard approached the reader in his pseu-donymous and existential literature, the essay makes it clear that the existential pedagogy util-ized by Kierkegaard works in order to simultaneously infuse the reader with a feeling of isola-tion and ignorance, as it, through repeatedly focusing on the despair involved in that condi-tion, provoked the reader into taking action, despite (or, existentially, because he was) being taught that he, on account of his inevitable loneliness and ignorance, could not.</p>

This essay concerns itself with the historical background to what it refers to as existential pedagogy, which designates the way in which existential literature presumably seeks to affect the reader so that he experiences his existence as isolated, and how this is done through the employment of harsh and uncompromising language and rhetorical devices. The assumption underlying this project is that there is a pedagogical purpose to the existential manner of de-livery, and this essay traces this purpose back to how in the 18th century certain thinkers – Johann Georg Hamann and Friedrich Schlegel – came to look back at Socrates rhetorical en-deavour in order to perfect their own desire to place the question of ‘meaning’, ‘knowledge’ or ‘truth’ into the hands of the receiving individual – the reader of a text or the student of a teacher. By studying the manner in which Hamann and Schlegel used this Socratic rhetoric in their own authorship, I seek to establish how they considered it vital that the recipient experi-enced himself as thoroughly alone in order to cultivate his ability to infuse meaning into the world. The essay continues to examine how Sören Kierkegaard – in his capacity as the mythi-cal ‘father of existentialism’ – conceived of the Socratic rhetoric as lacking in sufficiently accounting for the despair and sinfulness he saw as being intertwined with experiencing one-self as lonely and ignorant. By studying how Kierkegaard approached the reader in his pseu-donymous and existential literature, the essay makes it clear that the existential pedagogy util-ized by Kierkegaard works in order to simultaneously infuse the reader with a feeling of isola-tion and ignorance, as it, through repeatedly focusing on the despair involved in that condi-tion, provoked the reader into taking action, despite (or, existentially, because he was) being taught that he, on account of his inevitable loneliness and ignorance, could not.