This diploma thesis deals with patronage of the Schwarzenberg family in the 18th century over the parish of Němčice, which fell into the Netolice Manor, and tries to describe the patronage administration of the Schwarzenbergs in general. For basic explanation of its topic the thesis is prefaced by chapters about the patronage in general and the history of Němčice and of the local parish. Basic spheres of the patronage of the Schwarzenberg family over parishes in their manors (on the example of the parish of Němčice) are presented after that. This thesis studies the rights of patronage primarily with respect to the administration. It also deals with the symbolic manifest of the patron's authority and focuses on the analysis and interpretation of the most important types of documents of the patronage administration and communication of the patronage offices. Next chapters deal with founding of the parish of Němčice as an example of parish foundation and with its incomes. They also analyze granting of presentations, installations of the parish priests, involvement of the patronage officers in canonical visitations and with the pendency of the estates of the deceased parish priests. The addendum supplements the text of this thesis by an edition of the founding charter of the parish of Němčice, by a table of local parish priests and by reproductions of some sources.

The aim of this study is to offer a description and evaluation of the ceremonial carriages collections preserved in museums across Bohemia and Moravia, and to put them in the context of European artistic and artisan production in the 16th - 18th century. The study provides an overall account of the development of carriage from technical, as well as art history angle, together with the necessary overview of the issues of courtly hierarchies, ceremonials and visual demonstrations of the modern aristocracy, leading ultimately to the transformation of a simple personal mode of transport into a pompous work of art. Many important Baroque artists took part in carriage construction and decoration, and this study attempts to ascertain the extent of their contribution in this area. By presenting a descriptive summary of the history of the ceremonial carriages found in the collections in Bohemia and Moravia, and providing a comparison study with such carriages from other European countries, we can assert their position within the context of Europe-wide museum collections, as well as provide the opportunity for foreign scholars to take the Czech collections into account in their research.

This dissertation seeks to retrieve a crucial aspect of the spiritual heritage of Anne Dutton, her Trinitarian spirituality as it was developed in the historical context of eighteenth-century Trinitarian controversies in England and especially the Particular Baptists’ defense of the Trinity. It argues that Dutton’s Trinitarian spirituality is not only doctrinally orthodox, but also full of doxological devotion and practical comfort. It typifies the 1689 London Baptist Confession’s statement about the Trinity being the foundation of “communion with God and comfortable dependence on him.” The first three chapters serve introductory and biographical purposes. Chapter 1 introduces the purpose of the thesis, the primary sources to be examined, and the organization of the dissertation. Chapter 2 presents a historical literature review of Dutton and her works. Chapter 3 sketches a portrait of Dutton in the four biblical images of the sinner, sojourner, servant and saint. Chapter 4 supplies the historical context for Dutton’s Trinitarian spirituality. It attends to both the Trinitarian controversies in eighteenth-century England and the defense of the Trinity by such Particular Baptist ministers as John Gill, Benjamin Beddome, Benjamin Wallin, and Andrew Fuller. Chapters 5 and 6 focus on the nature and work of the Trinity. Chapter 5 presents Dutton’s thought about the ontology of the Trinity, which highlights the co-deity and co-equality of the Father, Son, and Spirit. Chapter 6 studies her doctrine of the work of the Trinity. In addition to the tripartite work of the Father in election, the Son in redemption, and the Spirit in particular application, attention is also given to Dutton’s expostulations of the adoption of the Father, advocateship of the Son and the sealing of the Spirit. Both the distinctive work of the triune God and their unity are underscored in the economy of human salvation. Chapters 7 and 8 deal with Dutton’s application of the Trinity in Christian experience. Chapter 7 examines her view of communion with the triune God primarily from her work, Walking with God and from comparison with John Owen’s work on the topic. The ways of this communion, which entail the primary way of Christ and the derivative ways of faith, worship, providence, and holiness are then illustrated by her spiritual autobiography. Chapter 8 discusses Dutton’s use of the Trinity in her epistolary counseling of the afflicted souls. They were directed to depend on the sovereign grace of the Father, the love of the Son, and the comfort of the Spirit. This dissertation concludes with a call for re-centering Christian devotion and practices, such as worship, education, and counseling, on the Trinity as the way to revive the Christian life in praxis as well as in doctrine.

ABSTRACT ORDER AND ARDOR: THE REVIVAL SPIRITUALITY OF REGULAR BAPTIST OLIVER HART, 1723–1795 Eric Coleman Smith, Ph.D. The Southern Baptist Theological Seminary, 2015 Chair: Dr. Michael A. G. Haykin This dissertation argues that Regular Baptist Oliver Hart shared the revival spirituality of the Great Awakening, and that revival played a greater role in Regular Baptist identity than is often suggested. Chapter 2 demonstrates that Hart’s life and ministry were profoundly shaped by the evangelical revival of the eighteenth century. He was converted in revival as a young man, promoted revival at the height of his ministry in Charleston, South Carolina, and longed for revival in his latter years in Hopewell, New Jersey. Chapter 3 examines Hart’s revival piety. The theology of the Christian life that undergirded his ministry was the evangelical Calvinism that united Christians from across denominational lines during the Great Awakening. Chapter 4 focuses on the most intense personal experience of revival in Hart’s ministry, an awakening among the youth of the Charleston Baptist Church in 1754. An analysis of Hart’s diary during this period proves that it belongs to the emerging genre of eighteenth century “revival narrative,” epitomized in Jonathan Edwards’s A Faithful Narrative. Chapter 5 shows that Hart’s spirituality was marked by the evangelical activism of the Great Awakening, as illustrated by his efforts in evangelism, gospel partnerships, education, and politics. Chapter 6 demonstrates that Hart and a number of other Regular Baptists shared in the evangelical catholicity of the revival. While Hart embraced the ecumenical impulse of the awakening to promote revival, he also maintained deep Baptist convictions.

This dissertation examines the preaching ministry of George Whitefield as a precursor to presuppositional apologetics in relation to the cultural shift of the Enlightenment. The presupposition of the authority of the Word of God is the concept that bridges Whitefield’s preaching and presuppositional apologetics. Chapter 1 presents the research questions narrowing the topic. This section also presents background information as well as methodology of this work. Chapter 2 describes the biographical information of Whitefield. The cultural influences marked his life from an early age, but it was the influence of John and Charles Wesley that guided his faith. Chapter 3 outlines the thought of the Enlightenment period. Specifically, rationalism as a means to discerning and living by truth. Philosophical influences such as Locke, Newton, Hume, Descartes, and Kant are overviewed. The First Great Awakening was the result of many cultural and theological ideas boiling over simultaneously. People were craving truth, direction, and a sense of authority. The Awakening highlighted the movement of the Holy Spirit theologically and a resurgence of biblical truth culturally. The work of John Wesley and Jonathan Edwards is also detailed in regards to their efforts to combat rationalism as sole priority in worldview thinking. Chapter 4 highlights the apologetic within the polemic of Whitefield. His Calvinistic theology is identified and connected to the Articles of faith for the Church of England. This leads to the idea of presuppositional apologetics found within his preaching. Cornelius Van Til, the father of presuppositional apologetics, is also overviewed to show the distinct connection between Whitefield’s thoughts in holding a high view of Scripture and what becomes presuppositional apologetics. Chapter 5 examines the sermons of Whitefield for specific content related to evangelical pushback against Enlightenment thought. Key propositions of the Enlightenment regarding authority, morality, and ultimate truth are answered within the preaching of Whitefield. Each are examined thoroughly. Chapter 6 presents a conclusion regarding the apologetic of Whitefield in his preaching towards the Enlightenment. It reveals connections between the presupposition of the authority of the revelation of God and his polemic. Other connections between the reformer John Calvin and the father of presuppositional apologetics, Cornelius Van Til, are also noted.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-07-06T12:53:45Z No. of bitstreams: 1 arquivo total.pdf: 5018413 bytes, checksum: 45b07a02590c0529ba7483b2f61e0d02 (MD5) / Made available in DSpace on 2016-07-06T12:53:45Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 5018413 bytes, checksum: 45b07a02590c0529ba7483b2f61e0d02 (MD5) Previous issue date: 2015-02-24 / This MsC thesis analyzes the circulation of Lusitanian images in Overseas through tiles panels which shows the Joseph of Egypt’s saga, whose authorship is attributed by experts to the Portuguese tile master Teotónio dos Santos – active in Lisbon during the 1730’s – and is installed in the Franciscan convent built in the Paraíba captaincy during the colonial period, between the 17thand 18thcenturies. Walking through the fields of Cultural History, the Historical Culture and specialized historiography of tiles art, focusing on Paraíba, this work intends to establish a comparison of others panels of this craftsman with the same theme, some of them preserved in Lusitanian Atlantic islands and in Portugal itself, tracing its author style trajectory, trying to identify the iconographic sources of his work and also discusses the movement of iconographic models in Portuguese America. / Esta dissertação pretende analisar a circulação de imagens lusitanas no Além-mar, através do silhar de azulejaria lusitana que trata da saga de José do Egito, cuja autoria é atribuída por especialistas portugueses ao mestre azulejar Teotónio dos Santos – atuante em Lisboa na década de 1730 – e que se encontra instalado no convento franciscano erguido na sede da Capitania da Paraíba durante o período colonial, entre os séculos XVII e XVIII. Percorrendo as searas da História cultural, da Cultura Histórica e da historiografia especializada sobre a arte do azulejo mundo, com foco na Paraíba, pretende-se estabelecer uma comparação da dita obra com outras do mesmo artífice, algumas delas preservadas nas ilhas lusas do Atlântico e no próprio Portugal, traçando a trajetória do estilo de seu autor, ao mesmo tempo em que tentamos abarcar as fontes iconográficas de seu trabalho e, desse modo, perceber de forma mais aprofundada a circulação de modelos iconográficos pela América portuguesa.

The purpose of this study is to investigate the Gothic novel, a much neglected and misunderstood school, as a unified literary cycle. Attention has been centred on the domains or sub-systems of the novel where cultural models and generic traits are particularly important and distinguishable: character, plot (with the necessary evocation of a fictional world), theme and symbol. No apology is offered for the many quotations: far too little recourse is made to the texts in most discussions of the Gothic novel and this has all too frequently led to misapprehensions and unfounded generalizations. The opening section places the genre in a historio-literary context, and centres attention on the major novels, while the final section opens additional perspectives on the cycle, suggests the importance of the Gothic school for modern times, and illustrates the inevitability of its central vision of evil.

Orientador: Paulo Augusto Castanha / Banca: Vitor Gabriel de Araújo / Banca: Mônica Lucas / Resumo: Esta pesquisa tem como objetivo traçar um panorama da prática interpretativa ligada ao repertório vocal que existiu no Brasil entre 1730 e 1850, sob o ponto de vista das mudanças estéticas e funcionais que esse gênero musical tem sofrido desde suas primeiras execuções na década de 1950. A partir do levantamento por amostragem de registros fonográficos brasileiros realizados entre 1957 e 2005, organizado em discografia e listas, localizamos e comparamos por meio de fichas obras que foram gravadas mais de uma vez por diferentes intérpretes e em épocas distintas. Essa comparação nos revelou uma diversidade de soluções de ordem prática e interpretativa que tem sido adotada por músicos brasileiros para a execução de um repertório que durante décadas foi considerado desconhecido. A escassez de referências histórico-musicais, indispensáveis para uma melhor compreensão da música setecentista e oitocentista, dificulta a prática interpretativa desse repertório e uma tradição musical que se perdeu ao longo do tempo faz com que não exista consenso entre as diferentes gravações de uma mesma obra. Este trabalho conclui que não existe uma escola de interpretação da música praticada no Brasil entre 1730 e 1850, e que nos últimos 50 anos, por opção ou desconhecimento, cada músico tem adotado soluções particulares de acordo com sua realidade musical disponível. / Abstract: This study has as its objective the mapping out of a panorama of interpretative practice linked to the vocal repertoire, which existed in Brazil between 1730 and 1850, as it relates to the aesthetic and functional changes that this music has undergone since its first performances in the 1950's. From the survey carried out with Brazilian recordings done between 1957 and 2005, which have been organized in the discography and repertoire lists, we located and compared those that have been recorded more than once, by different interpreters and at distinct periods of time. This comparison disclosed a variety of solutions, both practical and performatic, which were adopted by Brazilian musicians to perform this repertoire, considered unknown for decades. The scarcity of historic and musical references, as indispensable as they are for the best understanding of the music of the 18th and 19th centuries, makes the interpretative practice of this repertoire more difficult, added to the loss of the musical tradition through time. For these reasons, there does not exist a consensus between the different recordings of the same piece. We conclude that a specific school of musical practice in Brazil between 1730 and 1850 does not exist and that in the last fifty years, as a result of their own option or out of ignorance, each musician or musical group has adopted his own particular solutions in accordance with the musical reality available. / Mestre

CAPES / Nesta dissertação é apresentado o Problema da Basileia cuja resposta tornou Leonhard Euler famoso. Apresenta a prova de Euler que por muito tempo continha uma passagem tida como incorreta, mas que após o Teorema da Fatoração de Weierstrass foi aceita. Aborda também outras resoluções para o problema, sua representação geométrica e uma aplicação. Discute também, por meio deste problema, a importância da História da Matemática para o professor desta disciplina. / In this study we present the Basel Problem whose answer has Leonhard Euler famous. Presents the Euler’s Proof which long contained a passage regarded as incorrect, but that after the Weierstrass Factorization Theorem was accepted. Also addresses other resolutions to the problem, its geometric representation and an application. It also discusses, through this problem, the importance of the History of Mathematics for the teacher of this discipline.

The lecture was given on July 27th, 1981. The discussion dealt with two anonymous eighteenth-century works: a Symphonia, Anon. 32b in D for two trumpets, two oboes, two violins, viola and bassoon; and a Concerto, Anon. 3 in D for trumpet, three oboes, and two bassoons. Both works are from part-books, originally owned by the Prussian General Georg von Lilien (1652-1726), which are now part of the "Sonsfeld Collection" housed in the Bibliotheca Furstenbergiana at Schloss Herdringen, W. Germany. The lecture included an examination of the origin of the manuscripts, the historical background for the works, and aspects of mixed style in the music. It also contained an analytical discussion of each work. Both works were then performed. In addition to the lecture recital three other recitals of music for solo trumpet were given. The first recital was given on November 21, 1977 and included the Concerto for Trumpet by Johann Nepomuk Hummel, and works of Henry Purcell, Halsey Stevens, and Eugene Bozza. The second recital was presented on July 3, 1978. It featured the Concerto in A('(FLAT)) by Alexander Arutunian along with works of Georges Enesco, Jean Rivier, and Allen Molineux. The third recital included works of Ernest Bloch, J. G. B. Neruda, Alexander Goedicke, and Fischer Tull. It was given on March 3, 1980. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation, at North Texas State University library.