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There has been a great deal of research into Victorian religious ideas and organisations carried out in recent years. However, the research tends to focus on areas in which evidence is most manageable - that is, on denominations and sects which have a relatively limited and well-defined membership, or, if the Church of Ireland is concerned, on the activities of the professional full-time representatives of the Church, the clergy. In choosing to study the role of the laity in the Church of England, I have attempted to extend the circle of research a little further from the centre towards which it ordinarily tends to contract. [continued in text ...]

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Bibliography: leaves 456-478 / 478 leaves ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Education, 1992

This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.

The term, Elizabethan Settlement, when applied solely to the adoption of the Prayer Book in 1559 or the Thirty-nine Articles in 1563, is misleading. The final form of the Settlement was the result of a creative struggle which involved Elizabeth and her advisers, together with the bishops and the local populace. The bishops introduced the Settlement in their dioceses and began a process of change which involved the laity and the local clergy. Through the ensuing implementation process the ultimate form of religion in England was defined.

This thesis deals with the theology and development of the Evangelical Episcopalian movement in nineteenth-century Scotland. Such a study facilitates the construction of a detailed doctrinal and social profile of these Churchmen, hitherto unavailable. In the introduction an extensive investigation is provided, identifying individuals within the group and assessing their numerical strength. Chapter 2 shows the locations of Evangelical Episcopalian churches and suggests reasons for their geographical distribution. Chapter 3 investigates some sermons and writings of various clergy and laypersons, highlighting the doctrinal beliefs of Scottish Evangelical Episcopalians and placing them within the spectrum of Evangelical Anglicanism and showing affinities with Scottish Presbyterianism. Chapter 4 concerns the lifestyle of members of the group, covering areas such as marriage, family, leisure and philanthropy. Chapter 5 provides a numerical analysis of the social make-up of various congregations paying particular attention to the success achieved in reaching the working classes. Chapters 6 and 7 examine the issues faced by Scottish Evangelical Episcopalians in an age of increasing Tractarian and Roman Catholic activity. Topics covered include the theology of baptism and the communion service. The contrast between Evangelical belief and that of orthodox Scottish High Churchmen and Virtualists is clarified. Chapter 8 explains the factors contributing to the secession of D. T. K. Drummond from the Scottish Episcopal Church and the formation of the English Episcopal movement. Further disruptions are discussed in Chapter 9. Chapter 10 provides a detailed analysis of the development and eventual fragmentation of English Episcopalianism. Chapter 11 concludes the thesis with an evaluation of the contribution of English Episcopalianism to the history of the Scottish Episcopal Church and the reasons for its emergence. The thesis thus provides a detailed examination of the motives which drove the adherents of this important facet of nineteenth-century British Evangelicalism.

Corrigenda is pasted onto front fly-leaf. / Bibliography: leaves 357-370. / vii, 370 leaves : ill., maps ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of History, 1996?

Le présent travail s’intéresse à dix pièces écrites et jouées entre 1580 et 1625. Le corpus retenu inclut des pièces rédigées par Robert Daborne, Thomas Dekker, Thomas Heywood, Christopher Marlowe, Philip Massinger, Thomas Middleton, Samuel Rowley et William Shakespeare et Nathaniel Woodes. Cette étude tâche principalement de révéler en quoi les dramaturges de la Renaissance se sont appropriés et ont transformé des codes appartenant à la tradition de la disputatio médiévale afin de mettre en scène les dissensions religieuses de leur époque. Nous avons pris en compte deux acceptions du terme « dispute ». Il peut en effet être défini comme un débat formel et dialectique et comme la manifestation d’un désaccord violent entre deux personnes ou plus.La première partie étudie les éléments conflictuels que l’on trouve dans les scènes de dispute, observant comment les dramaturges mettent en scène les différents aspects du conflit théologique et se sont emparés de l’idée d’hybridité religieuse qui caractérise la période. Cette partie s’interroge sur la mesure dans laquelle la scène de dispute reflète mais aussi nourrit le conflit religieux. Toutefois, une seconde partie analyse ces dialogues et rencontres conflictuelles, souvent violents, comme une manière paradoxale de négocier une certaine forme de coexistence et de décréter une trêve. Une troisième partie se concentre enfin sur les procédés dramatiques mis en œuvre par les auteurs pour proposer une résolution du conflit et atteindre un compromis littéraire entre une forme artistique élitiste et populaire. Ce travail souligne également le lien entre une célébration de l’art du théâtre comme un art fondamentalement hybride et la représentation du conflit religieux à travers les scènes de dispute. / This study focuses on ten plays written and performed between 1580 and 1625. The corpus includes plays by Robert Daborne, Thomas Dekker, Thomas Heywood, Christopher Marlowe, Philip Massinger, Thomas Middleton, Samuel Rowley, William Shakespeare and Nathaniel Woodes. The primary aim of this work is to determine the extent to which Renaissance dramatists appropriated and transformed the old tradition of the medieval disputatio in order to stage the religious dissensions of their time. Two definitions of the word ‘dispute’ were considered. Indeed, it can be defined both as a formal dialectical debate and as a violent disagreement between two or more people.The first part explores the conflictual elements to be found in a scene of dispute, looking at how the playwrights staged the different aspects of the conflict and dealt with the idea of religious hybridity which characterises the period. This part questions the extent to which the scene of dispute reflects but also fuels the religious feuds. Nevertheless, the second part analyses these conflictual, and sometimes violent, encounters and dialogues as a paradoxical way to negotiate a certain form of coexistence and to call a truce. Finally, a third part focuses on the way the playwrights used drama to suggest a solution to the conflict and to reach a compromise between an elitist and a popular form of art. This study also explores the link between the vindication of the art of theatre as something fundamentally hybrid and the representation of the religious conflict through scenes of dispute.