Thesis (M.C.S.)--Regent College, 1996. / Includes bibliographical references (leaves 94-95).

The inclusion of representational imagery in a sacred context is extremely rare in the history of Islamic art. This dissertation examines the evolution of the Ottoman En'am-i Serif, a group of manuscripts dating from the sixteenth to the nineteenth centuries, in which sacred text was illuminated by sacred art. In the early period, the content of these prayer books consisted of entire chapters of the Qur'an and various prayers. In the seventeenth century, calligraphic images known as hilye were added, consisting of textual descriptions of the Prophet Muhammad's physical and moral characteristics. In the late eighteenth and nineteenth centuries, representational images of the Prophet's mantle, hand, footprint, sandal, sword, and other relics were included for the sake of their baraka, the Divine grace that emanates from God and passes to ordinary people through the prophets and saints, or the objects that they touch. That Ottoman Islam was heavily influenced by Sufism is apparent in the En'am-i Serif. Its calligraphers and patrons were members or affiliates of the various Sufi orders, and they were also frequently highly placed members of the ruling class. At the same time that the Ottomans were defending themselves against the rise of European nationalism, Islam came under attack from within as the Wahhabi movement challenged the Ottoman sultan's role as protector of the holy cities of Mecca and Medina. It is not surprising that Sufi calligraphers chose this precise moment to transform a simple book containing Qur'anic text and prayers into an elaborate manuscript combining sacred text with images of sacred places and objects. In addition to reinforcing the spiritual aspects of Islam that had come under attack from the fundamentalist movement, the artists of the En'am-i Serif also made a strong political statement by choosing to present these images in such a way as to highlight the Ottomans' role as the rightful inheritors of the caliphate and protectors of Islam. / Graduate

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Thesis (Th. M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves [63]-68).

Thesis (Ph. D.)--University of Notre Dame, 2010. / Thesis directed by Susannah Monta for the Department of English. "July 2010." Includes bibliographical references (leaves 348-364).

Thesis (M.A.)--University of Wyoming, 2007. / Title from PDF title page (viewed on Sept. 24, 2007). Includes bibliographical references (p. 67-70).

Thesis (Th. M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves [63]-68).

Thesis (M. Th.)--Catholic Theological Union, 1985. / Includes bibliographical references (p. 51).

Raja Krishnacandra Ray (1710-1782) was a relatively high-ranking aristocrat in eastern India who emerged as a local culture hero during the nineteenth century. He became renowned as Bengal's preeminent patron of Sanskrit and as an ardent champion of goddess worship who established the region's famous puja festivals, patronized major innovations in vernacular literature, and revived archaic Vedic sacrifices while pursuing an archconservative agenda as leader of Hindu society in the area. He is even alleged in certain circles to have orchestrated a conspiracy that birthed British colonialism in South Asia, and humorous tales starring his court jester are ubiquitous wherever Bengali is spoken. This dissertation explores the process of myth-making as it coalesced around Krishncandra in the early modern period, emphasizing the roles played by classical ideals of Hindu kingship and print culture as well as both colonial and nationalist historiography.

During the period between 1640 and 1700, over forty works were produced by authors identifying themselves as “T. S.” In the field of early modern literary studies, one T. S. has been particularly important to scholars because of this author’s imitative version of John Bunyan’s popular allegory titled The Second Part of the Pilgrim’s Progress (1682). This work by T. S., who has become known as Thomas Sherman, achieves minor success and prompts Bunyan to write his own authentic sequel. My research has uncovered an attribution history that identifies four additional texts—Divine Breathings (circa 1671); Youth’s Tragedy (1671); Youth’s Comedy (1680); Divine Breathings, the Second Part (1680)—and credits all of them to a Thomas Sherman. Of the five works attributed to this author, the most impressive printing history belongs to the earliest offering, Divine Breathings, or a Pious Soul Thirsting after Christ in a Hundred Pathetical Meditations, which appears in over 60 printings from 1671 to 1883 in England, Scotland, and North America. My research scrutinizes this attribution history and raises questions about identifying this T. S. as Thomas Sherman. Based on internal and external evidence, I argue that T. S. is not the author of Divine Breathings but establishes his authorial identity as an imitative writer who actively participates in the genre of Protestant meditational literature by providing sequels (i.e., Divine Breathings …the Second Part and Second Part of the Pilgrim’s Progress).