This thesis is a comparative study of the theologies of the law in Martin Luther and John Wesley. Though Luther’s view of the law has been investigated by many Luther scholars, and Wesley’s view by a few Wesley scholars, no one has yet attempted to compare and contrast both theologians’ views of the law as a book-length project. This thesis contributes to scholarship, firstly, by investigating their theologies of the law in relation to subjects of systematic theology, namely, their views of God, Christology, Pneumatology, soteriology, anthropology, and Christian ethics. On the basis of a reliable examination of both theologians’ views of the law, this thesis also analyses the similarities and differences between them. For both theologians, the law was not just one subject among many, but an essential element that penetrated every topic they dealt with. This thesis makes clear the different motives and the characteristics of their theologies of the law in all of the subjects discussed in this thesis. Doing this, this thesis not only deals with long debated questions, such as whether Luther taught justification by imputed righteousness or by theosis, and whether he taught the so-called third use of the law, but also examines subjects which have not been fully explored, such as Wesley’s views of the three offices of Christ with regard to the law, and of the role of the Holy Spirit in revealing and enabling fulfilment of the law. To provide a contextual analysis, their theologies of the law have been considered in their respective historical and religious situations. In Luther's view, his reformation was an attempt to correct a human-centred religion of the Catholic Church characterized by intellectualism and moralism, which he believed was caused by misapplication and distortion of the law as meritorious cause. Employing Philip Watson’s theocentric motif, and Brian Gerrish’s emphasis on justification by faith and two kingdoms as a framework for interpreting Luther’s theology, this thesis demonstrates that Luther represented all aspects of God’s all-sufficiency, His absolute freedom, imputation of Christ’s righteousness, spiritual trials and comfort by the Holy Spirit, justification and sanctification by faith, human beings as earthly creatures, Christians as saints and sinners, two uses of the law in God’s two kingdoms, as countermeasures against a human-centred religion of the Catholic Church. In his own historical context, what Wesley aimed to correct was not only the Catholic Church’s legalism, but also the Protestant Church’s antinomianism which he thought Luther’s negative representation of the law caused owing to his over-reaction against the Catholic doctrine of meritorious salvation. On the foundation of Luther’s teaching of sola gratia, Wesley endeavoured to bring Luther’s negative view of the law back to a balanced theology of the law. Employing Kenneth Collins’ analysis of the two-fold axial theme in Wesley’s theology – holiness (holy love) and grace (free and co-operant) – as a framework for understanding Wesley’s theology of the law, this thesis shows that in all subjects of God’s works, the three offices of Christ, the witness and empowerment of the Holy Spirit, the relationship between faith and love, human beings as the image of God, and sanctification as renewal of person and cosmos, Wesley’s evangelical synergism makes room for the role of the law on the foundation of God’s grace.

Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2016-12-21T13:43:14Z No. of bitstreams: 1 Mariana Outeiro da Silveira.pdf: 2315185 bytes, checksum: 587698ab77823f396dc857adc5445e8b (MD5) / Made available in DSpace on 2016-12-21T13:43:14Z (GMT). No. of bitstreams: 1 Mariana Outeiro da Silveira.pdf: 2315185 bytes, checksum: 587698ab77823f396dc857adc5445e8b (MD5) Previous issue date: 2016-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation aims to investigate the connections between poetic and visual texts in Paranoia, written by Roberto Piva, which incorporate a photographic intervention by Wesley Duke Lee. The corpus of this study is Paranoia’s illustrated edition (2000), organized by the artists themselves and also by the notorious publisher Massao Ohno. Theoretically, this research is based on the concept of intersemiotic translation, originally formulated by Roman Jakobson and later developed by Julio Plaza, and considers studies that have innovative approaches related to this topic. Expertise about Surrealism and Beat poetry also interests our research, especially ideas presented by Andre Breton, Walter Benjamin and Allen Ginsberg. Methodologically, this study has the intention to investigate bibliography and documents, the latter related to the Wesley Duke Lee’s archives. The relevance of this research is tied to the current recognition of Piva’s work by scholars and critics, who have considered him a representative of the late historical Brazilian avant-gardes from the middle of the XX century. Due to its photographic intervention, it is necessary to address Paranoia in a wide-ranging area, outside the Literary field / A presente dissertação visa investigar as relações entre texto poético e texto visual na versão da obra Paranoia de Roberto Piva que incorpora a intervenção fotográfica do artista plástico Wesley Duke Lee. O corpus da pesquisa compreende a edição ilustrada de 2000 de Paranoia, organizada pelos artistas em questão e também pelo célebre editor Massao Ohno. Teoricamente, a pesquisa faz apelo ao conceito de tradução intersemiótica, tal como originalmente formulado por Roman Jakobson e posteriormente desenvolvido por Julio Plaza, e aos estudos em torno destas abordagens inovadoras. Dados os estilos vanguardistas dos artistas em questão, interessam-nos também expertises sobre o surrealismo e a poesia beat, a exemplo daquelas propostas por André Breton, Walter Benjamin e Allen Ginsberg. Metodologicamente, trata-se de perquirição bibliográfica e documental, esta última envolvendo o acervo de Wesley Duke Lee. A relevância desta pesquisa prende-se ao reconhecimento atual da obra de Piva, no âmbito da universidade e da crítica, a sua especial maneira de representar as vanguardas históricas brasileiras tardias dos meados do século XX e, dada sua recriação fotográfica, à necessidade de abordá-la de modo mais abrangente, fora do campo específico das Letras

This work examines the construction of suffering in the hymns of Charles Wesley, co-founder of the Methodist movement. Wesley wrote thousands of hymns, many of which focus on the experience of overwhelming pain. As eighteenth-century men and women sang or read Wesley's hymns, they were encouraged to adopt a distinctive approach to suffering, one which drew on long-standing elen1ents within Christian tradition as well as new patterns in eighteenth-century English culture. Identifying the construction of suffering in the hymns illuminates the culture of early Methodism and its complex relationship to its eighteenth century English context. / My analysis places the hymns within the broader ‘narrative culture’ of early Methodism, which encouraged individuals to interpret their lives and experiences within a story of great spiritual significance. The hymns engaged men and women with a spiritual drama of conviction, conversion, sanctification and heavenly reward. I argue that suffering was central to Wesley's depiction of this drama. I examine his construction of the suffering of Christ, the suffering of Christians and of Christian responses to the suffering of others, den10nstrating that each of these had an important place in his depiction of the normative Christian experience. Those who read or sang the hymns were exhorted to embrace and endure suffering as an experience that offered opportunities for intill1acy with, and imitation of, Christ. / Recognising Wesley's construction of suffering does not explain exactly how Methodist men and Women responded to affliction, but it does illuminate their responses. I explore the implications of Wesley's construction of suffering for early Methodist understandings of the self, spirituality, charity and gender, as well as specific kinds of pain such as childbirth and bereavement. These understandings contributed to a Methodist identity that was both related to, and distinct from, the eighteenth-century English culture in which the hymns were written.

Classical violin concertos by English composers are relatively obscure nowadays, as the genre is largely monopolized by Mozart’s last three concertos. This study explores the compositional and violinistic traits of ten English concertos from the late eighteenth century, as well as the social and cultural circumstances under which they were written. These concertos are challenging violinistically, suggesting that they were primarily intended as virtuosic showpieces. In addition, a number of the concertos display musical eccentricities that hint at the quirky personalities of their composers. In some respects, these concertos are unadventurous, particularly in terms of harmony and thematic contrasts. However, they contain a number of unique compositional features that are worthy of our attention. The most notable of these is the incorporation of Baroque features in a large number of the concertos, despite their general adherence to the new galant style. All evidence suggests that the two styles were combined deliberately as a compositional technique, and this is perhaps the most distinctly “English” characteristic of these concertos.

Thesis (D. Min.)--Boston University, 2002. / Abstract. Date on title page differs from degree date. Degree awarded, 2002. Includes bibliographical references (leaves 147-[152].

In his seminal work The Souls of Black Folk, W.E.B DuBois aptly states, "The Preacher is the most unique personality developed by the Negro on American soil." At once a spiritual leader, social-political activist, educator, idealist, and businessman, the antebellum black preacher was the idiosyncratic product of a soil contaminated with racism and sullied with hate. Despite this antagonistic environment, what enabled his ascension to the head of black culture was "a certain adroitness with deep-seated earnestness" and "tact with consummate ability." As shepherd and statesman, the black preacher embodied virtues and talents representative of the potential of his people and set the standards for community investment and civic action. He was the model of character for the race. My dissertation introduces scholars to an overlooked yet monumental institution in African American history, the African Methodist Episcopal Zion Church, as well as two of its pioneering preacher-politicians, Bishop Jermain W. Loguen and Bishop James W. Hood. My study of these nineteenth-century AME Zion preacher-politicians exposes overlooked features of black rhetoric, challenges predominant perceptions of the black preaching tradition, and provides an alternative perspective on how to examine the persuasive appeals of black rhetoricians. Through rhetorical analyses of letters, speeches, and sermons--archival materials from the Schomburg Library and Union Theological Seminary in New York--I show that in addition to employing emotional appeals to draw the sympathies of whites and allay the lamentations of blacks, these black ministers also effectively wielded logical arguments to demonstrate their capabilities as reasoners in philosophical debates and intellectuals with original thoughts. However, most importantly, these black preachers' ethical appeals in written texts, public sermons and speeches, and actions as model citizens served multiple practical and salutary ends for the uplift of African Americans. / text

This work examines the construction of suffering in the hymns of Charles Wesley, co-founder of the Methodist movement. Wesley wrote thousands of hymns, many of which focus on the experience of overwhelming pain. As eighteenth-century men and women sang or read Wesley's hymns, they were encouraged to adopt a distinctive approach to suffering, one which drew on long-standing elen1ents within Christian tradition as well as new patterns in eighteenth-century English culture. Identifying the construction of suffering in the hymns illuminates the culture of early Methodism and its complex relationship to its eighteenth century English context. / My analysis places the hymns within the broader ‘narrative culture’ of early Methodism, which encouraged individuals to interpret their lives and experiences within a story of great spiritual significance. The hymns engaged men and women with a spiritual drama of conviction, conversion, sanctification and heavenly reward. I argue that suffering was central to Wesley's depiction of this drama. I examine his construction of the suffering of Christ, the suffering of Christians and of Christian responses to the suffering of others, den10nstrating that each of these had an important place in his depiction of the normative Christian experience. Those who read or sang the hymns were exhorted to embrace and endure suffering as an experience that offered opportunities for intill1acy with, and imitation of, Christ. / Recognising Wesley's construction of suffering does not explain exactly how Methodist men and Women responded to affliction, but it does illuminate their responses. I explore the implications of Wesley's construction of suffering for early Methodist understandings of the self, spirituality, charity and gender, as well as specific kinds of pain such as childbirth and bereavement. These understandings contributed to a Methodist identity that was both related to, and distinct from, the eighteenth-century English culture in which the hymns were written.

Thesis (M.A.)--Denver Conservative Baptist Seminary, 1988. / Includes bibliographical references (leaves 176-180).

Thesis (Ph. D.)--Marquette University, 2008. / Includes bibliographical references (leaves 252-272).

Thesis (D. Min.)--Perkins School of Theology, Southern Methodist University, 2005. / Abstract and vita. Includes the 3rd draft of: "Wake up and smell the coffee, you are standing on holy grounds" (leaves 123-164). Includes bibliographical references (leaves 165-167).