Tübingen, Univ., Diplomarb., 2004.

During the 1630s, congregations began to separate from the established Anglican Church forming new autonomous groups. This study examines separatist and Baptist women s writings from this period, as they struggled under the persecution of the religious authorities and under the increasingly strict rules of their congregations. These women s writings could not have been imagined without the proliferation of these new congregations, but, as well as providing a platform for women to publish, these groups imposed their own rules on what women could express in public. Considering separatist and Baptist women as part of their congregations is integral to an understanding of their work, and it is on this that this study focuses. Although their writings relate and analyse their own relationship with God, this is always presented as a sign of the progress of God s people as a whole. Through an analysis organised along doctrinal and congregational lines, this study draws attention to women who have received little or no literary critical (or indeed historical) attention, by considering the genres they utilised as part of their membership. Women writers of conversion narratives, in particular, have not received as much critical attention as more remarkable women who prophesied or who were associated with male writers. The voices of little-studied women like An Collins, Sarah Davy, Deborah Huish, Sara Jones, Susanna Parr, Katherine Sutton, Jane Turner, Anne Venn, the anonymous speaker of Conversion Exemplified and the contributors to the collections of John Rogers and Henry Walker deserve to be heard alongside the reported words of Mary Allein, Anne Harriman, Dorothy Hazzard, and Elizabeth Milbourne, and better known writers such as Anna Trapnel and Agnes Beaumont. The study will also draw on works that are not currently widely available, which have therefore received very little critical attention. Often compared to Deborah, the biblical Mother in Israel (Judges 5:7), women in these gathered churches were instrumental in bringing forth joy to their metaphorical children of Israel, by prophesying ways in which enemies of their congregations would face retribution and by continually strengthening church practices in time for the second coming of Christ. This study explores the various ways in which these mid-seventeenth-century women worked to strengthen their congregations through their writings, believing that they had been divinely inspired to edify those whose practice was wanting, and vindicate rightful walking in his name. During the 1630s, congregations began to separate from the established Anglican Church forming new autonomous groups. This study examines separatist and Baptist women's writings from this period, as they struggled under the persecution of the religious authorities and under the increasingly strict rules of their congregations. These women's writings could not have been imagined without the proliferation of these new congregations, but, as well as providing a platform for women to publish, these groups imposed their own rules on what women could express in public. Considering separatist and Baptist women as part of their congregations is integral to an understanding of their work, and it is on this that this study focuses. Although their writings relate and analyse their own relationship with God, this is always presented as a sign of the progress of God's people as a whole. Through an analysis organised along doctrinal and congregational lines, this study draws attention to women who have received little or no literary critical (or indeed historical) attention, by considering the genres they utilised as part of their membership. Women writers of conversion narratives, in particular, have not received as much critical attention as more 'remarkable' women who prophesied or who were associated with male writers. The voices of little-studied women like An Collins, Sarah Davy, Deborah Huish, Sara Jones, Susanna Parr, Katherine Sutton, Jane Turner, Anne Venn, the anonymous speaker of Conversion Exemplified and the contributors to the collections of John Rogers and Henry Walker deserve to be heard alongside the reported words of Mary Allein, Anne Harriman, Dorothy Hazzard, and Elizabeth Milbourne, and better known writers such as Anna Trapnel and Agnes Beaumont. The study will also draw on works that are not currently widely available, which have therefore received very little critical attention. Often compared to Deborah, the biblical 'Mother in Israel' (Judges 5:7), women in these gathered churches were instrumental in 'bringing forth' joy to their metaphorical children of Israel, by prophesying ways in which enemies of their congregations would face retribution and by continually strengthening church practices in time for the second coming of Christ. This study explores the various ways in which these mid-seventeenth-century women worked to strengthen their congregations through their writings, believing that they had been divinely inspired to edify those whose practice was wanting, and vindicate rightful walking in his name.

Master of Fine Arts This novel is a chronicle of the early days of Paul Bunyan, an important figure in American folk culture. While Paul Bunyan is a central figure in the tale, the story itself is told through the eyes of Clay Filinger, a young man from the backwoods of Kentucky who leaves his home on a journey of American exploration. Clay reaches Boston, where he hires on to work for John Patrick, a wealthy merchant headed to Maine in search of pirate treasure. John is travelling with his nephew, Randolph Bunyan. Along with them are two more hired men: Stokes, a foul riverman, and Silas Jefferson, a smooth-talking man with criminal intentions. As they travel up the coast, they encounter a shipwreck with one survivor, a pregnant Irish girl named Muirenn. Muirenn reveals to Clay that she is, in fact several hundred years old, having been trapped as a girl by the King of the Fair Folk. It is this supernatural king who is the father of her child. Clay, not wanting anything to do with these events, flees as soon as possible. He is turned back, however, by threats from a pooka, a mysterious creature. Shortly thereafter, Clay confronts a mysterious and powerful being called Liath Luacra. During the conflict, Muirenn gives birth to a boy named Paul, who is adopted by Randolph Bunyan. She then dies. The men finally find themselves in The Aroostook Valley of Maine. John Patrick continues looking for his treasure, and Clay does what he can to protect Paul. After some months, Silas Jefferson rides into town with a band of armed men, looking for Patrick's treasure. Clay fights him, and Jefferson is killed, but promptly possessed by Liath Luacra. The pooka is forced to become a huge blue ox while Clay and the others flee. Finding themselves on the other side of a river, Clay and his companions eventually are forced into a final confrontation with Constance Jefferson, who came with her brother, and finally with Liath Luacra. With luck and supernatural help, Constance is defeated and Liath Luacra is forced to flee.

Les puritains interdisaient généralement de s’exprimer dans un style imagé et exigeaient que la Bible soit interprétée littéralement. Bunyan, écrivain puritain lui aussi, était en revanche en faveur de l'expression spirituelle et de la métaphorisation du texte biblique, convaincu que ce style était celui des Écritures. Cette thèse propose d'étudier ce paradoxe en essayant de comprendre la raison de cette crainte à l’égard des images littéraires, de la part des puritains, et la raison de leur utilisation par Bunyan, notamment dans « The Pilgrim's Progress ». La première partie examine la relation des puritains à la Bible dans trois chapitres. Le premier chapitre traite de la position des puritains face à l'Église Établie et la monarchie. Le deuxième chapitre analyse l'autorité de la Bible chez les écrivains puritains. Le troisième chapitre retrace les étapes scripturaires que Bunyan a traversées, avant et après sa conversion. La deuxième partie, composée de trois chapitres, étudie l’importance de l’image littéraire chez Bunyan. Le premier chapitre traite de la définition du terme « image » pour dissiper la confusion entre celui-ci et les autres figures du style. Il propose aussi au lecteur un bref historique de l’image littéraire et plastique depuis l’Antiquité jusqu’à l’époque de Bunyan, et des débats théologiques que le mot « image » a suscité. Le deuxième chapitre analyse comment et pourquoi l’auteur s’est servi de l’image comme support pédagogique dans l’édification de ses coreligionnaires. Le troisième chapitre traite des matériaux qu’il utilisa pour construire ces images dans « The Pilgrim’s Progress ». Enfin, la troisième partie analyse en détail deux images bibliques, le chemin et le lion, que Bunyan utilise dans « The Pilgrim’s Progress ». Elle explique les nuances de ces images, leurs origines bibliques, et leur portée théologique, le tout dans le cadre de la foi protestante et puritaine qui était celle de Bunyan. / The Puritans generally forbade imagery and required a strict literal interpretation of the Bible. Bunyan, although a Puritan writer himself, was in favour of spiritual expression and metaphorical understanding of the Biblical text, convinced that this was the style of the Scriptures. This thesis sets out to study this paradox and understand the reason for the Puritans’ fear of literary images, as well as the reason why Bunyan used them, especially in "The Pilgrim’s Progress". The first part analyses the Puritans’ relationship with the Bible. The first chapter discusses their position toward the Established Church and the monarchy. The second chapter analyses the authority of the Bible. The third chapter depicts Bunyan’s scriptural steps before and after his conversion. The second part discusses the importance of imagery to Bunyan. The first chapter attempts to define the word "image" in order to elucidate its meaning, and to distinguish it from other figures of speech. A brief history of literary and artistic imagery from antiquity to Bunyan’s time, and the theological debates about the word "image" through the centuries are also proposed. The second chapter attempts to determine how and why Bunyan used images for the edification of his readers. The third chapter analyses the techniques used to compose "The Pilgrim’s Progress". Finally, the third part discusses in detail two biblical images that Bunyan used in "The Pilgrim's Progress": the Way and the lion. It explains the nuances of these images and their theological content, in the context of Bunyan's Protestant and Puritan beliefs.

The purpose of this study is to find the virtue ethics John Bunyan presents in Pilgrim´s Progress part 1, compared with the virtues Max Weber presents, and then try Weber´s theory on the empirical data, Pilgrim´s Progress. When I compare the virtues in Weber´s theory with the virtues in Pilgrim´s Progress, I interpret Weber´s theory as limited. From Weber´s theory emerges the puritan virtues: fulfillment of duty, struggle, self-control and live simply. He also mentions gratitude to God and helpfulness to other people, but this is shown through work in the society. These virtues can also be found in Pilgrim´s Progress. The fulfillment of duty in Weber´s theory is mainly focused on work-ethic, while I interpret the fulfillment of duty in Pilgrim´s Progress more focused on the struggle with the Belief in God. The virtues self-control and to live simply is clearly seen in both sources, which strengthens this part of Weber´s theory. The most interesting thing is that I found several virtues in Pilgrim´s Progress, which Weber did not attributed any significant. These are: forgiveness, help, spiritual communion, and gratitude to God.

Thesis (Ph.D.)--Kent State University, 2010. / Title from OhioLINK ETD abstract webpage (viewed May 17, 2010). Advisor: Susanna Fein. Keywords: Book of the Duchess; Dialogue of Comfort against Tribulation; Pericles; Devotions upon Emergent Occasions; Grace Abounding to the Chief of Sinners; Chaucer; Shakespeare; Thomas More; Donne; Bunyan; defenses against mortality.

Thesis (Ph. D. in English)--Vanderbilt University, Aug. 2007. / Title from title screen. Includes bibliographical references.

Doctor of Philosophy / Department of Geography / Karen J. De Bres / Landscapes express much of who we are. Our history, thoughts, and values are all interwoven into cultural landscape features. By researching the landscape similarities and dissimilarities on the regional level, geographers are able to learn more about a people's identity. Scattered across the vast expanses of the Northwoods, residents and visitors alike are greeted by representations of a lumberjack and his blue ox. In addition to large statues of Paul Bunyan and the Blue Ox, festivals, sporting events, businesses, and public lands are all named in honor of the two folk giants. These features are so prevalent and well known that references to the region by those who live outside the Northwoods often begin by acknowledging the folk heroes. This study explains the relationship between Paul Bunyan and the Northwoods region. Focusing on the area of northern Minnesota between the towns of Bemidji and Brainerd, qualitative research methods were conducted over a four-year period (2004-2007) to better understand the phenomena. Since the 1930s, residents of the Northwoods have used Paul Bunyan and Babe the Blue Ox landscape features to celebrate symbolically the region’s golden age of logging. These representations have evolved over the years to include both public and private landscape features. Given the level of permanence of many of the items as well as the authenticity, popularity, and attachment local residents express towards Paul and Babe, cultural landscape features of the lumberjack and his blue ox will continue to be seen as an integral component of the Northwoods regional identity.

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