This dissertation analyses the industrial transformation of Turkey by focusing on the history of Kayseri&rsquo / s small town Hacilar which has been showed an extraordinary performance in industry and economic development in the last 40 years. However, it is not a general history of industrialization / but a local development story from a traditional rural/ village community to an industrial production zone in relation with the local, national and universal dynamics. In line with the historical materialist conceptual and epistemological frame and against the &ldquo / Calvinist Islam&rdquo / kind theological arguments, this study explains the historical, regional, geographical, economic, social, and cultural reasons and factors of the industrial development of Hacilar in the context of the general industrial history of Turkey.

Thesis (Ed.D.)--Mississippi State University. Department of History. / Title from title screen. Includes bibliographical references.

Thesis (doctoral)--Vrije Universiteit te Amsterdam, 1993. / Includes bibliographical references (p. 361-382) and index.

If any one event in history were caused by any other single event, or indeed if any trend of events were caused by any other single trend, historical research would be a relatively simple matter. But history is not so simple. A history of government does not involve politics alone, nor does a history of baseball involve simply the quality of the pitcher's and batter's techniques. Likewise the history of a church includes far more than the Sunday sermons, however important these may be. The complexity of a given historical institution can perhaps be typified by the subject of the present study: the Reformed Presbyterian Church. As a church, this one is not at all typical, but as an historical problem, it rates well. Economic, cultural, social and geographic factors intertwine its growth, while through the years it has stood as a theological thunderbolt and a political peculiarity- Small though the physical features of this church may be in comparison with the immensity of certain other organizations, the breadth and depth of its history is just as great. The complexity of a given historical institution can perhaps be typified by the subject of the present study: the Reformed Presbyterian Church. As a church, this one is not at all typical, but as an historical problem, it rates well. Economic, cultural, social and geographic factors intertwine its growth, while through the years it has stood as a theological thunderbolt and a political peculiarity- Small though the physical features of this church may be in comparison with the immensity of certain other organizations, the breadth and depth of its history is just as great. On the other hand, although in tracing the history of the Reformed Presbyterian Church it would be possible to establish its Biblical foundations through the Old and New Testaments and the early Christian era, and theoretically feasible to follow the line of pure teaching through the Middle Ages and to the times of Huss, Wycliffe, and Lefevre, such a study, valuable as it certainly is, lies beyond the scope of this paper. Indeed Calvin, the master theologian who expresses perfectly the beliefs of every twentieth-century Reformed Presbyterian, and Knox himself, the conqueror of the Scottish soul, can scarcely be mentioned personally at all. The subject must be limited. Thus, this paper is at once a limited yet a very complex study: limited in time and space, complex in issues.

No description available.

John Marston’s literary legacy has inevitably existed in the larger-than-life shadows of his great contemporaries William Shakespeare and Ben Jonson. In the last two centuries, his works were hardly taken on their own terms but were perceived instead in overt or implicit comparison to Shakespeare’s or Jonson’s. As a result, Marston’s plays acquired the lasting but unfair image of haphazard concoctions whose cheap sensationalism and personal satire often got them in trouble with the authorities. This was the case until recently, especially with Marston’s comic drama. Following revisionist trends, this study sets out to restore some perspective: it offers a fresh reading of Marston’s comic plays and collaborations—Antonio and Mellida, What You Will, Jack Drum’s Entertainment, The Dutch Courtesan, The Malcontent, Parasitaster, Eastward Ho, and Histrio-Mastix—by pursuing a more nuanced contextualization with regard to religious context and archival evidence. The first central contention here is that instead of undermining political and religious authority, Marston’s comic drama can demonstrate consistent conformist and conservative affinities, which imply a seriously considered agenda. This study’s second main point is that the perceived failures of Marston’s comic plays—such as tragic elements, basic characterization, and sudden final reversals—can be plausibly read as deliberate effects, designed with this agenda in mind. The significance of this analysis lies in its interpretation of Marston’s comedies from the angle of religious and political conformism, which argues for an alternative identity for this playwright. The discussion opens with a presentation of Marston’s early satirical books as texts informed by a moderate Church of England Protestantism, yet coinciding at times with some of Calvin’s writings, and by a distrust of the individualistic tendencies of the English Presbyterian movement as well as the perceived literal ritualism of the old Catholic faith. On this basis, it then proceeds to reveal an identical philosophy behind Marston’s comic plays and collaborations. Antonio and Mellida and What You Will are interpreted to dramatize the human soul’s dependence on God’s favourable grace; Jack Drum’s Entertainment and The Dutch Courtesan to insist on the acknowledgement of God in romantic desire; The Malcontent and Parasitaster to present the dangers of the political immorality; and Eastward Ho and Histrio-Mastix to argue for the necessity of edifying occupations for the wayward human will. In its conclusion, this study further highlights Marston’s bias for political and religious individual obedience to established hierarchies and his suspicion of the early modern forces of change. The conformist identity that emerges from the present discussion is consistently supported by the archival evidence surviving from the playwright’s life. Thus, Marston’s comic drama can be interpreted as the result of carefully considered and skilfully implemented political and religious ideas that have been neglected so far.

Thesis (Th. M.)--Westminster Theological Seminary, Philadelphia, 1989. / Includes bibliographical references (leaves 192-205).

Thesis (M.A.)--The University of North Carolina at Greensboro, 2009. / Title from PDF t.p. (viewed May 6, 2010). Directed by Karen Kilcup; submitted to the Dept. of English. Includes bibliographical references (p. 27-29, 57-60).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Uma análise do atual discurso teológico-musical presente no espaço do culto da Igreja Presbiteriana Independente de Botucatu IPIBot é o objeto deste trabalho. Este discurso demonstra aspectos híbridos na estrutura litúrgica desta igreja, aspectos estes oriundos tanto do universo musical quanto teológico, e que entendemos serem característicos da cultura pós-moderna. A presença de outras expressões artísticas, que não somente o canto ou instrumento, como por exemplo, o órgão, neste caso a arte circense e a dança, ambas no espaço do culto, apontam para transformações na cultura litúrgica e talvez em novas formas de expressão da igreja como um todo. A análise destes elementos presentes no culto da IPIBot foi feita por meio de levantamento histórico e litúrgico através de boletins e documentos da igreja, bem como da participação da autora como membro da mesma. A IPIBot assimilou em parte a chamada cultura gospel como forma de sobrevivência diante da multiplicidade de igrejas no universo religioso atual, sem perder o contato com a tradição, seu principal instrumento para conferir a identidade presbiteriana reformada que lhe é peculiar. Desta forma, caracteriza-se o hibridismo como uma estratégia de adaptação à pós-modernidade sem, no entanto, gerar novas formas litúrgicas que se constituam como modelo de igreja. Caracteriza-se o discurso musical como principal elemento catalisador deste hibridismo, formador de um imaginário teológico-musical que sustenta a tradição junto à nova tendência pós-moderna e que confere identidade à IPIBot. Desta forma, esperamos contribuir para a reflexão do papel da música no culto como espaço de múltiplas faces, formador deste imaginário e das transformações pela renovação teológica, averiguando as possibilidades e limites para uma renovação litúrgica brasileira, dentro e fora do âmbito das igrejas de origem reformada. / Defining as hybrid and intrinsic to the post-modernity the question of the current theological-musical speech practiced in the Independent Presbyterian Church of Botucatu IPCBOT, besides being essential to this comprehension, it becomes plausible when revealed to the musical reality in the churches and the theological ways that surround the liturgy in the Christian cult space. As an heiress of the reformation during the XVI century, and in Brazil, consequence of the North-American Presbyterian missions, the Independent Presbyterian Church of Brazil (IPCB) obtained its own identity in 1903, when a schism divided the Presbyterian Church (PC), originating the IPCB. At the first chapter, it is delineated the history of the IPCB and its liturgical structure, as well as the musical groups currently acting in this church. At the second chapter it was aimed to understand the mainly concepts that guide the defense of the hybridism process present in the theological-musical imaginary construction in the IPIBOT. At the third chapter it was developed a brief panorama of the theological and musical movements, which supported by the ideal dialogue of the church with the culture and social reality of the country, culminated in the current liturgical reality of the church, the intimacy with the reformed Presbyterian identity and the gospel culture. At the fourth and last chapter, it was approached, analyzing the theological-musical speech, the possibility of the imaginary that these days confers identity to the IPCBOT as a hybridism result, by the tripartite analysis of the musical work, methodologically supported on the musical semiology propose of Jacques Nattiez and Jean Molino. In this respect, based on the theological-musical speech, it is expected that this research contributes for the reflection of the music mission in a cult as a space of multiple facets, former of this imaginary and the transformations via the theological renovation, inquiring the possibilities and limits for a Brazilian liturgical improvement, inside and outside the reformed churches.

O objetivo deste trabalho consiste em apresentar os autores e as principais ideias que levaram ao que ficou conhecido como neocalvinismo holandês no século XIX. A partir do desenvolvimento de ideias como a soberania de Deus, a graça comum, o mandato cultural, a crítica a dicotomia grega na teologia e outras, é que homens como os holandeses Abraham Kuyper e Herman Dooyeweerd, tiveram suas vidas marcadas como cristãos que lutaram e viveram por um cristianismo que não aceitasse ficar relegado dentro dos muros eclesiásticos. Compreendendo o cristianismo como uma cosmovisão abrangente a partir do motivo básico bíblico Criação-Queda-Redenção, os proponentes desse movimento de reforma influenciaram diversos cristãos e pensadores em todo o mundo. Nos últimos anos também no Brasil se constata a atuação de pessoas simpatizantes deste movimento bem como o surgimento de publicações sobre o tema da cosmovisão cristã. Marcadamente um movimento com pretensões de reforma cultural e não meramente eclesiásticas, as iniciativas multiplicam-se pelo país. Além dos principais autores que deram origem ao neocalvinismo holandês, este trabalho visa também focar o surgimento do conceito de cosmovisão cristã e quais seriam os desdobramentos e a proposta de inserção social ou cultural na concepção dos proponentes do movimento. / The purpose of this work is to present the authors and the main ideas which led to what became known as Dutch Neo-calvinism in the nineteenth century. From the development of ideas as the sovereignty of God, common grace, the cultural mandate, the criticism of theology and the Greek dichotomy and others, is that the Dutch men like Abraham Kuyper and Herman Dooyeweerd, had their lives marked as Christians who fought and lived for a Christianity that did not accept to be relegated within the church walls. Understanding Christianity as a comprehensive worldview from the Biblical ground-motive Creation-Fall-Redemption, the proponents of this reform movement influenced many Christian and thinkers worldwide. In recent years in Brazil it is also noted the role of people sympathetic to this movement and the emergence of publications on the subject of the Christian worldview. Markedly, a movement with claims of cultural reform and not merely ecclesiastical, initiatives are multiplying across the country. In addition to the authors that gave rise to the Dutch Neo-calvinism, this work also aims to focus on the emergence of the concept of Christian worldview and what the consequences are and the proposed inclusion of social and cultural proponents of the movement.