Hester Pulter’s (1605-1678) work was discovered in 1996 in the Brotherton Library at the University of Leeds. Pulter composed her poetry in the 1640s-1650s, but her works were not compiled until the 1660s. Overall, her manuscript contains one hundred and twenty poems and emblems in addition to an unfinished prose romance. Pulter recalls her personal life in her poems, and the collection includes her elegiac and lyrical poems on different topics such as politics, religion, childbirth, and the death of her children. In her elegiac poetry, Pulter explores of the experience of childbirth and sickness through a set of conventional Christian ideas about death. However, Pulter’s elegiac poetry also breaks away from Christian conventions, often through the use of astronomical imagery. In this thesis, I argue that Pulter’s grief and consolation strategies sometimes differ from her contemporaries; however, she eventually finds consolation using imagery drawn from her knowledge of the new astronomy, allowing her to reconstruct her identity. Through comparing Pulter with her contemporaries such as George Herber, Katherine Philips, and John Donne, Pulter’s poetry, which has been unstudied until recently, provides an example of a woman writer who is familiar with the seventeenth century poetical conventions; however, she is able to alter them to what is relevant to her condition.

This thesis contends that youth from age twelve to twenty-five played a pivotal role in the revivals of the Second Great Awakening in New York and New England. Rather than merely being passive onlookers in these religious renewals, the youth were active participants, influencing the frequency, spread, and intensity of the Christian revivals. Relying heavily upon personal accounts written by youth and revival records from various denominations, this work examines adolescent religious experiences during the first half of the nineteenth century. Chapter 1 explores the impact parents had on youth religiosity, showing how the teaching and examples they saw in their homes built the religious foundation for young people. The next chapter discusses how the youth continued to build upon what they were taught in their homes by seeking for personal conversion experiences. This chapter contends that conversion experiences were the crucial spiritual turning point in the lives of young people, and explores how they were prepared for and reacted to these experiences. Chapter 3 outlines personal worship among the youth and describes the specific tactics that churches implemented in helping convert and strengthen the young. As churches used revival meetings and clergy-youth relationships to fortify these converts, young people implemented the same practices in helping their peers. Finally, chapter 4 utilizes revival records and Methodist church data to provide quantitative evidence of the widespread and crucial role that young people had in influencing revivals. Understanding the widespread impact of these youth on nineteenth-century revivals provides new insight into the ways in which young people impacted the greater social, religious, and culture changes sweeping across America at the time.

No description available.

No description available.

Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).

My research uses my painting practice as an experimental and investigative tool to test the capacity of practical aesthetics to generate similar or analogous experiences to the non-dualist reception aesthetics of certain key examples of post-Tridentine (1563) Catholic Counter-Reformation devotional imagery, particularly, The Ecstasy of St. Theresa (1647-1652) by Gian Lorenzo Bernini and the Incarnation (1596-1600) by El Greco. I apply an interpretative method to the development of Christian imagery within painting in the post-Reformation period and its relationship to the economic system of modern capitalism and the Enlightenment aesthetic of the sublime. My research aims to see what, if any, meanings and experiences, which, I believe, were present in the affective aesthetics of certain Counter-Reformation imagery can, through the contemporary aesthetics of my painting practice, be reconstructed or re-generated again as similar experience to those original pre-Enlightenment non-dualist meanings and experiences. The experience I aim to generate in my paintings is an affective and experiential narrative of presence, - Eliot's 'unity of thought, feeling and action', which I argue is found in the meaning and experience of those key Christian devotional images.

This dissertation analyses the life and writings of the Tudor clergyman and bestselling author Thomas Becon (1512-1567) as well as communities of production, patronage and pious readership that occasioned, supported and first received his books. Not only does it illuminate new aspects of his life, such as his remorse over his recantation at Paul’s Cross in 1543 and the fact that he was considered for the bishopric of Chester in 1559, but also it provides an account of his extraordinary literary output. Between the early 1540s and the late 1560s, he composed or translated at least 56 works, which by the 1630s had been printed in 126 known editions. He was thus the most widely published vernacular devotional author in England until the later decades of the sixteenth-century. Despite his influence in early modern England, Becon has received little scholarly attention. When his works are studied, they are simply mined for quotations, rather than contextualised and considered in their own right. This dissertation attempts to redress this imbalance by embedding Becon within the communities and contexts that produced and consumed his books. It argues that, as a prolific and highly influential member of the ‘middle management’ of the English Reformation, his life and writings offer a unique and valuable perspective on the propagation, enforcement and reception of religious change in sixteenth-century England. This dissertation not only reconstructs and reconsiders his biography and literary output, but also it shows the contributions that such study makes to broader historical and literary understandings of early modern England, particularly in light of the post-revisionist project, which has focused upon the processes of negotiation, accommodation and resistance that shaped the English Reformation. By illuminating the career of one significant, but largely overlooked reformer, it furnishes new evidence and interpretations for understanding early modern England.

This dissertation is a critical analysis of identity in literature within the historical context of the theopolitical climate in England between the twelfth and fifteenth centuries. The narratives under consideration are the Lais of Marie de France, The Canterbury Tales, and The Book of Margery Kempe. A focus on the business of theology and the Church’s political influence on identity will highlight these lay writers’ artistic shaping of theopolitical ideas into literature. Conducting a literary analysis on the application of theopolitical ideas by these lay writers encourages movement beyond the traditional exegetical interpretation of their narratives and furthers our determination of lay intellectual attitudes toward theology and its political purposes in the development of identity and society.

Dissertation : Evangelische Theologie : Bochum, Ruhr-Universität : 1985. / En appendice, choix de documents. Sources et bibliogr. p. [135]-153. Index.

Univ., Diss.--Oxford, 2001. / Published in association with The European Humanities Research Centre.