Call number: LD2668 .T4 1965 E84 / Master of Science

The context in which we find ourselves at the beginning of the twenty-first century is one of acute environmental degradation. In this thesis, I examine how Christians may respond to the realities of degradation through ecological restoration, an environmental practice aimed at assisting the recovery of ecosystems that have been degraded, damaged, or destroyed, and do so in ways that reflect the core belief in the redemptive purposes of God in Christ for creation. The intention, therefore, is to construct a theological framework for ethical responses to degradation through restoration. I begin by examining ecological restoration as a contested scientific and cultural practice, exploring the questions it raises on the nature of human life, the natural world, and moral action, and evaluating the role of history in shaping moral responses to degradation through restoration. To develop a theological framework for restoration, I engage the work of Christian ethicist Oliver O'Donovan, particularly his text on the foundations of Christian ethics: Resurrection and Moral Order. I ground this framework in his arguments for the resurrection (with its dual movements of restoration and transformation) as the starting point for moral action, for the work of the Holy Spirit who makes God’s redemption a reality that shapes moral action, and for love as the shape of moral action. I draw out the significance for restoration of his moral realist approach, examining the created order and articulating a theological anthropology, and I show how the resurrection of Christ provides a guide for restorative action that both affirms the created order and yet remains attentive and open to its, and our, transformation. Finally, through an examination of love as perceptive and responsive to the natural world, I articulate a vision for restorative action that is oriented toward upholding and preserving the value of the natural world, and attentively and creatively responding to it in ways that bring forth its value so that it may be seen for what it is: the beloved world that God has affirmed and redeemed in the resurrection and which awaits its fulfilment.

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Oliver Goldsmith was not only a superior craftsman but also a sincere moralist, an author who created works crackling with intentional satire; the most representative of these works is The Citizen of the World, a remarkably varied collection that contains outstanding examples of the satiric essay. Goldsmith has been established as a satiric author, yet there are some questions of refinement--points involving his method and intent, his relationship to the eighteenth century, and the nature of his work--that need to be answered. The aim of this paper is to clarify these points by systematically analyzing the satiric technique and purpose in Goldsmith's The Citizen of the World, and by characterizing the satiric nature of Goldsmith's collection. The Citizen of the World was published in 1762, a time of change for eighteenth-century satire; consequently, the technique, purpose, and nature of Goldsmith's satire can be determined only by examining his work through an historical perspective, taking into account the influences in both halves of the eighteenth century.Two sections provide the background for this approach: the first defines the elements of satire, and the second traces the rise and decline of major English satire during the eighteenth century. The satiric elements--technique, purpose, and nature--are based on the following points that constitute the working definition of satire for this study: an attack on irrational, inappropriate conduct, the transformation of that attack into literature through selected techniques, and the justification of that attack based on the author's moral judgment. Satiric technique includes form, characters, and rhetorical tools; purpose involves the author's attitude, satiric objects of attack, and norms; and nature encompasses the specific kind of satire that differentiates one period from another, one author from another, making the definition a more sensitive instrument. Once established, these elements are applied to satire written during the English eighteenth century, a period that includes two kinds of satire, one created by the Augustan Age, the other by the Age of Sensibility. Examining the major changes in satire through this method not only illuminates the eighteenth-century satiric tradition but also provides essential background for analysis of Goldsmith's collection.The satire in The Citizen of the World, consequently, reflects various traits representative of each period within the eighteenth century. Those features characteristic of the Augustan Age--the pseudoletter genre, Altangi, assorted caricatures, the rhetorical tools drawn from all four comic theories, the satiric weapon of irony, the quality of critical humor, the intense emotions of moral contempt and righteous indignation, the unacceptable examples of vice and folly, the emphasis on man's responsibility for his own actions, and the normative values-generate satire that is, at least in several respects, moral, moderate, reasonable, amusing, and powerful. Similarly, those features characteristic of the Age of Sensibility--extensive variety and miscellany, the Man in Black, the developing character of Beau Tibbs, the concept of benevolent laughter, the definite tone of amusement and tolerance, the unacceptable examples of affectation, and the general objects of attack--generate satire that is, at least partially, good-natured, tolerant, moderate, amusing, and mild. Taken together, these features from both periods of the eighteenth century account for a satiric work that is Horatian, that is occasionally intense, occasionally moderate, that is, in truth, a blend of two particular kinds of satire, one created by the Augustan Age, the other by the Age of Sensibility.

Thesis (M.A.M.C.)--University of Florida, 2004. / Title from title page of source document. Document formatted into pages; contains 202 pages. Includes vita. Includes bibliographical references.

Thesis--Washington University (St. Louis). / Musical examples: p. 1-93 (2d group). eContent provider-neutral record in process. Description based on print version record. Bibliography: p. 167-173.

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Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Paul C. Rosenbloom. Dissertation Committee: Bruce Vogeli. Bibliography: leaves 256-258.

Thesis--Washington University (St. Louis). / Musical examples: p. 1-93 (2d group). eContent provider-neutral record in process. Description based on print version record. Bibliography: p. 167-173.