A partir de 1555, le catholique royaume de France connaît l’implantation d’Eglises dites réformées selon l’Evangile. Opposés sur de nombreux sujets théologiques, catholiques et réformés reconnaissent toutefois mutuellement la validité du baptême reçu dans l’autre confession. Cette thèse explore la réalité de cette reconnaissance mutuelle et l’apport du baptême à l’identité réformée, en privilégiant les sources des provinces synodales de l’Ouest. D’une part, elle s’appuie sur une étude de textes (Confession de foi, Discipline ecclésiastique, la Forme d’administrer le baptême, catéchismes, sermons…) et de la controverse religieuse. D’autre part, elle s’intéresse à la pratique à travers des registres de baptêmes, délibérations des consistoires et actes de synodes, ego-documents, l’iconographie et la réglementation royale. Les principales tensions concernent d’abord les cérémonies du baptême catholique, pour ensuite se cristalliser autour de la doctrine catholique de la nécessité absolue du baptême pour le salut des enfants, révélant en parallèle des divisions internes aux réformés. Le « rituel » du baptême, selon les textes et des récits d’observateurs, reflète une sobriété de la liturgie. La présentation des enfants au baptême par des parrains et marraines est soumise à des règles précises sous le contrôle des consistoires ; elle sert ainsi la cohésion de la communauté. Les actes de baptêmes révèlent un vocabulaire et des modèles de parrainage particuliers, tandis que la préférence pour un prénom de l’Ancien Testament n’est que partiellement confirmée. Le pouvoir royal se sert du baptême comme instrument dans sa volonté de ramener les réformés à la foi catholique, avant de l’interdire par l’édit de Fontainebleau (1685), révoquant l’édit de Nantes. Les résultats montrent le baptême réformé comme élément d’une identité confessionnelle réformée. / By the year 1555, the catholic kingdom of France affronted the settlement of Churches "being reformed according to the Gospel". Being on conflict with many subjects, Catholic and Reformed nevertheless mutually recognize baptism received in the opposite confession. Focusing on the Western synodal provinces, this thesis explores the reality of mutual recognition and the contribution of baptism to the reformed identity. On the one hand, the study concerns texts (Confession of Faith, Church Order, the Baptism's Form, catechisms, sermons) as well as religious controversy. On the other hand, the study examines baptismal practice bu baptism records, consistoty records and synod proceedings, egodocuments and the royal regulation. Where in the beginning the principal tensions concern catholic baptism ceremonies, later on, they cristallize on catholic doctrine of the absolute necessity of baptism for infants' salvation, revealing in the meantime internal discordance amongst the Reformed. The 'ritual' of baptism, according to texts and observational writings reveals a sobre liturgy. The presentation of infants by godparents is submitted to several rules being surveyed by the consistories, which make it contribute to community cohesion. Baptismal records reveal some typical vocabulary and godparent models ; the supposed preference for Old Testament given names could only partially be confirmed. The King used baptism as an instrument to bring the Reformed back to the Catholic faith, before banning it by the edict of Revocation (1685)

Né à Belfast en 1941, Stewart Parker débuta sa carrière dans les années 70. A sa mort en 1988, il laissa une œuvre très dense, comprenant des pièces pour la scène, ainsi que des pièces pour la radio et la télévision. Bien qu’il soit aujourd’hui reconnu comme un des dramaturges les plus importants de sa génération, son œuvre n’est que rarement abordée dans les cercles académiques et aucune étude exhaustive sur son théâtre n’a pour le moment été publiée. Cette étude porte sur le thème de la quête identitaire dans ses pièces pour la scène. Tout d’abord, elle explore sa quête d’identité en tant qu’écrivain. Bien qu’il fut né et élevé au sein de la communauté protestante nord-irlandaise, il ne cessa de clamer son appartenance à une large tradition théâtrale anglo-irlandaise. Cette thèse vise à montrer comment Parker, confronté à la crise nord-irlandaise, chercha à réinventer complètement le théâtre, en faisant émerger de nouveaux modèles de représentation. Elle explore comment tout en affirmant ne pas écrire du théâtre politique, il croyait en le pouvoir du théâtre à faire naître une prise de conscience collective. Enfin, cette étude étudie la quête identitaire à l’échelle individuelle et collective dans ses pièces. Conscient de l’enjeu de la question identitaire en Irlande du Nord, il fut un des premiers dramaturges à ouvertement interroger et subvertir la notion unioniste d’une identité protestante nord-irlandaise unique et distincte. Cette thèse montre comment, en rejetant l’opposition traditionnelle entre catholiques et protestants, il chercha à construire un modèle d’unité sur la scène, qui amènerait finalement les Nord-Irlandais à reconnaître leur identité commune. / Born in 1941 in East Belfast, Stewart Parker came to prominence as a playwright in the 1970s. When he died in 1988, he left behind him an impressive body of work which included stage plays, radio plays and screenplays. Although he came to be recognized as one of the leading theatrical stylists of his generation, his work has received little attention in academic circles and no comprehensive study has been published yet. This study looks into the quest for identity in his stage plays. First, it explores his quest for identity as a writer who was born and raised in the Northern-Irish Protestant community, but always claimed to belong to a wider Anglo-Irish theatrical tradition. This thesis seeks to show how Parker, faced with the Northern Irish crisis, committed himself to reinventing theatre all over again with new ways of showing. It also explores his quest for identity as a playwright, who claimed to be non-political, but nevertheless believed firmly in the power of drama to change perceptions, and wrote extensively about the responsibility of the artist to his own people in a time of crisis. Finally, this thesis explores the quest for individual and collective identity in his plays. Aware of the stake of the question of identity in Northern Ireland, he was the first playwright to overtly question and subvert the Unionist notion of a singular Ulster Protestant identity. This thesis shows how, rejecting the traditional binary opposition between Catholics and Protestants, British and Irish, republican and loyalist, he was devoted to create a model of wholeness on stage that would finally lead the people of Northern Ireland to acknowledge their common identity.

anglicky Annotation In my thesis I deal with the Confession in European nad especially Czech Protestantism, its conception, form and transformations in history. The focus of my work is to look at the Confession in the Reformation and its further development. The work is divided into four major chapters: (1) The Confession, (2) The Confession and reformers, (3) The Cofession and reformist religions, (4) The Confession of contemporary Protestantism. Each of these chapters is further divided into subsections. In conclusion I describe the effort to reintroduce private Confession as solid form of church life and I think about reasons why nowadays in Protestant churches private Confession used only sporadically. Keywords: confession; Reformation; the Church of the Brethren; Luther; Calvin; Protestantism; Sin; Forgiveness; Absolution.

This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.

This dissertation examines how Guatemalan converts transformed missionary Protestantism into a locally contextualized religion in the late-nineteenth and early-twentieth centuries. Using archival materials from local religious groups and public archives in Guatemala alongside missionary documents from the United States, this research identifies how converts adopted certain missionary teachings but reinterpreted or rejected others. This selective application not only altered the definition of Protestantism in Guatemala but also affected the early growth of the movement by creating contextualized forms of Protestantism that attracted more interest than foreign versions. The first section of the dissertation analyzes the theologies and goals that early missionaries brought to Guatemala and explains the intramural conflicts that created the first Protestant communities in the country. Between 1882 and 1921, five North American Protestant denominations and several independent missionaries entered Guatemala, each with particular ideas about how to improve the country both spiritually and materially. This internal diversity provided new converts with the ability to choose between multiple versions of Protestantism, but more importantly it also taught them how to carve out their own space between imported religious ideologies. The second section of the dissertation analyzes how local believers reinterpreted Protestantism within those spaces by pursuing four important areas of innovation: theological primitivism, Pentecostalism, political involvement, and nationalism. Despite protests from many foreign missionaries, between 1920 and 1944 numerous Guatemalan Protestants adopted variations of these four themes in attempts to create a culturally and socially relevant religious product. As new converts opted for these new local communities over missionary-led options, these four themes became defining hallmarks of Guatemalan Protestantism, which by the twenty-first century was practiced by one-third of the country’s population. This dissertation argues that these contextualized challenges to missionary ideas in the early twentieth-century made Protestantism an attractive local product in Guatemala and sparked the movement’s growth. It also demonstrates how poor and working class Guatemalans in the early twentieth century used Protestantism as a tool to participate in national conversations about race, gender, and class. / text

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.

This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.

Thesis (M.A.)--Indiana University, 2008. / Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Kevin C. Robbins. Includes vita. Includes bibliographical references (leaves 130-137).

Zugl.: Bochum, Univ., Diss., 2004

Thesis (Ph. D.)--University of Notre Dame, 2004. / Thesis directed by James C. Turner for the Department of History. "April 2004." Includes bibliographical references (leaves 871-916).