This study examines the cultural and religious politics of dancing in late sixteenth- and early seventeenth-century England. Although theologically dance was considered morally neutral, as a physical, embodied practice, context determined whether each occurrence was deemed acceptable or immoral. Yet, judging and interpreting these contexts, and thus delineating the boundaries between appropriate and inappropriate behaviour, was contested and controversial. Advocates argued that dance enabled controlled, graceful movement and provided a harmless outlet for youthful energy. Opponents decried it as a vain, idle, and lascivious indulgence that led to illicit sexual liaisons, profanation of the sabbath, and eternal damnation. The first chapter introduces early dance fundamentals, describing steps, genres, and sources. The chapter also discusses venues in which people danced, times of day and seasons that were most popular, and demographic details for dancers in western England. Chapter 2 demonstrates how, by varying details of their performance, dancers could influence a dance’s appropriateness, as well as express aspects of identity, such as gender and social rank. Chapter 3 examines how clergymen and religious reformers addressed and tried to undermine pro-dance arguments through their treatment of biblical dance references in sermons and treatises. Chapters 4 and 5 feature case studies of parochial clergymen and lay persons whose opinions about dancing became flashpoints for local controversies. They explain why prosecutions for dancing were so sporadic and geographically scattered: dancing practices rarely entered the historical record unless a “perfect storm” of community tensions and personal antagonisms created irreconcilable differences that led to violence or court cases. The dissertation argues that a category, such as festive traditionalist, is needed to describe those who conformed to or embraced Protestant worship but who strongly resisted attempts to “reform” their behaviour outside of the church.

This study examines the cultural and religious politics of dancing in late sixteenth- and early seventeenth-century England. Although theologically dance was considered morally neutral, as a physical, embodied practice, context determined whether each occurrence was deemed acceptable or immoral. Yet, judging and interpreting these contexts, and thus delineating the boundaries between appropriate and inappropriate behaviour, was contested and controversial. Advocates argued that dance enabled controlled, graceful movement and provided a harmless outlet for youthful energy. Opponents decried it as a vain, idle, and lascivious indulgence that led to illicit sexual liaisons, profanation of the sabbath, and eternal damnation. The first chapter introduces early dance fundamentals, describing steps, genres, and sources. The chapter also discusses venues in which people danced, times of day and seasons that were most popular, and demographic details for dancers in western England. Chapter 2 demonstrates how, by varying details of their performance, dancers could influence a dance’s appropriateness, as well as express aspects of identity, such as gender and social rank. Chapter 3 examines how clergymen and religious reformers addressed and tried to undermine pro-dance arguments through their treatment of biblical dance references in sermons and treatises. Chapters 4 and 5 feature case studies of parochial clergymen and lay persons whose opinions about dancing became flashpoints for local controversies. They explain why prosecutions for dancing were so sporadic and geographically scattered: dancing practices rarely entered the historical record unless a “perfect storm” of community tensions and personal antagonisms created irreconcilable differences that led to violence or court cases. The dissertation argues that a category, such as festive traditionalist, is needed to describe those who conformed to or embraced Protestant worship but who strongly resisted attempts to “reform” their behaviour outside of the church.

Made available in DSpace on 2016-08-03T12:18:49Z (GMT). No. of bitstreams: 1 SILVIA GERUZA.pdf: 833960 bytes, checksum: 15252326a455f0fa0066b03cf9704767 (MD5) Previous issue date: 2011-09-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation intends to analyze different speeches about sexuality in five Brazilian protestant leaders to observe in which basis they sustain their teachings and statements to control and rule the Christians sexual behavior. Trough the study of the historical and social development of Christianity and its relationship with sexuality since the second century A.D. to the present Day, this research intends to perceive how Hellenic dualism and Neo-Platonism were able to pervade the sexuality concepts from the Early Fathers to the present time. The criteria used to those the protestant leaders were their written texts. Jaime Kemp, North American missionary, writer and speaker to the youth and couples in churches and Congresses; Robinson Cavalcanti, Episcopalian Anglican Bishop, writer and speaker in important national conferences; Paulo César e Claudete Brito, pastors in the city of Rio de Janeiro; Carlos Eduardo Calvani, Anglican priest, conference speaker and a writer. Calvani outstands as a dissonant voice when dealing with the theme of sexuality. This research intends to contrast the two views of the Christian sexual moral: the essentialist and the personalist, while conversing with some catholic moral theologians to interrelate sexuality with psychology, anthropology, Human and Social Sciences so sexuality is perceived in its human and subjective dimension. / A presente dissertação pretende analisar o os diferentes discursos sobre sexualidade em cinco líderes protestantes brasileiros, para verificar em que bases eles sustentam seus enunciados e normas de comportamento sexual. Através da exposição do histórico do desenvolvimento do cristianismo e sua relação com a sexualidade desde o século II d.C. até os dias atuais a pesquisa procurará entender como os pressupostos dualistas e neoplatônicos permearam o conceito de sexualidade desde os Primeiros Pais da Igreja até os dias atuais. O critério da escolha dos líderes evangélicos foram seus textos escritos. Jaime Kemp, missionário Norte Americano, escritor e palestrante de jovens e casais; Robinson Cavalcanti, Bispo Anglicano e palestrante em congressos nacionais e internacionais; Paulo César e Claudete Brito, pastores de uma influente igreja na cidade do Rio de Janeiro. Carlos Eduardo Calvani, padre Anglicano, escritor e palestrante. Calvani sobressai como uma voz dissonante ao lidar com sexualidade. A pesquisa contrastará as duas cosmovisões da moral sexual cristã: a essencialista e a personalista, dialogando com alguns teólogos católicos da moral com o objetivo de conectar o estudo da sexualidade com psicologia, antropologia e ciências humanas e sociais para que a sexualidade seja percebida na sua dimensão humana e subjetiva.

The New England Puritans brought with them to America a middle way, a philosophy that balanced the extremes of religious, political, economic, and social life. Though first developed by Reformed theologians on the European Continent, the middle way made its way to England where it gained adherence among Puritan ministers who balanced pastoral and prophetic roles. The first generation of English emigrants to New England, having fully expected their zeal to flourish in the free air of America, quickly realized that theirs was not only a mission to reform society but to establish and maintain it. In such an environment, the middle way proved an essential philosophy for Massachusetts Bay's civil and ecclesiastical authorities who faced challenges from Antinomians in America and Arminians in England. This study first defines the middle way, demonstrating its particular relevance in America among emigrants who felt both the burden· of the past and the promise of the future. The first chapter offers the middle way as a philosophy of history to modern historians who, like the New England Puritans, find themselves balancing obligations to both objectivity and historicism. The second chapter explores the often contentious world of Puritan historiography through the lens of Niebuhrian irony. The third chapter approaches the first generation of New England Puritans on their own terms, drawing on their written records in order to understand the challenges, real and perceived, from both Antinomianism and Arminianism. The conclusion reflects on the middle way's legacy and continued endurance as the New England mind faced both continuity and change in later centuries.

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.

Finansvärlden är avantgardistisk i sitt höga arbetstempo och i att bana väg för en abstrakt informationsekonomi, och pengar styr verksamheten på ett sätt som föregripit förändring i samhället i denna riktning. Svenska finansmänniskor uppvisar en urban, stockholmsk övremedelklasskultur men är samtidigt del av en framåtriktad,västerländsk elitkultur. Nationella drag slätas ut efter en amerikansk modell. Svensk finansmarknad kan ha mer av amerikansk, kalvinistiskt-puritansk arbetsetik än med luthersk av svenskt snitt. Mina intervjupersoner bär på protestantisk arbetsetik i form av individualism, flit och asketism. Finansmänniskors nyktra affärssinne liknar puritanens tidigkapitalistiska mentalitet. Individer på finansiella marknader kan svårligen se konsekvenser av sina handlingar. Finansmarknaden är en amoralisk näring, där många aktörer avstår från att ta moralisk ställning. / Diss. Stockholm : Handelshögskolan, 2001

Until recent years, the historical moment of Charles II's return to England was universally accepted as a clear marker of the end of "the Cavalier winter," a welcome victory over theater-hating Puritans. To verify this historical view, literary historians have often glorified the role of King Charles II in the history of the "revival" of drama during the Restoration, whereas they tend to consider the Long Parliament's 1642 closing of the theaters as a decisive manifestation of Puritans' antitheatricalism. This historical perspective based upon what is often known as "the rupture model" has obscured the vibrant development of dramatic forms during the English civil wars and the ways in which the revolutionary energy exploded during this period continued to influence in the Restoration the deployment of dramatic forms and imagination across various social groups. By focusing on the generic development of drama and theatricality during the English civil wars, my dissertation challenges the conventional historiography of the English civil war literature, which has been overemphasizing the discontinuity between the English civil war and the periods before and after it. The first chapter shows how the theatrical energy displaced from traditional cultural domains energized an emerging cheap print market and contributed to the invention of new dramatic forms such as playlets and newsbooks. The second chapter questions the conventional association of Puritanism and antitheatricalism by rehistoricizing antitheatrical writers and their pamphlets and by highlighting the dramatic impulses at work in Puritan iconoclasm during the English civil wars. The final chapter offers the Restoration Milton as a case study to illustrate how the proposed historical perspective replacing "the rupture model" better explains not only the politics of Milton's Paradise Lost but also of Restoration drama.

The aim of the dissertation is a comparative analysis of the English royal court in the first half of the 17th century. The analytical part of the dissertation focuses on researching processes that influenced the structure and roles in the royal court in regards to the political, religious, economic, social and cultural development of the world. The benchmarks represent the personality of the ruler, institutional structure and personnel composition of the court, its financing and its culture. The comparison is a defined period of time between the beginning of James I (1603) and the end of the personal rule of Charles I (1640). The dissertation is based on critical analysis of the sources and studies of secondary literature. One of the features of the Royal Court during the rule of James I was the rivalry of various factions. In the interest of retaining a balance in power, the monarch revealed selected offices only to members of his Scottish clubs. Targeted strengthening of the influences of selected institutions of court, especially Bedchamber, ended up contributing to a significant weakening of the unitary system of the government, where the Privy Council played a key role up until then. In addition, between 1603 and 1625, there became a strong concentration of power in the hands of the royal...

Diploma work presents the Poetics of Emily Dickinson and Walt Whitman as a big influence on traditional American Literary development. Their work brought a new view of traditional Poetry in 19th century, which affected the whole status of traditional American culture. Their styles of writing had an effective impact on American Literature and shaped the new image of Poetry. One of the purposes of this diploma work is to introduce historical and literary-philosophical background of the period of 19. century, which influenced their lives and work as well. Then the diploma work demonstrates the Poetry of Walt Whitman and Emily Dickinson and compares their work afterwards according to the chosen topics appearing in their poems. To summarise the whole diploma work there is the analyse of the similarities and differences in the poetry of both poets.

Made available in DSpace on 2015-05-14T12:39:55Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 863005 bytes, checksum: 42a8a1db5cfda470b4b759259c7d0c82 (MD5) Previous issue date: 2014-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims at analyzing the dramatic action and the characters tragic ethos in the trilogy Mourning Becomes Electra, focusing on the protagonist Lavinia Mannon. Our research corpus, which was written by Eugene O Neill and first performed in 1931, is a recreation of Aeschylus trilogy, the Oresteia, which presents a reading of the myth of the House of Atreus, whose line is cursed by acts of hate and vengeance. This study starts by taking into account the myth concept and its relations to Greek tragedy, as long as Freudian psychoanalysis, in the Modern times. The investigation about the concepts of action and ethos is based on Aristotle s Poetics (2005), Hegel s Aesthetics (2004), along with the studies of Raymond Williams (2002) and Sandra Luna (2005, 2008, 2012), as theoretical support. By creating a psychological drama, O Neill goes deeply into the character s psyche, presenting themselves struggling with impulses and passions repressed by their Puritan morality. Lavinia, the modern Electra, faces a personal drama, since she has a sickly love desire for her father, Ezra, is jealous of her mother, Christine, and represses her desire for Adam Brant, Christine s lover. Lavinia accuses her adulteress mother of having murdered Ezra, and seeks vengeance with the help of her brother, Orin, culminating with Christine s suicide. Orin, taken by guilt and remorse for having contributed to his mother s death, also succumbs to suicide. In order to maintain the Mannons secrets, Lavinia, as the last member of the family, seeks punishment for herself, condemned to endure a tormented existence, haunted by her antecessor s ghosts and recluse at her own house. / Esta pesquisa tem por objetivo analisar a ação dramática e o ethos trágico dos personagens na trilogia Mourning Becomes Electra, tendo como foco a protagonista Lavínia Mannon. Escrita pelo dramaturgo norte-americano Eugene O Neill e encenada, pela primeira vez, em 1931, a trilogia escolhida como corpus desta pesquisa constitui-se uma releitura da Oréstia, de Ésquilo, cujo enredo apresenta uma apropriação do mito dos Atridas, família cuja história é marcada por crimes de ódio e vingança. O estudo parte das considerações sobre o conceito de mito e sua relação com a tragédia grega e com a teoria psicanalítica de Freud, na modernidade. A investigação sobre os conceitos de ação e ethos dos personagens tem como suporte teórico a Poética de Aristóteles (2005), a Estética de Hegel (2004), as contribuições de Raymond Williams (2002) e de Sandra Luna (2005, 2008, 2012). Ao elaborar um drama psicológico moderno, O Neill investe na psiqué dos personagens, que se apresentam em luta contra pulsões e desejos, reprimidos em nome da moral puritana. Lavínia, a Electra moderna, enfrenta um drama pessoal, pois nutre um amor doentio pelo pai, Ezra, tem ciúmes da mãe, Christine, e reprime seu desejo pelo amante desta, Adam Brant. Ao saber da morte de Ezra, Lavínia acusa a mãe adúltera de ser a autora do crime e promete vingança com a ajuda de seu irmão Orin, resultando no suicídio de Christine. Orin, tomado pela culpa e remorso por ter contribuído com a morte da mãe, também sucumbe ao suicídio. A fim de resguardar os segredos de sua família, Lavínia, como a última Mannon, busca sua autopunição, condenada a uma existência atormentada, assombrada pelos fantasmas de seus antepassados e enclausurada em sua própria casa.