Thesis (M.A.)--Trinity Evangelical Divinity School, 1997. / Abstract. Includes bibliographical references (leaves 140-144).

Thesis (M.A.) -- Central Connecticut State University, 2008. / Thesis advisor: Katherine A. Hermes. "... in partial fulfillment of the requirements for the degree of Master of Arts in History." Includes bibliographical references (leaves 386-391). Abstract available via the World Wide Web.

Proefschrift--Amsterdam.

Thesis (M.A.)--Ohio State University, 1949. / Available online via OhioLINK's ETD Center

Thesis advisor: Judith Wilt / Though contemporary evangelical Protestants have shown an increased interest in the fine arts, scholars have often seen the aesthetic history of Anglo-American evangelicalism as one marked by hostility and indifference. In contrast to this view, this study argues that the history of evangelicalism's intellectual engagement with the fine arts has been complex and varied. Throughout much of the nineteenth century, evangelicals writing in a variety of denominational periodicals carried on a robust inquiry into aesthetics. This study traces the rise of this discourse among Anglo-American evangelicals and maps some of the main features of the evangelical theoretical landscape between 1830 and 1900&mdash;a high point of evangelical critical activity. <italic>Christians, Critics, and Romantics</italic> describes how evangelicalism's contact with Enlightenment thought initiated a break with the Puritan aesthetic tradition that contributed to the growth of a modern aesthetic consciousness among some eighteenth-century evangelicals. By the 1830s, evangelical aesthetic discourse had come under the influence of romanticism. Not only did many evangelical writers define art according to the expressivist principles adduced by major romantic critics but some went even further in asserting, after Coleridge and the German idealists, that art is an embodiment of a higher reality and the imagination an organ of transcendental perception. Evangelical critics, moreover, valued art for its contribution to the stability and progress of &ldquo;Christian nations&rdquo; such as England and the United States. By refining the moral feelings of individuals, fine art helped to safeguard the socio-moral cohesion of Protestant &ldquo;civilization.&rdquo; For a time, evangelical critics attempted to celebrate art in romantic terms while insisting on art's subordination to traditional Christianity, but such an arrangement ultimately proved unsustainable. By the end of the nineteenth century, a rift had opened up within Anglo-American evangelicalism between conservatives and liberals. This rift, caused in part by the spread of romantic thought and by various other secularizing trends, had important implications for evangelical aesthetic thought. While liberals continued to advance high claims for the spiritual and educational potential of art, conservatives largely abandoned the philosophical exploration of art in order to turn their attention to the threats of Darwinian evolution and biblical criticism. Nevertheless, both liberals and conservative fundamentalists retained in their respective ways many of the aesthetic assumptions of the romantic tradition. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Thesis (M.A.) in English--University of Maine, 2001. / Includes vita. Includes bibliographical references (leaves 87-93).

There are two motives for this study. First and foremost is the spiritual inspiration which was anticipated in a comprehensive examination of the writings or this great Christian Churchman. Coupled with the spiritual values was the corresponding intellectual stimulation or exploring in a relatively new field to this writer. It soon became evident that though great scholars had blazed the trail, still much original research was required. All of this was done with the purpose of more clearly understanding seventeenth and eighteenth century English and American history. The problem of this study is to define clearly the thought of William Perkins, and to realize how it was applied to sixteenth and seventeenth century Christians. This is what is meant by his activity. Since the emphasis is placed upon his thought it was considered best not to make an extensive study of his influence on the Continent and in America. That in itself is a topic of major research. Suggestions of his influence are given in the final chapter which indicate to some extent the application of his thought following his death.

No description available.

Discovered in 1933 after having been hidden from the academic world for 271 years, the Hartlib Papers have been called the greatest 17th century research revelation of the 20th century. Yet 81 years later the author and collector of the papers remains a mystery and the content of the papers have been little appreciated. Who was this auctor prudens and what do his voluminous papers have to say about his time? This thesis argues that Hartlib is a critical link in a long chain of scholars who formed and shaped the development of science. An evolution which began with Roger Bacon, more fully developed into a new epistemology with Francis Bacon, is passed on by Hartlib to others who were founding members of the Royal Society. This new system of understanding, then known as experimentalism, is the empirical method which impacted the entire spectrum of modern academic disciplines.

No description available.