1,107 research outputs found
Public worship and practical theology in the work of Benjamin Keach (1640-1704)
No full textThe late seventeenth century was a critical and fruitful period
for the Particular Baptists of England. Severely persecuted following
the Restoration, toleration in 1689 brought its own perils.
Particular Baptists were fortunate in having several strong leaders,
especially the London trio of Hanserd Knollys, William Kiffin, and
Benjamin Keach. Such a small and severely persecuted group as the
Baptists could afford little time for academic pursuits, thus of
necessity most of their theology was practical in nature.
Benjamin Keach (1640-1704) was the most outstanding practical
theologian among the English Particular Baptists of the late
seventeenth century. This dissertation is a study of Keach, in
particular his writings on public worship and practical theology.
Although Keach was a prolific author, he has been almost completely
neglected by scholars.
After a biographical sketch of Keach, this study considers his
writings on public worship and practical theology. In the area of
worship, Keach made two outstanding contributions: First, he was the
most vocal apologist for Baptist views on Baptism of his period.
Secondly, and more importantly, his hymn writing and defense of hymn
singing broke new ground, not just for Baptists, but for English
Protestantism, in general. In addition to his contributions in these
areas, he also dealt with the laying on of hands and the sabbath day
worship controversy.
Keach's contributions to practical theology fall into two main
groups: his writings that concern religious education and those that
deal with polity. In addition to these, Keach's vigorous advocacy of
a high Calvinist soteriology are also considered under the rubric of
practical theology. Keach's most important (although not his most
positive) contribution in this area were his soteriological writings.
Although well within the bounds of orthodoxy, some of the tendencies
in Keach's soteriology were taken up by the following generation of
Baptist leaders and developed into a stultifying hyper-Calvinism that
handicapped Baptist evangelism and missions.
In the conclusion, Keach's contributions to a theory of practical
theology are considered
Poetical Works of James Madison Bell
No full textThis volume of poetry includes a bigraphical sketch of the author, James Madison Bell (1826-1902), by Bishop Benjamin William Arnett (1838-1906). According to Arnett, Bell was an African-American poet, orator, and political activist. He was an Ohio native who lived in Canada and San Francisco before settling with his family in Toledo in 1865
In-Depth Analysis and Program Notes on a Selection of Wind Band Music
No full textThis document is an in-depth analysis of five pieces composed for wind band: Cloudburst by Eric Whitacre, Promenade and Galop by Daniel Kallman, Ave Maria by Franz Biebl (arranged by Robert Cameron), A Hymn for the Lost and the Living by Eric Ewazen, and Five English Folk Songs by Ralph Vaughan Williams (arranged by Evan Feldman). These works were conducted by the author with the Minnesota State University, Mankato Concert Wind Ensemble between October 2010 and January 2012. The following pages contain biographical information on each composer (and arranger where applicable), program notes, formal analysis, and conducting and rehearsal considerations by the author. In addition, each analysis concludes with a personal reflection in which the author describes how each piece helped in his development as a conductor from baton technique to personal growth
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
James Farmer, Benjamin Hooks, and Unidentified Man, circa 1965
No full textBenjamin Hooks (in middle) is shown holding James Farmer's arm (on the left) alongside an unidentified man in front of a building.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Joseph & Evelyn Lowery Institute for Justice and Human Rights, the Joseph Echols Lowery Irrevocable Trust, and other donors in supporting the processing and digitization of Morehouse College's Joseph Echols and Evelyn Gibson Lowery Collection
The censor or, Observations on the prospect of a peace, and the conduct of our treaties abroad, occasioned by the last craftsman, relating to the succession of Don Carlos, to the Dukedom of Tuscany, &c. By the author of the Enquiry [electronic resource].
No full textAuthor of the Enquiry = Benjamin Hoadly.Signed: Tho. Potts, a pseudonym for Benjamin HoadlyElectronic reproduction.English Short Title Catalog,Reproduction of original from William Andrews Clark Memorial Library (UCLA)
Program Note: Benjamin Britten, War Requiem
No full textThis is a program note to Benjamin Britten's War Requiem, performed by the Boston University Symphony Orchestra & Chorus (David Hoose & Scott Allen Jarrett, conducting) at Symphony Hall, Boston University on November 24, 2014. This program note appears in OpenBU courtesy of its author
TRAUMATIC IDENTITY AND AURA IN DAVID LODGE’S AUTHOR, AUTHOR
No full textThis paper delves into David Lodge’s Author, Author (2004) as an example of neo-Victorian celebrity biofiction, more concretely on Henry James. The genre belongs to the wave of Victorian revival in current literature which also affects cultural studies in general. My main contention is that Lodge’s novel responds to current cultural anxieties, particularly the crisis of identity and authorship and the end of Walter Benjamin’s concept of aura, by sublimating them into late-nineteenth-century traumata. The choice of James is, the article argues, not casual. He represents the redeeming figure of a lost auratic world; the human in crisis, traumatized because he does not fit in the new status quo.Este artículo analiza la novela Author, Author (2004) de David Lodge como ejemplo de bioficción neo-victoriana centrada en una celebridad, en este caso concreto, Henry James. El género forma parte del renacimiento victoriano actual que afecta a los estudios culturales en su conjunto. Mi argumento central es que la novela de Lodge constituye una respuesta a las ansiedades culturales actuales, en particular a las que se refieren a la crisis identitaria y autoría literaria, así como a la pérdida del aura artística de Walter Benjamin, sublimándolas a través de los traumas de finales del siglo XIX. La elección de James, como demuestra el artículo, no es casual. Es el último representante de un mundo perdido en el que el aura aún tenía un espacio; el ser humano en crisis y traumatizado porque no encaja en un status quo nuevo
Traumatic identity and aura in David Lodge's "Author, author"
No full textEste artículo analiza la novela Author, Author (2004) de David Lodge como ejemplo de bioficción neo-victoriana centrada en una celebridad, en este caso concreto, Henry James. El género forma parte del renacimiento Victoriano actual que afecta a los estudios culturales en su conjunto. Mi argumento central es que la novela de Lodge constituye una respuesta a las ansiedades culturales actuales, en particular a las que se refieren a la crisis identitaria y autoría literaria, así como a la pérdida del aura artística de Walter Benjamin, sublimándolas a través de los traumas de finales del siglo XIX. La elección de James, como demuestra el artículo, no es casual. Es el último representante de un mundo perdido en el que el aura aún tenía un espacio; el ser humano en crisis y traumatizado porque no encaja en un status quo nuevo.This paper delves into David Lodge’s Author, Author (2004) as an example of neo-Victorian celebrity biofiction, more concretely on Henry James. The genre belongs to the wave of Victorian revival in current literature which also affects cultural studies in general. My main contention is that Lodge’s novel responds to current cultural anxieties, particularly the crisis of identity and authorship and the end of Walter Benjamin’s concept of aura, by sublimating them into late-nineteenth-century traumata. The choice of James is, the article argues, not casual. He represents the redeeming figure of a lost auratic world; the human in crisis, traumatized because he does not fit in the new status quo
Banquet Speech, Atlanta, GA. Dr. Benjamin E. Mays presentation, History of Black Churches. C.S. Rooks
No full textThis recording features a presentation by Benjamin E. Mays, featuring an explanation on the role of the Black Church in the liberation process in America. The presentation is taken over by Charles Shelby Rooks and James Cone after Mays has some difficulty. Each proceeds to read about the organization of the Black church and the help given by whites to the efforts of the Black church.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the National Endowment for Humanities - Humanities Collections and Reference Resources Implementation Project Grant in supporting the processing and digitization of a number of its major archival collections as part of the project: Spreading the Word: Expanding Access to African American Religious Archival Collections at the Atlanta University Center Robert W. Woodruff Library.</em
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