Dissertations / Theses on the topic 'Preaching literature'

A divide exists between those who view the Canterbury Tales as a series of self-contained texts and those who contend that the various characters' interactions affect each tale's direction. This paper takes the latter view, using the contemporary preaching attitudes of Chaucer's day to examine how the Pardoner's, Prioress's and Friar's respective levels of consideration for their situation and audience are directly related to their tales' success. While the Pardoner's self-absorption and over-dependence on his professional habits and the Prioress's favouring of sentimentality at the expense of engagement with her tale and audience result in less-than-popular narratives, the Friar's use of fraternal preaching techniques emphasising an adaptable, audience-centred style leads him to greater success with the pilgrims. Chaucer's advocacy of narrative flexibility may be part of his overall goal with the Canterbury Tales: to create a written text that replicates as much as possible the spontaneous nature of oral performance.

This thesis examines the representations of the self as a cultural agent, both reacting to and actively shaping codes of social and artistic respectability, as displayed in the diaries of the canonical Victorian writers Lady Elizabeth Eastlake, Henry Crabb Robinson, George Eliot, George Gissing, John Ruskin and Gerard Manley Hopkins. It analyses the impact of wider ideological and social imperatives on the diarists’ subjective experience and reads their tendency to silence the self as a symptom of the cultural pressure to merge their private and public persona. These diaries represented a forum in which the diarists perpetually negotiated their own value within the Victorian ideology of productivity and thus not only reflect their inner world but also the cultural climate of the nineteenth century. Chapter One traces the selected diarists’ reluctance to reveal private information, as well as their tendency to foreground professional productivity, to the social pressure to efface emotions relating to the self and to only cultivate those that nurtured the community. It identifies the similarities between the compulsive self-discipline advocated in the psychological discourse of the period, particularly Alexander Bain’s The Emotions and the Will (1859), and the willingness to both live up to and actively shape the cultural codes of respectability that Elizabeth Eastlake and Henry Crabb Robinson display in their diaries. Chapter Two compares and contrasts the desire for maximal professional productivity as exhibited in George Eliot’s and George Gissing’s diaries. Both worked obstinately in order to increase their own value: whereas Eliot sought to redeem her ‘guilt of the privileged,’ Gissing desperately needed to increase his financial solvency through literary output. Chapter Three discusses the ways in which John Ruskin’s diary helped him block out unrespectable and painful private experiences through transforming his obsessive desire to appropriate and “feel” visual experience into a professional task. Chapter Four shows that Gerard Manley Hopkins—because he was acutely concerned by his cultural otherness caused by his homosexuality—not only sought refuge and validation by joining the Jesuits, but by narrowing his realm of experience to nature, merged the private and the public self into the figure of the professional, asexual, dutiful and disinterested observer.

This doctoral project seeks to discover whether a correlation exists between an enhanced understanding of genre-sensitive hermeneutics and homiletics and an increase in confidence in preaching Old Testament narrative literature. Many preachers exclude, ignore or abuse the Old Testament narratives in their preaching. It is vital for Romanian preachers to improve their skills in preaching the narrative portions of the Old Testament by learning an appropriate hermeneutical and homiletical paradigm for this genre of Scripture.

The strategy used to accomplish this was a one-week teaching seminar. The training program consisted of a one-week seminar for seminary students at Emanuel University in Oradea, Romania. The name of the one-week seminar was Interpreting and Preaching Old Testament Narrative Literature . Before participating in the training week, the students were required to complete a written pre-course questionnaire and submit a sermon sample from an Old Testament narrative passage. The same questionnaire was completed again after the training week. The results of the post-course questionnaire were then compared with the results of the pre-course questionnaire. At the conclusion of the course taught by the researcher, students were required to preach a fifteen-minute sermon from an Old Testament narrative passage. The post-course sermons were evaluated by the same criteria as the pre-course sermons. The results of the post-course sermon evaluations were then compared with the results of the pre-course sermon evaluations.

The results of the study indicate that a relationship exists between an enhanced understanding of genre-sensitive hermeneutics and homiletics and an increase in the selected preachers' confidence in preaching Old Testament narrative literature.

A personal mode of discourse is central to Latter-day Saint culture. This mode is both pervasive throughout the culture and significant within it. Two specific genres-the personal experience narrative and the personal testimony-illustrate the importance of this discourse mode in LDS culture. Understanding the LDS personal mode of discourse is essential to properly understanding Mormonism. The personal orientation in LDS discourse mirrors a tendency towards personal expression which has become common throughout Western culture. This tendency has important roots in the Protestant religious movement. In particular, Puritanism represents a significant point of origin for American personal expression. Such expression has been further encouraged by the democratic climate of America and has become an important part of American religious discourse. However, LDS personal discourse cannot be explained by merely reducing the Latter-day Saint tradition to outside influences. Latter-day Saints, while deriving influence from many points, have fashioned a tradition of using personal expression in their religious discourse which deserves independent consideration. Within Latter-day Saint culture, the LDS tradition of personal discourse has special significance because it draws upon a host of doctrinal and cultural associations that are religiously significant to Latter-day Saints. LDS doctrines about the necessity of personal revelation and the importance of pragmatic action legitimate a religious focus on personal experience. Likewise, cultural encouragements towards personal religious involvement and spiritual expression foster a culture of personal expression. Because of these philosophies and commitments, LDS audiences respond powerfully to personal discourse. A personal style of discourse is important in mediating authority in the LDS religion. Personal expression is a means through which official LDS doctrine is conveyed. This mode of expression also allows individual Latter-day Saints to locate their identities within the structure of the LDS religion. Culturally-encouraged genres of personal expression allow LDS speakers to enact their religious beliefs. These genres reinforce fundamental LDS doctrines and serve an acculturating function in LDS culture. They teach Latter-day Saints how to experience, interpret, and speak about the world in ways consistent with the Latter-day Saint community's doctrines and commitments.

This thesis examines how, in late-medieval England, uses of Scripture and associated written discourses expanded to encompass the sacramental functions hitherto privileged to the bread and wine of the Mass. This process, reflecting the longstanding if implicit importance of scriptural symbolism to the medieval Eucharist, also bears witness to a major cultural shift in this period: the assignment to words of the same powers that had underpinned the function of visual, non-verbal symbols in medieval religion and society. As Chapter Two demonstrates, this process was starkly exposed in John Wyclif’s vision of an English religion centred upon the sacrament of the preached word of Scripture, rather than on the Mass. As Chapter Three shows, this was the vision that Wyclif’s followers sought to realize, even if they may have achieved their aims only within a limited band of followers. However, Wyclif’s vision was powerful precisely because its relevance was not confined to Wycliffites. Chapter Four charts how the same substitution was taking place through the dissemination in English of ‘Scripture’, which, in its broadest sense, encompassed meditations upon depictions of Christ crucified as well as preaching. The greatest danger of Wycliffite thought to the late-medieval Church rested in its potential to increase lay awareness of this process. This threat was reflected in the restrictions placed by the English Church upon lay use of religious writings in the early fifteenth century. Nonetheless, as Chapter Five shows through a reading of one of Wyclif’s sternest critics, Thomas Netter, the eucharistic function of ‘Scripture’ had not disappeared but had to be occluded. This occlusion represents the most significant shift in the eucharistic function of ‘Scripture’ in the fifteenth century, allowing its use to develop further without threatening the Mass. This thesis concludes that the unacknowledged yet increasingly central role of ‘Scripture’ helps to explain why, at the Reformation, a scripturally-based religion seemed so quickly to supplant one to which images had been fundamental.

In this study, I expand the scope of the scholarship that Walter Ong and others have done in orality-literacy relations to examine the often uneasy juxtaposition of the oral and written traditions in the literature of the Victorian pulpit. I begin by examining the intersections of the oral and written traditions found in both the theory and the practice of Victorian preaching. I discuss the prominent place of the sermon within both the print and oral cultures of Victorian Britain; argue that the sermon's status as both oration and essay places it in the genre of "oral literature"; and analyze the debate over the extent to which writing should be employed in the preparation and delivery of sermons.

The decades before the Scottish Reformation Parliament of 1560 witnessed the unprecedented use of a range of different media to disseminate the Protestant message and to shape beliefs and attitudes. By placing these works within their historical context, this thesis explores the ways in which various media – academic discourse, courtly entertainments, printed poetry, public performances, preaching and pedagogical tools – were employed by evangelical and Protestant reformers to persuade and/or educate different audiences within sixteenth-century Scottish society. The thematic approach examines not only how the reformist message was packaged, but how the movement itself and its persuasive agenda developed, revealing the ways in which it appealed to ever broader circles of Scottish society. In their efforts to bring about religious change, the reformers capitalised on a number of traditional media, while using different media to address different audiences. Hoping to initiate reform from within Church institutions, the reformers first addressed their appeals to the kingdom's educated elite. When their attempts at reasoned academic discourse met with resistance, they turned their attention to the monarch, James V, and the royal court. Reformers within the court utilised courtly entertainments intended to amuse the royal circle and to influence the young king to oversee the reformation of religion within his realm. When, following James's untimely death in 1542, the throne passed to his infant daughter, the reformers took advantage of the period of uncertainty that accompanied the minority. Through the relatively new technology of print, David Lindsay's poetry and English propaganda presented the reformist message to audiences beyond the kingdom's elite. Lindsay and other reformers also exploited the oral media of religious theatre in public spaces, while preaching was one of the most theologically significant, though under-researched, means of disseminating the reformist message. In addition to works intended to convert, the reformers also recognised the need for literature to edify the already converted. To this end, they produced pedagogical tools for use in individual and group devotions. Through the examination of these various media of persuasion, this study contributes to our understanding of the means by which reformed ideas were disseminated in Scotland, as well as the development of the reformist movement before 1560.

Starting from the premise that Dante takes influence from the sermons and preaching culture of his time in his construction of a voice of authority, this dissertation tracks the poet's use of sermonic material and rhetoric, as well as more explicit discussions on preaching through his entire corpus. Chapter One, "Dante Praedicator? Introduction to an Understudied Rhetorical Mode in the Commedia," elaborates on the argument that Dante the poet oftentimes acts as a preacher, and shows how this claim opens up new lines of inquiry into the poet's textuality. The first part of this chapter shows how the Commedia's early reception practically takes for granted that the poem is a sort of sermon, and supporting evidence shows in detail how the poem and preaching share much of the same subject matter, and demonstrates how the poem and sermons answer generic and stylistic questions in much the same way. The second section of this chapter surveys the last hundred years of Dante studies, to trace the roots of the recent critical prejudice against non-poetic influences on the poet's work - ranging from liturgy, Christian doctrine and preaching - and hypothesizes its source in Benedetto Croce's seminal 1921 essay, "La poesia di Dante," which rejects the idea of a didactic and hortatory Dante in order to focus instead on the poet qua poet. This vision of a secularized and emphatically "poetic" Dante became the status quo in Dante scholarship (although not without a few dissenters). Finally, the chapter summarizes some of the more recent work discovering the predicatory in Dante, and hypothesizes new questions about this textual mode in the Commedia, which the following chapters of this dissertation will discuss. Chapter Two, "Prohibition and Permission (with a Consideration of the Bolgia of Hypocrisy and Fra Dolcino)," explores the preaching of Dante's time. This chapter explains the social and historical circumstances around the 1214 legislation of Lateran IV, which ordered the ordainment of new preachers, and then recounts the thirteenth century renaissance of preaching as a means to propagate orthodoxy at a time when heresy threatened the Church's unity and stability. Because of this threat that heretical preaching had caused, the Church attempted to regulate preaching through prohibitions and permissions. The chapter then explores Dante's response to these legislative issues in the Commedia - specifically in his treatment of the hypocrites in Inferno 23, and of the schismatics and sowers of discord in Inferno 28. The chapter concludes by arguing that Dante responds to the mandates of church legislation with a considerable degree of indifference. On the one hand he highlights the failure of officials within the Church hierarchy who ought to preach, and on the other refuses to criticize the preaching of zealots that the Church censures as heretics on the other. After the previous chapter's exploration of Dante's relationship to preaching legislation, Chapter Three, "Predicante Iustitiam: Dante the Self-Authorizing Poet," explores more deeply what the poet means when he talks about preaching. The first part of this tripartite chapter proceeds philologically, examining first how Dante's poem consistently refuses to associate anyone identified as a "cherco," "prete," "pastor" or "sacerdote" with preaching, choosing instead to generally highlight the misdeeds of such figures. In this way the poet clears the pulpit of competition, aiming to situate himself, eventually, in that same role. The second part follows philologically as well, to examining variations on the word "predicare" as it occurs in the literature of Dante's milieu and in his own writing, and revealing its unique power as a word used to declare objective truths, though not without unique rhetorical overtones. Finally, the third section shows how Dante's careful use of "predicare" in his letters establishes himself as a preaching figure par excellence, who draws from the apostolic precedents established in the New Testament, as well as the prophetic and apocalyptic Noahic precedent as theorized in II Peter 2:5-7. Chapter Four, "Dicitur predicatio quandoque prophetia," continues where the previous chapter left off, with the suggestion that preaching and prophecy are in many cases one and the same thing. Taking a step away from the common contemporary belief in Dante studies that prophecy is generally something oriented towards forecasting events, this chapter uses Scripture, Aquinas's theology and the artes praedicandi in circulation in Dante's time to show how prophecy and preaching were understood to go hand in hand, well into the Middle Ages. Once this theoretical framework is established, the chapter proceeds to re-evaluate some of Dante's discussions on prophets in Paradiso, namely Nathan of the Old Testament and the twelfth century prophet Joachim of Fiore, to show that what Dante values as "prophetic" in these figures is also closely linked to their status as interpreters and preachers of divine truth, rather than any particular skills at forecasting (i.e. prophecy in the strict sense, according to contemporary standards). Chapters Five and Six mark a transition to a more focused analysis of preaching in the Commedia, to investigate Dante's sustained, but more subtle, use of the rhetorical techniques of preaching. Chapter Five, "The Art of Preaching in the Sphere of the Sun," examines the sequence of canti in Paradiso 10-13, to show the influence of the artes praedicandi on the rhetoric of these canti, and particularly on the speech of Thomas Aquinas, as Dante represents him here. An in-depth discussion of a form of preaching gaining influence in the duecento, sermo modernus, explains what it is, its component parts, and the way that it was used in Dante's world, and how it propagates a certain logical modes of thinking. Finally, Aquinas's speech in Paradiso 10-13 is examined for traces of sermo modernus, demonstrating that the poet intended to inflect Aquinas's language with predicatory valences, in the pursuit of a moral and ethical message that can be considered "authoritative." Chapter Six, "Beyond Sermo Modernus: Street Preaching in the Primum Mobile," turns to Beatrice's discourse in Paradiso 29, which combines complex theological discussion with a scabrous criticism of vainglorious street preaching. With language oscillating wildly between high and low registers, Beatrice rails against both the pseudoscience and philosophical ornament bogging down contemporary sermons, as well as the jests and buffooneries that less erudite street preachers employ to amuse their audience and extract favors and monetary compensation from them. It will be shown that here too the poet freely employs the language of the street, in echo of popular preachers of the time, and his willingness to embrace the physical and grotesque proves that his predicatory language is ultimately grounded in things, in the real. I will turn to examples from the life of St. Francis of Assisi to illustrate here his that his emphasis on things is represented not only in the preacher's words but also in his body, his acts, his example.

Prediking is 'n dialoog. Dit dompel die preek in 'n direkte krisis. Wat kan die prediker doen om hierdie dialoog te bevorder? Die deelnemers in die erediens word kortliks bespreek. God spreek met die prediker deur die teks. Die prediker moet hierdie teks aan die hoorder in die erediens oordra. Om die oorspronklike teks te verstaan het daar drie hoofstrome in die tradisionele hermeneuse ontstaan: Krities-histories, Tekskrities en Hoorders hermeneutiek. Die probleem is egter nie opgelos nie. Hoe kan die prediker die boodskap effektief aan die hoorder oordra? Daar word voorgestel dat die kreatiewe proses gebruik word in die voorbereiding van die preek. Die breinkaart kan gebruik word om die teks en hoorder van die teks, beter te verstaan. Hulpmiddelle moet gebruik word om die teks aan die hoorder oor te dra. Hier word die gebruik van literatuur en drama bestudeer.
Preaching is a dialogue. This states the current problem of preaching. How can the preacher improve this dialogue in the sermon? The participants in the sermon are shortly discussed: The preacher listens to the text. God speaks through the text. The preacher must communicate this text to the listener in the sermon. Three major streams have evolved in the tradisional hermeneutics: Critical-historical, Textual and Listeners hermeneutics. There is however, still a problem. How does the preacher present this message effectivly to the listener? It is suggested that the creative process must be considered in preparing a sermon. The mind map can be used to understand the text and listener of the text better. More aids can be used to reach the listener effectivly. In this thesis the use of literature and drama in the preparing and delivering of the sermon will be studied.
Practical Theology
M.Th. (Practical theology)

This study examines how English laypeople and clergy of lower ranks were taught the basic principles of Christian doctrine as articulated in the Apostles’ Creed and Articles of Faith. Chapter one addresses the theological and historical background. Over the course of the twelfth century, school-based theologians came to place an increasing emphasis on faith as a cognitive state while at the same time moral theologians sought to make sure that all Christians had a basic participation in the life of the Church. These trends led to an effort by the Church as an institution to make sure that all Christians had at least a basic understanding of the Christian religion. Chapter two examines how the episcopate carried out a drive to ensure this basic level of understanding through the venues of councils, synods, and deanery and archdeaconry meetings. In all three of these venues, the requirements of making sure the laity know the Creed and Articles of Faith were passed on to parochial clergy, and through these clergy to the laity. Chapter three concerns one particular aspect of presenting the basics of doctrine to the laity, viz., preaching. An examination of a sample of three works of religious instruction for clergy and three sets of model sermons shows how parochial clergy, Franciscans, and Dominicans preached the basics of Christian doctrine. The distribution of the manuscripts of these works shows a broad distribution among parochial clergy, Augustinian canons, and Franciscan and Dominican friars. Such a broad distribution suggests that the Augustinian canons may have been carrying out a good deal of pastoral care and catechetical instruction and that the ready access of preaching aids to clergy indicates that those with responsibility of preaching Christian doctrine to laypeople would have had resources available to do so. Chapter four concerns vernacular literature as a means of religious instruction. Most thirteenth-century literature of religious instruction was in Anglo-Norman, a language spoken and read by aristocrats, clergy, and the upwardly mobile. Three Anglo-Norman works, the Château d’amour by Robert Grosseteste, the Mirour de Seinte Eglyse by Edmund of Abingdon, and the Manuel des pechez by William of Waddington all contain the foundational Christian doctrines contained in the Articles of Faith. The manuscript distribution of all three show that they were owned by both clergy and laity, indicating that they served as teaching aids for clergy, and also that they served to provide laypeople who could afford copies of them with unmediated religious instruction. The broad conclusion of this thesis is that the available evidence shows that the basic principles of Christian doctrine were available both to the lower clergy who would preach and teach the Creed and Articles of Faith and also to the laity who would receive this preaching and instruction.

Text in Afrikaans
Summaries in Afrikaans and English
Die inhoud en vorm van 'n preek is 'n eenheid. Beide aspekte vorm deel van die teologiese teorie van die prediking. In hierdie studie word daar teoreties besin oor 'n bepaalde vorm van prediking. Dit behels 'n ondersoek na die literere vorm waarin die boodskap gestruktureer en verwoord word. Die Skrif bevat 'n verskeidenheid literere vorme wat deur Bybelskrywers aangewend is om die intensie van die teks effektief te kommunikeer. Elk van hierdie vorme besit 'n eiendomlike kommunikatiewe aard. Die ontwikkeling van die moderne literatuurwetenskap sedert die tagtigerjare van die twintigste eeu het stukrag verleen aan die insig dat die Bybel ook as 'n versameling godsdienstige literatuur bestudeer kan word. Dit het meegebring dat die intensie van die teks van die Bybel op 'n teologies verantwoordbare wyse, met inagneming van die historiese verbande, beter begryp kan word deur die gebruikmaking van insigte uit ander literatuur. As sodanig word erkende literere kunsvorme wat naas die logies-analitiese ook die emotiewe betrek, aanvaar. Die resultaat van hierdie ondersoek dui aan dat die preek as kunsvorm geevalueer en in die moderne preekteorie geregverdig kan word. Die proses van transformasie wat die moderne hermeneutiese benadering kenmerk; die veranderde beleweniswereld en verstaanshorison van die huidige hoorders asook die eiesoortige aard van Bybelse literatuur is vanuit 'n kommunikatiewe aanname in 'n kunsvorm binne die moderne homiletiese teorie haalbaar. Die teorie orienteer binne die kommunikatiewe handelingsteorie as meta-teorie wat ingestel is op dialogiese kommunikasie wat betekenisgewing deur waarnemerbetrokkenheid bevorder en 'n bepaalde denkwyse by die hoorders tot gevolg het. Die tradisionele vorm van prediking, gekenmerk deur absolute dominasie van die rede en intellektualisme uit die modernistiese tydvak, het teen die einde van die tweede millennium in ernstige diskrediet gekom. Die radikale verandering in die samelewing deur die moderniseringsproses met gepaardgaande paradigma verskuiwinge dwing die homiletiek om teoreties te herbesin. In hierdie studie word die preek as kunsvorm afgebaken tot die verhalende preekvorm, konseptueel ontwikkel en teoreties omskryf asook geplaas binne die moderne homiletiese teorie as komponent wat daarby pas. Die resultaat is verkry deur 'n vergelykende studie van gemeenskaplike wesenstrekke wat voorkom by erkende kunsvorme in die moderne kunsteorie; die verhalende kunsvorm in die moderne literere teorie met spesifieke verwysing na die Afrikaanse roman asook die verhalende preekvorm in die moderne homiletiese teorie. Deur hierdie vorm van prediking in die moderne preekteorie op te neem, kan 'n sinvolle bydrae gemaak word om die Christelike boodskap deur oortuiging sander enige vorm van dwang te kommunikeer.
In a sermon form and content are one. Both aspects form part of the theological theory of preaching. This theoretical survey investigates one of the various literary forms through which the biblical writers attempted to communicate the intention of the biblical text in the most effective way. Each of these forms possesses a distinctive communicative character. The development of modern literary theory since the eighties of the twentieth century was a propulsive force leading to the conviction that the Bible was also a collection of religious literature. This conviction implied that the intention of the biblical text could be more clearly understood in a theological justified manner within the historical context by using insights gained from other literature. Acknowledged literary art forms adhering to the emotive as well as the logic-analytical are embraced as such. In this study the sermon as an art form is limited to narrative preaching, developed as a concept; theoretically described and placed within the modern homiletical theory as a suitable component. Results are obtained by means of a comparative study of mutual features that are distinctive to acknowledged art forms in the modern theory of art; narrative art forms in modern literature theory specifically in the modern Afrikaans novel, as well as the narrative form of preaching in the modern homiletical theory. The modern homiletical theory is orientated within the communicative acts theory as meta-theory focusing on dialogical communication which promotes meaning through the involvement of the observer. The conclusions reached indicate that the sermon as an art form can be evaluated and justified within the modem homiletical theory. Taken up in this theory, it can prove significant in communicating the Christian message to the listeners in a convincing rather than compulsive manner.
Practical Theology
D.Th. (Practical theology)

Univerzita Karlova v Praze Filozofická fakulta Ústav řeckých a latinských studií Latinská medievistika a neolatinská studia Abstract Francis of Meyronnesʼ Tractatus de passione Domini: Critical edition and analysis Školitel: doc. Mgr. Lucie Doležalová, M.A., Ph.D. 2015 Riccardo Burgazzi Abstract Francis of Meyronnes (1288 - 1328) was a theologian and a sermonist, disciple of John Duns Scotus. He studied at the University of Paris and taught in several provincial studia in France and in Italy. He became master of theology in 1323 and he was named Provincial Minister of Provence in 1324; later, he moved to Avignon, where he worked as a preacher and a counselor. Francis of Meyronnes wrote an impressive number of works that can be classified as philosophical, political, and devotional. Meyronnes' Tractatus de Passione Domini, the subject of this dissertation, could be dated between 1318 and 1320, when Francis was Baccalarius Biblicus in Paris. It was probably written for his brothers in order to provide them with a biblical commentary which could have been an instrument for helping them in the composition of their own sermons and works. As Tobias Kemper claims, the authors from the Late Middle Ages used to tell the Passion mainly in two ways: in form of "meditations" or in form of "narrative representations"....

Text in German with summaries in German and English
Includes bibliographical references (leaves 350-377)
Die Doktorarbeit hat die Absicht herauszufinden, was Jonathan Edwards unter dem Begriff „Sündenerkenntnis“ verstanden hat und dabei die Frage nach der Bedeutung dieses Verständnisses für die Erweckungsbewegung zu beantworten. Während Jonathan Edwardsʼ Theologie und Philosophie im Allgemeinen gut erforscht ist, wurde dieser Aspekt noch nicht genauer untersucht. Zunächst wird auf der Grundlage einer chronologischen Einordnung seiner Werke Jonathan Edwardsʼ Verständnis von Sündenerkenntnis aus seinen wichtigsten Schriften erarbeitet, wobei eine Entwicklung in seinem Gedankengut deutlich wird (Qualitative Inhaltsanalyse). In einem zweiten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis mit der Theologie seiner Vorläufer, Zeitgenossen sowie Nachfolger und Gegner verglichen, wobei sich die Untersuchung auf die Bewegung des Puritanismus, die Epochen des „Great Awakening“ und des „Second Great Awakening“ beschränkt (Diachronischer Vergleich). In einem dritten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis systematischtheologisch und theologiegeschichtlich eingeordnet. Mit dieser Studie soll ein weiterer deutscher Beitrag zur internationalen Jonathan Edwards-Forschung geleistet werden. Der Ansatz dieser Forschung ist dabei historisch ausgerichtet, da er den systematisch-theologischen Begriff „Sündenerkenntnis“ auf der Grundlage der Biografie Edwardsʼ und einer chronologischen Einordnung seiner Werke zu ermitteln sucht, um ihn dann in einem diachronischen Vergleich mit Verständnissen aus verschiedenen zeitlichen Epochen zu vergleichen und so den Begriff „Sündenerkenntnis“ in einem theologiegeschichtlichen Kontext einordnet und versteht.
The thesis tries to answer the question, how Jonathan Edwards understood the term “conviction of sin”. The intention is to find out the significance of his understanding of this term for the revivalmovement of his time. While numerous studies have been done on his theology and philosophy, this aspect has not been thoroughly examined yet. Based on a chronological assessment of his works Jonathan Edwardsʼ understanding of conviction of sin is established from his major works (qualitative content analysis). This reveals a development in his thought-system. In a second part Jonathan Edwardsʼ understanding of conviction of sin is compared with the theology of his predecessors, contemporaries and opponents. This examination is limited to the time of the Puritans, the “Great Awakening” and the “Second Great Awakening” (diachronic comparative analysis). In a third part Jonathan Edwardsʼ understanding of conviction of sin is assessed in a systematictheological way and classified historically. The author intends to make another German contribution to international Jonathan Edwards Studies. This research is historically focused, because of the fact, that the term “conviction of sin” is analysed by means of the biography of Edwards and a chronological classification of his works to compare it with meanings of different historical epoches and classify it in its theological historical context by that approach.
Christian Spirituality, Church History and Missiology
D. Th. (Church history)