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New England theologian Jonathan Edwards came to prominence at the culmination of a dramatic paradigm shift in millennialism that had begun in the sixteenth century, declaring that a thousand-year earthly kingdom would arrive in the future. For Edwards, the land of Israel would be the ideal location of the millennial kingdom, and the people of Israel, after their restoration, would play critical and decisive roles in the millennium's commencement. Edwards's millennial vision was also cosmic, however, and included both Europe and China. Unlike his Protestant predecessors and his Puritan contemporaries, Edwards's millennialism de-centralized England and New England. Contrary to what many have argued, Edwards neither originated nor advocated the notion of the American redeemer nation. In America's Theologian Beyond America, Victor Zhu establishes the coherence of Edwards's Judeo-centric and cosmic vision of the millennial kingdom and argues that this vision is an indispensable part of Edwards's theological system. He highlights three theological loci in Edwards's millennialism: the greatness of God's divine sovereignty, the magnificence of His glory, and the capaciousness of His kingdom. Zhu demonstrates Edwards's conviction of the progressive realization of the kingdom, refuting the prevailing misinterpretation that Edwards thought the millennium was imminent. He explores Edwards's cosmic vision of the millennial kingdom, which extended from New England and Israel to China and other parts of the "heathen" world. In conclusion, Zhu examines the contemporary relevance of Edwards's millennialism in Chinese millennial movements.
"Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century - a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience." "Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period."--BOOK JACKET.