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"Strange instruments": Women as ves...

Gable, Janice Marie.

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"Strange instruments": Women as vessels of the Holy Spirit in late nineteenth-century American literature.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Strange instruments": Women as vessels of the Holy Spirit in late nineteenth-century American literature./
作者:	Gable, Janice Marie.
面頁冊數:	200 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4313.
Contained By:	Dissertation Abstracts International63-12A.
標題:	Literature, American. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3073957
ISBN:	0493936912

"Strange instruments": Women as vessels of the Holy Spirit in late nineteenth-century American literature.
Gable, Janice Marie.

"Strange instruments": Women as vessels of the Holy Spirit in late nineteenth-century American literature. - 200 p.

Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4313.

Thesis (Ph.D.)--Lehigh University, 2003.

Nineteenth-century American women frequently used unorthodox, even subversive, tactics in order to marry a minister, for marriage was an ordination into a ministry career otherwise denied them. Texts in which heroines marry ministers, such as Augusta Jane Wilson's <italic>St. Elmo; or, Saved at Last</italic> (1867), Josiah Gilbert Holland's <italic>Fanny Gilbert: An American Story </italic> (1860), and Bayard Taylor's <italic>Hannah Thurston: A Story of American Life</italic> (1864), must be re-interpreted according to this overlooked fact.

ISBN: 0493936912Subjects--Topical Terms:

1017657
Literature, American.

"Strange instruments": Women as vessels of the Holy Spirit in late nineteenth-century American literature.
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245 1 0 $a "Strange instruments": Women as vessels of the Holy Spirit in late nineteenth-century American literature.
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500 $a Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4313.
500 $a Director: Mary-Jo Haronian.
502 $a Thesis (Ph.D.)--Lehigh University, 2003.
520 $a Nineteenth-century American women frequently used unorthodox, even subversive, tactics in order to marry a minister, for marriage was an ordination into a ministry career otherwise denied them. Texts in which heroines marry ministers, such as Augusta Jane Wilson's <italic>St. Elmo; or, Saved at Last</italic> (1867), Josiah Gilbert Holland's <italic>Fanny Gilbert: An American Story </italic> (1860), and Bayard Taylor's <italic>Hannah Thurston: A Story of American Life</italic> (1864), must be re-interpreted according to this overlooked fact.
520 $a Women of the Holiness and Pentecost movements rejected ordination through marriage, arguing that the Holy Spirit ordained them for religious speech even though male-dominated institutions refused to. They believed that the ordination occurs when a woman loans her voice and body to the Spirit, becoming His vessel and speaking with “tongues of fire” called <italic> glossolalia</italic> (Acts 2:4). More specifically, the Spirit replaces male-constructed language, a language of dependency and subordination for women, with His powerful, public language.
520 $a Nineteenth-century fiction frequently references its heroines' ordination by the Holy Spirit but nonetheless does not grant them full permission and power to speak. The heroine of Harriet Beecher Stowe's <italic>The Minister's Wooing</italic> (1859) is ordained by the Holy Spirit to a “silent ministry.” The heroines in Elizabeth Stuart Phelps's <italic>The Gates Ajar</italic> (1868) and Margaret Deland's <italic>John Ward, Preacher</italic> (1888) are ordained with the “ordination of experience,” but they never preach. The heroines in Elizabeth Wooster Stuart Phelps's <italic>The Sunny Side; or, The Country Minister's Wife</italic> (1851) and Charles Sheldon's <italic> In His Steps</italic> (1896) are ordained for limited speech. Henry James's <italic> The Bostonians</italic> (1886) and Margaret Deland's “The Voice” (1902) depict even more perverted versions of Pentecost.
520 $a In <italic>The Silent Partner</italic> (1871), Elizabeth Stuart Phelps creates a heroine who preaches publicly—she literally preaches in the streets without church support. Phelps's “A Woman's Pulpit” (1870), which builds for its heroine a public pulpit within a church, is, ironically, silent on the spiritual debate over her right to preach behind it.
520 $a If fiction was not designed to tame the Holy Spirit's fiery tongues, it nonetheless does so, for the novel, like a woman, cannot hide its female form.
590 $a School code: 0105.
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