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Bruneel, Benjamin. "Art and worship in Zwinglian theology." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.
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Manning, Russell Robert. "Theology at the end of culture : Paul Tillich's theology of culture and art." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615700.
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Worley, Taylor. "Theology and contemporary visual art : making dialogue possible." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.
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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.
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Slikker, Hank B. "Narrative art, unity, and theology in 1 Kings 22:1-38." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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Lindloff, Aaron. "Filmic icons a new art for worship /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Lee, Keonsoo. "Revisiting the use of art, imagery and symbolism in the Presbyterian Liturgical tradition in Korea : a practical-theological research." Thesis, Stellenbosch : Stellenbosch University, 2013, 2013. http://hdl.handle.net/10019.1/85728.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: Aesthetics has a theological calling: The beauty (or ugliness) in the world and art incites us to long for the divine eternal beauty. The earthly beauty is revelatory and analogous to the beauty of God. Imagination, i.e. making an image, whether mental or physical, is an inherent faculty of human beings who were created in the image of God. It is an insuppressible human activity. Besides, the search for meaning, which is a universal human quest for the purpose in life, is a concern common in both religion and art. Aesthetics (art and beauty) thereby should be a theological locus, a graceful partner of theological dialogue. But how much are aesthetic dimensions incorporated in the Korean Presbyterian theological/liturgical context? Visual art, imagery and symbolism are considered marginal or even dangerous in the Korean Presbyterian churches while preaching is given a dominant position in their worship services. As a result, they are losing sight of the essential implications that aesthetic, embodied experiences of art, imagery and symbolism have for liturgical richness. Art, imagery and symbolism are fundamental components in Christian life and worship as demonstrated with numerous evidences throughout the Christian history. They are never discordant with the tradition of the Word, but rather, have critical importance to theology for five reasons – the human as embodied being, a manifestation of imago Dei, the integrative characteristic of our thinking and perceiving, the Bible as book of images, and the contemporary culture of images. Against this backdrop, aesthetic expressions of art, imagery and symbolism are claimed to have five features significant to Christian worship: The revelatory power of the beauty in nature or works of art displays something of God; aesthetic expressions of art, imagery and symbolism speak to the human totality as an intelligent-affective-sensate-corporeal being; people necessarily become participants in the performative nature of art and its claim of truth; the beauty, truth and goodness manifested in works of art may be a reminder of our responsibility to work for the transformation of the world; an artwork can serve an eloquent mode of hoping for the present absent reality of the Kingdom of God. In terms of these qualities, an implication that aesthetic experiences in worship have the power to reframe, taking us to the encounter with the divine beauty, goodness and truth, is drawn, and a fusion of the verbal and non-verbal is claimed conclusively.
AFRIKAANSE OPSOMMING: Estetika het 'n teologiese roeping: Die skoonheid (of lelikheid) in die wêreld en kuns moedig ons aan om na die goddelike ewige skoonheid te verlang. Die aardse skoonheid is openbarend en ooreenkomstig tot die skoonheid van God. Verbeelding, dit wil sê die maak van 'n beeld, óf dit geestelik of fisies is, is 'n inherente fakulteit van die mens wat in die beeld van God geskape is. Dit is 'n menslike aktiwiteit wat nie onderdruk kan word nie. Buitendien, die soeke na betekenis, wat 'n universele menslike soektog na die doel van die lewe is, is 'n belangstelling wat algemeen in godsdiens en kuns voorkom. Estetika (kuns en skoonheid) moet daarmee 'n teologiese lokus wees, 'n bekoorlike vennoot in die teologiese dialoog. Hoeveel van estetiese dimensies word egter in die Koreaanse Presbiteriaanse teologiese / liturgiese konteks opgeneem? Visuele kuns, beelde en simboliek word as marginaal of selfs gevaarlik in die Koreaanse Presbiteriaanse kerke beskou, terwyl prediking 'n dominante posisie in hul eredienste beklee. Die gevolg is dat die belangrikste implikasies wat die estetiese, beliggaamde ervarings wat kuns, beelde en simboliek vir liturgiese rykdom inhou, uit die oog verloor word. Kuns, beelde en simboliek is fundamentele komponente van die Christelike lewe en aanbidding soos verskeie getuienis in die Christelike geskiedenis demonstreer. Hulle is nooit teenstrydig met die tradisie van die Woord nie, maar dit is eerder van kardinale belang vir die teologie vir vyf redes – die mens as beliggaamde wese; 'n manifestasie van die Imago Dei; die geïntegreerde kenmerk van ons denke en waarneming; die Bybel as boek van beelde, en die huidige kontemporêre kultuur van beelde. Die estetiese uitdrukking van kuns, beelde en simboliek besit op hierdie gronde vyf eienskappe van belang vir die Christelike aanbidding naamlik: Die openbarende krag van skoonheid in die natuur of kunswerke wat iets van God vertoon; die estetiese uitdrukking van kuns, beelde en simboliek praat tot die menslike totaliteit as 'n intelligente-affektiewe-sintuiglik-waarnemende-liggaamlike wese; mense word noodsaaklike deelnemers in die performatiewe aard van kuns en sy eis van die waarheid; die skoonheid, waarheid en goedheid wat in kunswerke te sien is, kan vir ons tot 'n herinnering wees van ons verantwoordelikheid om vir die transformasie van die wêreld te werk; 'n kunswerk kan as 'n welsprekende beeld van hoop vir die hede dien in die afwesige werklikheid van die Koninkryk van God. Die implikasie van die mag om verandering te weeg te bring wat estetiese ervarings in aanbidding mag hê, word volgens hierdie eienskappe veronderstel. Dit neem ons na ʼn ontmoeting met die goddelike skoonheid, goedheid en waarheid en die samesmelting van die verbale en nieverbale word gevolglik opgeëis.
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Mathewson, Steven D. "The art of preaching Old Testament narrative literature." Theological Research Exchange Network (TREN) Access this title online, 2000. http://www.tren.com/search.cfm?p068-0218.
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Vette, Joachim F. "Narrative art and reader creativity a comparative reading of 1 Samuel 9:1-10:16 /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.
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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.
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LaFountain, Jason David. "The Puritan Art World." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11006.
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In this dissertation, I argue that the iconoclastic and anti-materialistic "art of living to God" is the central theoretical preoccupation of English and American Puritan intellectuals. I call attention to a wealth of previously unacknowledged writing about image, art, architecture, and form in Puritan literature, while highlighting how recent materialist analyses of Puritan culture have effectively obscured evidence of iconoclasm and anti-materialism in this milieu. In the first chapter, I explore the Puritan inheritance of John Calvin's theology of the "living image," which defines human beings as God-made pictures and greater than all images that are man-made. I explain how Puritan image theory is wedded to a theorization of the art of living to God, such that Puritan art and image theory are one and the same. The second chapter delineates various ways in which the imitation of Christ undergirds the conceptualization of "art work" in Puritanism. Here I focus on how Puritan ideas about both art and image intersect with their theorizations of happiness, shining, walking, and printing/pressing. I examine the theology of "edification" in my third chapter, probing how godly Puritans were understood to be "living architecture" and "living plants." In Chapter 4 I consider how Puritan anti-formalism contributes to and complicates Puritan art and image theory. More than anything else, a preoccupation with theorizing image, art, architecture, and form is what makes intellectual Puritanism a coherent tradition across space (England and the Netherlands to New England) and time (ca. 1560-1730). In the fifth and concluding chapter, I address an aspect of Puritan ministerial writings in which pastoral practice is defined not as art work but in terms of image curatorship and conservation. I then suggest that Puritan biographical literatures are archives or histories of artful and edificatory performativity. I argue that texts such as broadside elegies, funeral sermons, the monumental collections of lives by Samuel Clarke and Cotton Mather, and perhaps even gravestones should be understood as histories of Puritan art and architecture.History of Art and Architecture
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Heger, Mary Anise. "One cross, two painters the theology of the cross from an art-historic perspective /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Thompson, Ann. "The art of suffering : an examination of one aspect of seventeenth-century practical theology." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627425.
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Paige, Merritt Medlock Johnson. "Professions of faith : stained glass making and the visual culture of theology." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24476.
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The world is a fractured place, faceted and fascinating in variety but broken in strife. Artist Gerhard Richter, said “Art is the highest form of hope” and the thinker Martin Heidegger said that art is a “happening of truth”. Marc Chagall hoped his art connected with people’s lives and sufferings and would become infused with prayer for redemption. How does visual art (and thinking theoretically and theologically about art) contribute toward hope and truth that bring the fragments of society into personal and communal connection? This is a practice-based (or studio-led) thesis in stained glass making at the juncture of the interdisciplinary fields of visual culture and religion. Making the visual art of stained glass windows involves collaborating, selecting, breaking, combining – processes that embody the unifying of disparate pieces. There are three projects and three chapters included in this research that work cohesively to show how visual art can facilitate a shift in us to see with compassion that guides our actions to care, and the word “EidenSight” is introduced to give vocabulary to this. Research draws primarily from reflections on collaborative studio work, visual art and visual artists, aesthetic theory (especially of Heidegger’s essay “The Origin of the Work of Art”) and thinking theologically through these sources. Stained glass has been a profession of work and a profession of faith; here the ancient art is created for contemporary places and raises questions theoretically and theologically and identifies themes that contribute to an understanding of how art affects us. Over the centuries, stained glass has contributed to architecture, art history, and theological aesthetics, as well as viewers’ personal and social experiences, from ecclesial settings to public spaces. This research contributes three commissioned site-specific stained glass installations (two in the US and one for the University of Stirling’s Art Collection) that lead the written thesis which is embedded full of images and has a correlating website: www.eidensite.weebly.com. The results are visual and verbal: requirements for the practice-based thesis include a heavily documented practical element in correlation with a shorter written component (30-80,000 words). Within the limits of these parameters, this research offers completed stained glass windows and a written thesis that includes insights from those projects, plus three chapters on: the material of glass, the space of the window, and the implications of being stained and a main conclusion that ties those elements together contributing to the overall thesis question: can art help us see with compassion that leads to care. Three institutions now have an original work of art substantiated by written theory, and the submitted thesis is substantiated by works of art viewable on different continents.
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Kakaletris, George. "Icons the concerns inherent within the theology of the Eastern Orthodox Church on iconography /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Boyd, Jason C. "Action research as a way of doing theology (ART) : transforming my practice of preaching the Bible with my congregation." Thesis, University of Chester, 2015. http://hdl.handle.net/10034/607244.
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This thesis explores action research as a way of doing theology (ART). The contours of ART emerged through a collaborative inquiry into my practice of preaching the Bible within the context of congregational worship. It began with a niggling question, “What was happening in the communication space between me and my congregation?” An action research pilot project (March-April 2006) with Cumnock Congregational Church (Minister, 1998 - 2008) prepared the ground for a collaborative inquiry with Witney Congregational Church (Minister, 2009 - present). With the latter congregation we developed Word Café, an adaption of Brown and Isaacs World Café (2005), as a method of creating communicative space (Wicks & Reason, 2009) in which we explored our experience of what happened when I preached a sermon and examined what, if any changes, occurred during the period of November 2010 to July 2011. This is ideographic research and as such engages in first and second person inquiry, weaving together the voices and insights of participants. In the first person I integrate my spiritual formation and academic development with my vocation as a preacher. In the second person I give an account of the way in which I entered into a collaborative relationship with my congregation to research my preaching practice and their experience of it. I have constructed a narrative of a self-reflexive, critical examination of a single case (Gustavsen, 2003; Reason, 2003) of iterative cycles which encompass the process of co-planning and of the Word Café. My intention is to make a wider contribution to the practice of preaching by modelling ART as a dialogical, relational way of being, and to inspire other preachers and congregations to develop their own ways of reflecting on their practices and experiences of preaching the Bible in their own contexts. Arising out of my inquiry into my preaching practice is the concept of ART which has the potential to create and nurture dialogical space in the exploration and transformation of various aspects of congregational life. This is a contextual, emergent, and interdisciplinary account shaped by narratives of learning. The actions we took in attempting to create communicative space yielded the themes of a fresh hearing of the Bible, listening with my eyes, and exploring my own insider-outsider positionality, in particular through narratives of wisdom and power, silence, and affections. Central to the practice of ART is the growth of the qualities necessary for being authentic as a practitioner-researcher. I set out to demonstrate the way in which the development of attentional practices increased my awareness as I navigated the insider-outsider positionality of a preacher and researcher.
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Hughes, Patricia J. "A study of Built of living stones art, architecture and worship, in the light of practical theology /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003."This study is intended for those who assist a parish in building or renovating a worship space. The context is situated in the U.S. Catholic parishes in the twenty-first century ..."--Leaf xviii. Vita. Includes abstract. Includes bibliographical references (leaves 128-136).
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Begbie, Jeremy S. "Theology, ontology and the philosophy of art, with special reference to Paul Tillich and the Dutch Neo-Calvinists." Thesis, University of Aberdeen, 1987. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU003529.
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This thesis examines the relationship between the philosophy of art on the one hand, and Christian theology and ontology on the other. In Part I, Paul Tillich's interpretation of art is presented against the background of the development of his metaphysics and ontology. It is argued that the connection between the two is close and the influence reciprocal. A critical evaluation of Tillich reveals that he fails to provide Christ-centred, non-symbolic, objective criteria of truth in art. In Part II, the Dutch Neo-Calvinist tradition is surveyed with reference to Abraham Kuyper, Herman Bavinck, Klass Schilder, Herman Dooyeweerd, Hans Rookmaaker and Calvin Seerveld. By way of critisism, a dichotomy between creation and redemption is detected, due to an inadequate methodological grasp of the Headship of Christ. There is also a legalistic doctrine of God, a law-dominated doctrine of creation, and an undue emphasis on man's duty and obedience, particularly in culture. Although it is noted that the Neo-Calvinists offer objective Christian criteria of artistic value, their emphasis on beauty as the qualifying characteristic of art is rejected. In Part III, a Christological integration of creation and redemption is developed. From this, a theology of human creativity in general, and artistic creativity in particular, is expounded. Art is defined as a human artefact which functions metaphorically, and some of the theological and philosophical consequences of this are explored.
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Turner, Sharon Kay Richey. "Bigger God, stronger women helping women expand their God imagery through art /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p075-0072.
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Downs, J. "Ministers of 'the Black Art' : the engagement of British clergy with photography, 1839-1914." Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35917.
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This thesis examines the work of ordained clergymen, of all denominations, who were active photographers between 1839 and the beginning of World War One: its primary aim is to investigate the extent to which a relationship existed between the religious culture of the individual clergyman and the nature of his photographic activities. Ministers of 'the Black Art' makes a significant intervention in the study of the history of photography by addressing a major weakness in existing work. Taking an interdisciplinary approach, the research draws on a wide range of primary and secondary sources such as printed books, sermons, religious pamphlets, parish and missionary newsletters, manuscript diaries, correspondence, notebooks, biographies and works of church history, as well as visual materials including original glass plate negatives, paper prints and lantern slides held in archival collections, postcards, camera catalogues, photographic ephemera and photographically-illustrated books. Through close readings of both textual and visual sources, my thesis argues that factors such as religious denomination, theological opinion and cultural identity helped to influence not only the photographs taken by these clergymen, but also the way in which these photographs were created and used. Conversely, patterns also emerge that provide insights into how different clergymen integrated their photographic activities within their wider religious life and pastoral duties. The relationship between religious culture and photographic aesthetics explored in my thesis contributes to a number of key questions in Victorian Studies, including the tension between clergy and professional scientists as they struggled over claims to authority, participation in debates about rural traditions and church restoration, questions about moral truth and objectivity, as well as the distinctive experience and approaches of Roman Catholic clergy. The research thus demonstrates the range of applications of clerical photography and the extent to which religious factors were significant. Almost 200 clergymen-photographers have been identified during this research, and biographical data is provided in an appendix. Ministers of the Black Art aims at filling a gap in scholarship caused by the absence of any substantial interdisciplinary research connecting the fields of photohistory and religious studies. While a few individual clergymen-photographers have been the subject of academic research - perhaps excessively in the case of Charles Dodgson - no attempt has been made to analyse their activities comprehensively. This thesis is therefore unique in both its far-ranging scope and the fact that the researcher has a background rooted in both theological studies and the history of photography. Ecclesiastical historians are generally as unfamiliar with the technical and aesthetic aspects of photography as photohistorians are with theological nuances and the complex variations of Victorian religious beliefs and practices. This thesis attempts to bridge this gulf, making novel connections between hitherto disparate fields of study. By bringing these religious factors to the foreground, a more nuanced understanding of Victorian visual culture emerges; by taking an independent line away from both the canonical historiography of photography and more recent approaches that depict photography as a means of social control and surveillance, this research will stimulate further discussion about how photography operates on the boundaries between private and public, amateur and professional, material and spiritual.
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Oliveira, Flavio Valentim de. "Arte, teologia e morte : interludios Filosoficos entre Franz Kafka e Walter Benjamin." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282064.
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Orientador: Jeanne Marie Gagnebin de BonsDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias humanas
Made available in DSpace on 2018-08-14T17:15:42Z (GMT). No. of bitstreams: 1 Oliveira_FlavioValentimde_M.pdf: 1005531 bytes, checksum: c9d6993c6a99977a2af3074266cb3398 (MD5) Previous issue date: 2009
Resumo: Esta pesquisa tem como objeto de estudo duas peças kafkianas intituladas, respectivamente, de Josefina, A cantora ou O povo dos ratos, de 1924, ano da morte do escritor, e o conto póstumo O caçador Graco, publicado como narrativas do espólio. Buscamos investigar nestas duas narrativas à problemática do declínio das formas de transcendência: sintetizadas na arte, na teologia e na morte dentro da modernidade. Através de uma leitura histórico-filológica destas duas narrativas buscamos uma aproximação crítica com a filosofia de Walter Benjamin, em especial com a sua teoria da narração. O conjunto dessas narrativas é também analisado a partir de uma reconstituição do cenário literário e filosófico das interpretações kafkianas, tais como: as leituras sionistas de Max Brod a partir da filosofia de Arthur Schopenhauer e Martin Buber, as ressonâncias das leituras de Kafka sobre Kierkegaard e Nietzsche e, por fim, as polêmicas de Benjamin com Brod e Gershom Scholem, cujo motivo principal gira em torno de uma leitura materialista e alegórica do escritor tcheco.
Abstract: This research has as study object two intitled kafkians parts, respectively, of Josefina, the singer or the people of the rats, of 1924, year of the death of the writer, and the posthumous story the Graco hunter, published as narratives of the estate. We search to investigate in these two narratives to the problematic one of the decline of the transcendence forms: synthecized in the art, the theology and the death inside of modernity. Through a reading description-philologycal of these two narratives we search a critical approach with the philosophy of Walter Benjamin, in special with its theory of the narration. The set of these narratives also is analyzed from an reconstitution of the literary and philosophical scene of the kafkians interpretations, such as: the Zionist readings of Max Brod from the philosophy of Arthur Schopenhauer and Martin Buber, the resonances of the readings of Kafka on Kierkegaard and Nietzsche and, finally, the controversies of Benjamin with Brod and Gershom Scholem, whose funny main reason around a materialistic and allegorically reading of the writer Czech.
Mestrado
Filosofia
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McCrea, Genevieve Rosalind Art College of Fine Arts UNSW. "Self organization in nature." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43573.
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Sand is an appropriate material to embody and make visible the impulses which may pass through the moving hand and also permeate the universe. Its ability to absorb impressions means it can take on the full range of material states, solid, liquid or vapour, and allows it to speak with the rhythmic language the whole of nature itself uses. Developing a language of forms which more closely speaks this rhythmic language of nature requires an intimate knowledge of the processes of nature. Sand experiments undertaken show the formation a rich array of dazzling patterns. Chaos theory explains this self organizing capacity, and reveals the depth of interdependence of systems within nature. The aspect of self-similarity is also of central significance in appreciating how nature looks and function, and thus how it might be imaged. Drawings from nature were developed using sand as a parameter, starting with the single grain and translating the dynamism of moving sand into mark. Field trips involved looking for waves and repeated lines in nature, and observing how marks form in nature. Chaos theory provides a ground to bring together different spheres of knowledge ?? science, theology and art. It reveals the peculiarities of a material??s behaviour as being of critical importance in the mechanism of evolution. It also provides fresh insight into an incarnational Christian theological perspective, and the relational dynamic within the Trinity. The unity of far and near is also reflected in chaos theory in the self similarity of images. Romantic artists Turner and Van Gogh both engage in the search for a visual language of transcendence through nature using the use of the themes of chaos and order, with an emphasis on physicality and movement. Contemporary artists Goldsworthy, Blanchflower and Kirkeby ground their work in knowledge of material. Changes from solid and rigid to shifting and open show in the development of my work. The immediacy and dynamism of mark making in drawing and staining, ripping and sanding in painting gives process and materiality greater weight. The significance of relationality has reinforced the integrity of horizontal and vertical as expressed in nature and allowed for flexible repositioning of the image within a grid
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Grubbs, Jeffrey Bryan. "Teacher Belief Research in Art Education: Analyzing a Church of Christ Christian College Art Educator Beliefs and their Influence on Teaching." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284733542.
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Karlsson, Klemens. "Face to face with the absent Buddha : The formation of Buddhist Aniconic art." Doctoral thesis, Uppsala University, Department of Theology, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421.
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Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.
Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the practice of different meditationalexercises cannot explain this transformation. Instead, it is important to understand thatearly art at Buddhist cultic sites consisted of simple signs belonging to a shared sacredIndian culture. This art reflected a notion of auspiciousness, fertility and abundance.The formation of Buddhist aniconic art was indicated by the connection of these auspi- cious signs with a narrative tradition about the life and teachings of the Buddha.
The study emphasizes the importance Sakyamuni Buddha played in the formation ofBuddhist art. The Buddha was interpreted as an expression of auspiciousness, but hewas also connected with a soteriological perspective. Attention is also focused on thefact that the development of Buddhist art and literature was a gradual and mutualprocess. Furthermore, Buddhist aniconic art presaged the making of anthropomorphicimages of the Buddha. It was not an innovation of motive for the Buddhists when theystarted to make anthropomorphic images of the Buddha. He was already there.
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Furgang, Lynne Eva Art College of Fine Arts UNSW. "The city that never sleeps." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43556.
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This research documentation explores representations of the Holocaust in the visual arts in relation to the post-Holocaust ??ripple effect????the impact of the Holocaust on the world today, in both the wider arena of global political conflicts and in the lives of individuals. In the following chapters, I address the complex ethical and political aspects of representations of the Holocaust in the context of the evolution of Holocaust awareness and memorialisation. I also investigate recent developments in art and theory that challenge prevailing conventions governing Holocaust representation, especially how the relationship between the perceived political exploitation of the Holocaust and the intergenerational effects of Holocaust trauma is addressed. Given these are sensitive and contentious issues I discuss my studio work in terms of how trauma affects the political rather than as an overt polemically/politically motivated art. I examine my attempts to bypass controversy (maintaining respect for victims and survivors), yet maintain engagement with these issues in my art. In doing this I aim to liberate both my art and the viewer from habits of perception in regard to the subject. From this principle I propose a ??strategic?? form of self-censorship that paradoxically gives me the freedom to do this. This strategy enables me to create an art of ambiguity, which exists in an amoral zone. The art evokes reflective thought, uncertainty and ambivalence, where references to the Holocaust or political content are often not explicit, leaving room for lateral and open readings. My work, which incorporates interdisciplinary methods, is often based on photographs from a variety of sources. I also create three dimensional constructions. The sourced images and the constructions are disguised, decontextualised, cropped, erased or digitally altered, and also experiment with optical illusion. Through transformative processes these images are changed into drawings, paintings, photographs. This research documentation acknowledges the gap between the gravitas of the subject with its ethical and geo-political complexities and my idiosyncratic, subjective, introverted approach to making art. I conclude that there is potential in the exploration of an ??anxiety of representation?? in relation to the Holocaust in the contemporary context.
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Werner, Xenia. "Marian typology an analysis of hymnography and iconography /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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McGee, Paula L. "The Wal-Martization of African American Religion: T.D. Jakes and Woman Thou Art Loosed." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/70.
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This dissertation is an ideological critique of the New Black Church model of ministry, with T.D. Jakes and Woman Thou Art Loosed (WTAL) as a case study. T.D. Jakes is an African American televangelist who pastors The Potter’s House, a supermegachurch in Dallas, Texas. He is the quintessential example of a New Black Church pastor—a religious entrepreneur with several successful faith brands. WTAL is by far his most successful brand. Unashamed of his capitalist success, with an empire estimated to be worth $100 million dollars, Jakes says that it is occupational discrimination for him not to reap the benefits of the American dream. This dissertation identifies what has happened to the brand and Jakes’s ministry as “the Wal-Martization of African American Religion.” As a theoretical concept, Wal-Martization speaks to both the ideology and process that explains the generational differences between the New Black Church and the Black Church. It also is indicative of the branding and storytelling at every level of representation of the New Black Church.
Jakes and New Black Church pastors are successful because they blur the lines between sacred and secular when they combine their vocations of pastor and entrepreneur. In this dissertation, I propose a cultural studies approach and a two-fold theological method for scholars to study these popular preachers. The method combines James McClendon’s Biography as Theology and Paul Tillich’s definitions of theology and theological norm from Systematic Theology. The method is a collaborative effort between the academic theologian and preacher. The scholar uses Biography as Theology to study the preacher (Jakes), and the second part of the method, Brand as Theology and Theological Norm, is where the scholar uses qualitative research methods to study the brand (WTAL).
I define theologies of prosperity as contextual theologies of empire on a continuum that affirm it is God’s will and a believer’s right to obtain health and wealth by using Scripture and rituals like seed-faith giving and positive confession. Because these popular preachers offer adherents existential explanations for suffering (health and wealth), and prescriptions for liberation, I describe theologies of prosperity as theodicy and contemporary liberation theology. However, unlike traditional liberation theologies, these theologies do not have a preferential option for the poor. Instead, Jakes and other New Black Church pastors only offer adherents a pseudo-liberation. In essence, the stories of liberation that Bishop Jakes tells in his brands do not actually empower women, ideologically these stories only encourage women to stay loyal to his brand, become covenant ministry partners, and to buy more products. Jakes and New Black Church pastors are from the Second Gilded Age, they encourage women to pursue individual success within an oppressive system. Similar to Russell Conwell and other celebrity clerics from the First Gilded Age, Jakes and these pastors inadvertently blame the victims for their poverty and for not reaping the benefits of the American Dream, which according to prosperity preachers is available to all.
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Michael, Georgia. "Imaging divinity : the 'invisible' Godhead in early Christian art c.300-c.730." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7318/.
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Representations of the Holy Trinity have increasingly come under scrutiny, exposing two competing paradigms at opposite ends of the theological spectrum: the legitimacy and the illegitimacy of imaging the Triune God with focus on the invisible Father who was imaged as an individual from Late Antiquity and beyond. An overview of these two conflicting views has unveiled a number of inconsistencies in how the Early Christian iconography of God the Father and the Trinity has been interpreted. This thesis provides a unique re-evaluation of the surviving Trinitarian visual material between c.300 to c.730. Primarily, this study collates pictorial evidence preserved in the mediums of sarcophagi, catacomb frescoes, mosaics, illuminated manuscripts and an icon that depicts Divinity. It proceeds to critique modern misconceptions of the identity, form, meaning, function and reception of the depictions. The thesis traces the visual shift amid overt and covert images of Divinity by decoding important artworks such as the Ashburnham Pentateuch and the Codex Amiatinus; Christians visualised explicitly the ' invisibility' of God but created an unprecedented invention, the depiction of the Father through Christ's image. The innovative depiction heralded future visual formulas of Divinity echoing the complexities of Trinitarian material culture of the Mediterranean world.
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Haller, Jeffrey. "The image of the unseen God contextual relevance in the visual portrayal of Christ /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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McClain, Daniel Wade. "Action, image, and practice the revival of aesthetics in the theologies of Nicholas Wolterstorff and Frank Burch Brown /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Thomason, Emily C. "Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596048028639872.
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Andersson, Robert. "Spiritually uncontrolled art : exploring aesthetics of evil in contemporary music." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8368.
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This essay investigates interpretations of evil as expressed in contemporary music, focusing mainly on lyrics in contemporary popular music. The purpose is to analyze whether there is acertain aesthetic embracing of risk and innovation on display when discussing such subject matters, and to relate such aesthetic connotations to cultural and religious aspects. Lyrical interpretations of evil in a musical context appear to be existent in different forms andare in various ways attempts to integrate the existence of evil acts, as leading to suffering and pain, by incorporating such themes into lyrical material. There appears to be a possible aesthetic embraced when artists are advocating evil acts, however, not totally separable from the aesthetics of the extreme metal scene. Such forms of creative practice appear as reliant on the dialectic between historical perceptions of morality,modern society as globalized, segmented and restructured and the reoccurrence of religion in a secularized perspective. Themes regarding evil appear in this form of aesthetic in different ways to traditional discourse; making use of historical and contemporary images of evil and portraying them as desirable in various ways. In some instances such creative release is also linked to religious belief and practise, making the artistic performance equivalent of a transcendental event.
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Arblaster, Wes J. "A Semblance of Things Unseen: Damaged Experience and Aesthetic Recovery in Theodor Adorno and Hans Urs Von Balthasar." University of Dayton / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1501088676099751.
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Blaustein, Cindy Garfinkel. "An investigation of twentieth century observant Jewish fine artists." FIU Digital Commons, 1993. http://digitalcommons.fiu.edu/etd/1695.
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People of the Jewish faith base their belief on the written word of the Torah. Presented in this paper are fine artists that produce work within these laws. The Torah sets guidelines for life and morality. The belief system within this domain is that visual images have an impact on the viewers, and artists are accountable for what they produce. This is in opposition with art education, where freedom of expression takes precedence over morality. The results of this study will form the basis for a curriculum for the community college.
The researcher's area of inquiry is directed to painting and sculpture made by artists of the Jewish faith who follow the Torah, meaning those who are observant of their faith and practices. Their skills and perceptions will be presented to educate the viewer about their visions. The research questions were posed to rabbinical authorities and artists in order to establish a clear and defined statement of what the Jewish law is regarding the fine arts.
The evidence presented was obtained by questionnaires, personal interviews, articles, and opinions from Jewish scholars. Four rabbis were selected based on their erudition on Torah law, and their strong leadership positions in Jewish educational institutions. The ten artists were selected based on recommendations from art historians, and art and gallery directors. The artists and the rabbis were mailed questionnaires, which was followed by an interview.
The conclusion from this study is that fine artists are encouraged to use their talents, this is supported by the Torah text, and rabbinic explanation. The restriction for the Jewish artist is in making a replication of a realistic full-scale figure, making a visual rendition of G-d, a nude, or violent image. Art is made by the observant Jew with the intention of enhancing the world with visions inspired by their belief in the Torah. A crucial belief in Judaism is that there is but one G-d, and all man-made images should reflect the majesty of G-d's creations.
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Engell, Jessen Maria Elisabeth. "Conversion as a narrative, visual, and stylistic mode in William Blake's works." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0238fceb-5538-4a7b-903d-5952bf777286.
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This study suggests that Blake’s works can be understood as ‘conversion works,’ which seek to facilitate a broadly defined perceptual, spiritual, and intellectual conversion in the reader/viewer. This conversion is manifested in various ways in the texts, images, narrative structures, and style of Blake’s works. Part I discusses the genesis of the narrative of Blake’s own conversion and introduces critical discussions of the conversion narrative as a genre, showing how the predominant interpretative paradigm of the conversion narrative (as an autobiographical reportage describing a one-off experience) is challenged by the shapes that conversion narratives have taken throughout history, suggesting a broader definition of conversion literature. In Part II, I analyze Blake’s depictions of Christ in his illustrations to Night Thoughts in relation to eighteenth-century Moravian art, and the way in which they are later used in The Four Zoas. I discuss how Milton can be understood as a multilayered conversion narrative, how the manifestation of conversion in Jakob Boehme’s works might have influenced it, and how a related conversion is manifested in Jerusalem (1804-20). Finally, I show how Blake represents conversion in his illustrations to Pilgrim’s Progress and the Book of Job, emphasizing the importance of vision and the inclusion of protagonist and viewer in the divine body. Together, these analyses show conversion as a gradually developing presence in Blake’s works, exploring the conversion moment as a way into the shared salvific space of the body of Christ for fictive characters, author, and reader or viewer together.
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Shepherd, Jason D. "Redeeming the arts creativity as the primary component of the humanitas attributes in the imago Dei /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Hebbeler, Michael H. "The Sister Karamazov: Dorothy Day's Encounter with Dostoevsky's Novel." Dayton, Ohio : University of Dayton, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1250126537.
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Khashogji, Lina N. "The influence of social media on gendered identity in Saudi Arabia, in relation to the religious curriculum throughout Saudi schools : media, politics and human development." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37876/.
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This thesis addresses the influence of Twitter on the development of female individualism in Saudi Arabia in relation to the religious curriculum. It reveals the process of this development through two different environments, the physical environment in religious education and the virtual environment in the form of Twitter. The thesis is based on a combination of methods (largely qualitative data obtained from observations, semi-structured interviews and questionnaires). It develops a theoretical framework based on gendered identity as the central concept of this research. the framework positions this concept within two fields of research : feminist approaches to gender and psychological approaches to identity. This thesis presents and innovative approach to the analysis of female individuality. Methodologically, the thesis establishes a position that informs the overall analysis between two different settings, i.e., the physical environment of Saudi schools, which illustrates long-established definitions of the Saudi female as the foundational unit of the analysis. It then moves to an analysis of these definitions in the virtual environment of Twitter, revealing how the different characteristics of the virtual environment influences definitions of identity, the formation of perceptions and the relationships between authorities. In conclusion, the thesis presents significant findings and recommendations.
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Gomes, Nelson. "A BUSCA DO SAGRADO Um enfoque da religião na obra de Richard Wagner na perspectiva teológica de Paul Tillich." Universidade Metodista de São Paulo, 2013. http://tede.metodista.br/jspui/handle/tede/277.
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Previous issue date: 2013-09-27Richard Wagner conceived the artwork as an activity similar to religion that should lead the human being to reflection about essential questions of his existence and conduct him to perfection. Wagner was always obsessed with the idea of redemption and his apprehension about regeneration of human being passed over of all his works. Wagner religious concepts has always been presented in his musical works and his literary essays, combining Christian and Buddhist traditions, political ideas and mythological principles that delineate his personal credo, a kind of syncretic religion in which the artwork has its place as a transcendence element, fulfilling the function to interpret the mythical symbols and making them comprehensible to human spirit perceptions. Wagner artistic ideals goes at the encounter of Paul Tillich thoughts and his Theology of Culture. Tillich states that religion is not restricted to the limits of religious temples or institutional domains, but could be found in any human expression that can manifest the ultimate concern . It can be recognized at any situation where one can find the unconditional element, in human manifestations of creativity and in culture, in honest searching for the truth or pursuing solutions to the existence adversities. Therefore, the purpose of this study is to search in Tillichian thoughts a theological correlation to redemption anxiety evidenced in Wagnerian artwork.
Richard Wagner concebia a arte como uma atividade similar à religião, que deveria conduzir o ser humano à reflexão sobre as questões principais de sua existência e levá-lo ao aperfeiçoamento. Wagner sempre foi obcecado pela ideia da redenção e a preocupação do compositor com a regeneração do ser humano perpassa toda a sua obra. Os conceitos religiosos de Wagner, presentes em sua obra musical e em seus ensaios literários, reúnem tradições cristãs e budistas, ideias políticas e preceitos mitológicos que delineiam o seu credo pessoal, uma forma de religião sincrética na qual a arte tem o seu lugar como elemento de transcendência, cumprindo a função de interpretar os símbolos míticos para torna-los compreensíveis à percepção do espírito humano. Os ideais artísticos de Wagner vão ao encontro do pensamento de Paul Tillich e a sua Teologia da Cultura. Tillich afirma que a religião não está restrita aos limites dos templos religiosos ou aos domínios institucionais, mas encontra-se em qualquer expressão humana na qual se manifeste a preocupação suprema . Ela pode ser reconhecida em qualquer situação onde se encontre o elemento incondicional, nas manifestações da criatividade humana e na cultura, na busca honesta da verdade ou na procura de solução para as adversidades da existência. Portanto, o objetivo desse estudo é buscar no pensamento tillichiano uma correlação teológica para os anseios de redenção evidenciados na obra de arte wagneriana.
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Youansamouth, Edward. "'Two congenial beings of another sphere' : Peter Sterry as a theological precursor to William Blake." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:4e5b37ea-be6c-4397-8ebc-aeb6dde63d82.
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This thesis seeks to explicate, and develop an appropriate method for the elucidation of, the antecedents to the theology of William Blake in the writings of the seventeenth-century divine, Peter Sterry (1613-1672). While the radical religious scene of the English Revolution has long been recognised as offering important antecedents to Blake's thought, Sterry is a figure who has largely been overlooked. The exception to this is an essay, published in 1929, in which Vivian de Sola Pinto asserted the existence of 'startling affinities' between their ideas. Pinto's study was, however, limited by its failure to consider, firstly, the implications of its findings for our general understanding of the antecedents to Blake's thought in the seventeenth century and, secondly, the insight Sterry's writings may be able to offer into Blake's theological vision. These are the very questions at the heart of this dissertation. By addressing them, it seeks to shed new light on the nature of Blake's theology and its anticipations in earlier English thought. Given the lack of evidence that Blake read Sterry, and the limited effectiveness of the 'genealogical' method when it comes to Blake, it pioneers a bespoke 'analogical' method for the exploration of these issues. It proposes that Sterry is actually closer to the intellectual milieu of Commonwealth radicalism than one might expect and that his writings function effectively as a lens through which it is possible to discern how Blake consistently uses 'dualistic' language and imagery in an ethical and epistemological sense. The first finding suggests that the established view of the radical religious environment in Blake studies needs to be extended; the second challenges the widespread perception that Blake's thought is ultimately dualistic in an ontological sense, thus contributing to the elucidation of a perennial problem for Blake scholarship. Together, they underline Sterry's importance as a neglected theological precursor to the thought of William Blake.
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Sandoval, Elizabeth Marie. "A Material Sign of Self: The Book as Metaphor and Representation in Fifteenth-Century Northern European Art." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531875789992912.
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Vermont, Ernest L. "Tactics of truth : military principles for waging spiritual warfare /." [Longwood, Fla.] : Xulon, 2006. http://library.fuller.edu/library/archives/bookplates/kraft_charles_h.asp.
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Nobilio, Fabien. "Le souffle de l'Esprit dans l'évangile de Jean: influences culturelles, art littéraire, visée initiatique." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210574.
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A partir d’une lecture exégétique et philosophique de l’évangile et de textes qui ont pu l’influencer, notre dissertation vise à démontrer que, selon Jean, l’Esprit est la puissance qui permet au Christ de s’étendre dans l’espace et le temps par l’intermédiaire de l’écrit et du rite. D’un point de vue synchronique, en effet, tout se passe comme si l’Esprit (PNEUMA) actualisait l’œuvre du Christ pour ceux qui ne l’ont pas connu, d’une part à travers une initiation textuelle, celle de l’évangile lui-même, d’autre part à travers une initiation sacramentelle que le texte laisse entrevoir. D’un point de vue diachronique, notre recherche conclut que la pneumatologie du quatrième évangile emprunte librement à la cosmologie de Philon d’Alexandrie, à la théologie sacramentelle de Paul, voire aux réflexions sur l’inspiration menées dans d’autres pièces du corpus johannique. En ce qui concerne la pneumatologie de l’évangile, nous défendons donc la thèse de la cohérence, qui tient à un référent culturel commun, le moyen platonisme, et à un processus de réinterprétation des parties plus anciennes du texte dans les plus récentes.Doctorat en Philosophie
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Barush, Kathryn R. ""Every age is a Canterbury pilgrimage" : art and the sacred journey in Britain, c. 1790-1850." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:63e1545c-1362-4bc3-bbc3-b950eecf7c70.
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This thesis examines the intersections of the concept of pilgrimage and the visual imagination in Britain from the years 1790 to 1850. Historically, distinctions between understandings of pilgrimage as motif, metaphor, artistic process, and actual journey have been blurred to varying degrees, resulting in the creation of images that were at once narratives, memorials, and stimuli for contemplative journeys from pictorial space to imagination. In the first half of the nineteenth century, religious architecture, sacred landscapes, and the emblematic figure of the pilgrim with coat, hat, and scrip functioned as temporal reminders of a promised land to come, as mediated through artistic practice. Through a close analysis of a range of interrelated visual sources, I contend that pilgrimage, both in practice and as a form of mental contemplation, helped to shape the religious, literary, and artistic imagination of the period and beyond. This study draws out the various levels at which pilgrimage engaged the visual imagination. In doing so it offers a detailed perspective on the conjunction of content, form, meaning, and process for artists and theorists, as notions of the transfer of ‘spirit’ from sacred space to represented space re-emerged as a key aspect of the theological and artistic discourse of the period. Chapter 1 outlines the antiquarian dissemination of medieval pilgrimage texts and images. I suggest that an awareness of pilgrimage as embodying the real and imagined emerged with the recovery of allegorical texts, histories of actual pilgrimages, and an interest in pilgrimage souvenirs. The discussion moves on to intersections between pilgrimage and religious art in Chapters 2 - 4, including the idea of painting as pilgrimage, as demonstrated through specific case studies, and the refashioning of relics and religious ruins as contemporary sites of pilgrimage (Chapter 5).
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Terror, Heloisa Helena Guedes. "O BELO E A SALVAÇÃO NO PENSAMENTO DE MEISHU-SAMA." Universidade Metodista de São Paulo, 2009. http://tede.metodista.br/jspui/handle/tede/520.
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Previous issue date: 2009-09-03This present text seeks to present the relationship between religion and art from Meishu-Sama s thought, founder of Sekai Kyusei Kyo (named Igreja Messiânica Mundial in Portuguese), religion founded in Japan in 1935 and that arrived in Brazil in 1955. To do this, we briefly describe his personal and religious history and the foundations of his teachings. For him, Beauty may promote the salvation of mankind, bringing their spirituality through the contact with various forms of art. The research examines, among others, concepts of Beauty, salvation and religion under the thought of Meishu-Sama. It presents considerations about the religious phenomenon, mainly addressing the aspects of sacred and symbol. Specially, it dialogues with the German theologian Paul Tillich and the Theology of Culture, aiming to establish a rapprochement between the two perspectives with regard to painting. The study describes the salvific power of Beauty in some forms of artistic events and sacred spaces offK.(AU)
Este texto busca apresentar a relação entre religião e arte a partir do pensamento de Meishu-Sama, fundador da Igreja Messiânica Mundial, religião criada no Japão em 1935 e que chegou ao Brasil em 1955. Para isso, descrevemos brevemente a sua trajetória pessoal e religiosa e os fundamentos de seus ensinamentos. Para ele, o Belo pode promover a salvação do ser humano, elevando a sua espiritualidade através do contato com as várias modalidades artísticas. A pesquisa analisa, entre outros, os conceitos de Belo, de salvação e de religião no âmbito do pensamento de Meishu-Sama. Apresenta considerações sobre o fenômeno religioso, abordando principalmente os aspectos do sagrado e do símbolo. Em especial, dialoga com o teólogo alemão Paul Tillich e sua Teologia da Cultura, buscando estabelecer uma aproximação entre as duas perspectivas no que diz respeito à pintura. O estudo descreve o poder salvífico do Belo em algumas formas de manifestações artísticas e espaços sagrados da IMM.(AU)
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Friberg, von Sydow Rikard. "Att ta skriken på allvar : Etiska perspektiv på självdestruktivt beteende." Doctoral thesis, Uppsala universitet, Etik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-160566.
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This dissertation has multiple goals. First to analyze self-destructive behavior and its relations to ethics. Secondly to evaluate four different ethical perspectives regarding self-destructiveness from a certain position of human nature. The third goal is to construct a position that deals with self-destructive behavior in a way that is improved and well-managed compared to the four ethical perspectives analyzed earlier. The first goal is met by comparing and evaluating different theories concerning self-destructive behavior and discussing the ethical implications surrounding them. Self-destructive behavior is seen as a way of communicating, which puts a moral pressure on both the self-destructive person and the society around her. The four ethical perspectives represented by Robert Nozick and Thomas Szasz, two neoliberals, James B Nelson, a body theologian inspired by Paul Tillich, Gail Weiss, a body feminist and Mary Timothy Prokes, a catholic body theologian, are hence met by the problem of self-destruct, analyzed and critically evaluated. In the final chapter the author constructs an improved ethical perspective concerned with self-destructiveness, based on altruism, responsibility and broad-mindedness.
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Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.
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Craft, Jennifer Allen. "Making a place on earth : participation in creation and redemption through placemaking and the arts." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3732.
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This thesis will explore a theology of place and placemaking that is focused on the participatory role of humans in both creation and redemption, while suggesting the central and paradigmatic role of artistry in our construction of and identification with place. Building on the most recent theological and philosophical engagement with place, this thesis will argue for a theology of place that takes seriously the doctrines of creation and incarnation, focusing on a particularly redemptive understanding of placemaking in the material world. In its study of scripture and theology, it will focus on God's blessing of people to participate in the making of places, along with the role this human making has in relationship to divine presence and the divine plan for creation and redemption. After developing a theology of place and placemaking more generally, the second half of this thesis will consider the practical, constructive, and transformative capabilities of placemaking as witnessed through the arts. Relying on theological engagement with the arts, it will argue that artistic making of all kinds and attention to place go hand in hand. Exploring a selection of artistic genres, including the photography of Marlene Creates, the quilts of Gee's Bend, and the literature of Wendell Berry, this thesis will suggest that imaginative and “artistic” placemaking practices can give us a deeper understanding of the creative, redemptive, and transformative work of Christ in Creation, while also elucidating our calling to participate in it.
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MacGilvray, Brian. "The Subversion of Neoplatonic Theory in Claude Le Jeune’s Octonaires de la vanité et inconstance du monde." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1481567182875404.
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Chookaszian, Emma. "L'analyse historique, iconographique et théologique des manuscrits royaux et princiers des trois premiers rois Het'umides du Royaume arménien de Cilicie." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30095.
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L’objet de notre recherche touche à la période la plus intéressante de toute l'histoire de l'art arménien, une période où le royaume arménien, créé à la fin du XIIe siècle, était au carrefour de très importants empires. La prospérité politique s’est alors accompagnée d’une prospérité économique, fondée sur l'abondance des ressources naturelles, et par un niveau élevé pour ce qui concerne l'artisanat pour lequel les Arméniens ont toujours été réputés. Ce fut un âge de renouveau complet de l'art du livre sur le plan de la qualité. La peinture, les miniatures sont devenues un symbole indissociable du royaume arménien de Cilicie.La situation géopolitique du royaume arménien de Cilicie nous permet de mettre en évidence les différentes influences artistiques que les miniatures ont reçues. C’est pour cette raison-là qu’elles doivent être discutées d’une manière complexe, comprenant des analyses théologiques historiques et artistiques.Dans mon travail j’ai étudié la majorité des manuscrits ciliciens du XIIIe siècle. J’ai décidé d’établir un corpus de manuscrits en les regroupant sous les noms de leurs commanditaires. Mon étude a commencé par les manuscrits peints par T‘oros Ṙoslin- le plus éminent des enlumineurs arméniens du Moyen Âge classique qui travaillait au scriptorium de Hṙomkla, principalement au service du Catholicos Constantin Ier et du roi Hét‘um Ier.Les manuscrits créés dans la seconde moitié du XIIIe siècle se singularisent par leur style, avec une dramatisation des expressions, l’allongement des corps, les compositions un peu surchargées. Tout cela s’oppose à l’art tout en retenue de Ṙoslin. Les noms des peintres de ces manuscrits sont inconnus, mais nous sommes sûrs qu'il y avait au moins 4 artistes principaux par lesquels ces œuvres ont été crééesHe subject of my PHD is “The iconographic, historic andtheological analysis of the royal manuscripts of the first three kings of theHetoumid dynasty of the Armenian Kingdom of Cilicia” (13th century). I can saywith confidence that it’s the most interesting period in the whole Armenian arthistory, a period when Armenian Kingdom was on the crossroads of hugeempires. Political prosperity was accompanied by economic flourishing, based onthe abundance of natural resources, by high standards in handicrafts for whichthe Armenians have always been famous. This was an age of completely newquality in the book art. The miniature painting became inseparable symbol of theArmenian Kingdom of Cilicia. In flourishing of Cilician painting an important rolewas played by the commissioners, as it was usual for Middle Ages: kings andprinces, among which the most educated were especially distinguished HetumianPrinces who have commissioned the most magnificent Armenian manuscripts.King Levon II and his elder son Hetoum II were probably most educated Ciliciankings and delicate connoisseurs of art. They possessed a rich library where acollection of manuscripts, decorated with miniature paintings, existed. Three ofthem of high artistic quality now are in Mahstots Matenadaran: the MalatiaGospel of 1268, copied and adorned by Toros Roslin by the order of Kostandin I,who intended the manuscript as a gift for, at that time, four-year-old Hetoum II,the Lectionary of 1286 commissioned by future king Hetoum II, and the Bibleordered already by the king Hetoum II in 1295.One of the most elegant and dramatic illuminated manuscripts of that period isthe Gospel of Queen Keran; it was commissioned by the Queen at Sis, Cilicia, in1272 after the ascension of her husband, Levon II to the throne. The Queen isrepresented in one of the last leaves, together with her husband, King Levon IIand their three children - kneeling piously in front of a "Deisis".Cilicia had been on the crossroads of the merchant routes between the East andthe West and the artists who had worked on these manuscripts had travelledmuch and had seen the works of the Italian, Greek and even Persian artists andminiaturists. Perhaps this is the explaination of the stylistic diversity that we findin these manuscripts. We know that Hetoum II made his sister Rita marry theByzantine Emperor Michael Paleolog and may suppose that byzantinemanuscripts had been given as wedding gifts and so became known in the ciliciancourt.Being strongly influenced by Byzantine art and iconography and taking intoconsideration the style of representation of the features of the faces of characterswe may call the style of the manuscripts of this group Italo-Byzantine. AnyhowArmenian manuscripts of this period have always attracted scholars and arthistorians all over the world and the style in which these miniature paintings arerepresented has been called Armeno-Byzantine.The profound research on this subject reveals the most mysterious parts aboutthese manuscripts: I am speaking about the most unbelievable details that onecan find in their decorations. The majority of the elements integrated in thedecorations of the title pages are adopted from Romanesque, Italian, Mongol andeven Chinese art. We can see here three-headed creatures, human-headedplants, Chinese lions and dragons, phoenixes and many more fantastic elements.These manuscripts fascinate with their texts written in fine 'Bolorgir' script inblack ink with colored capitals and much more fascinating content which has asignificant meaning connected with the decorations of the pages on which theyare written. To understand the meaning of these texts we need to consult thewritings of medieval theologians, to understand the period the people creating itlived in and the believes they had
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Rafferty, Agnes. "We are what we eat : feminist liberation theology and the theology of the Eucharist." Thesis, University of Winchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549638.
Full textAbstract:
From the perspective of Feminist Liberation theology women who partake in the present sacramental Eucharist of the Roman Catholic Church assent to and actively consume their own oppression within its patriarchal symbolic system which denies women a discrete subjectivity. Re-evaluating the place of women in the divine economy and claiming equal value to 'thefeminine' and 'the masculine' traits where women have a subjectivity in their own right challenges traditional Roman Catholic theology but is in keeping with new theologies in which the traditionally 'feminine' values are central. ! As the celebration of the Eucharist uses the religious symbolic to communicate beliefs a theme running through the study is how human attributes have been afforded different value with the 'feminine' values symbolised as the female, associated with nature and denigrated in the past, now being reclaimed as central to the ecosystem that maintains human life and an essential element in the fabric of the cosmos. In Section 1 I examine the Vatican documents of the Roman Catholic Magisterium in relation to women, priesthood and Eucharist. I found that the theology put forward was unable to accommodate women and that the theologies of male priesthood and .Eucharist were intimately linked. Missing from this theology was any positive attitude towards the earth with which the feminine and the female was identified, a positive attitude towards the body and a discrete subjectivity for women. Section 2 addresses these areas found missing in order to re-evaluate the embodied feminine searching out a positive view of the body as the home of the divine. Contemporary theories of the construction of subjectivity are considered as a counter to the mediated subjectivity demanded of women in a patriarchal outlook. I then argue that given the restricted role offered to women in the traditional family which mirrors the Roman Catholic model of God, a Eucharistic theology based on friendship might offer a more inclusive paradigm. Section 3 is concerned with how the feminine can be included in our understanding of the divine economy and evaluate Relational Theologies that are offering a model of interdependent relationality as indicative of the divinelhuman relationship which . respects the feminine traits previously maligned. I utilize the findings of the sciences in challenging the inferior place of the natural world in religious thought, claiming matter as embodying the divine; I then focus on Feminist theologies of Christology and Redemption in which the previously marginalised can offer a fresh revelation of Christ.. Relational theologies, including the emerging Quantum theology are put forward as a means of including the missing feminine in a theology of Eucharist. In conclusion I posit that applying the findings of Feminist Liberation theology to the Sacrament of the Eucharist challenges the theology of Eucharist and theological reflection on Christ, Redemption, and the theology of Atonement that underpins the sacramental celebration of the human/divine relationship. Alternative Relational theologies advocate a different model of the divine rooted in relationships based on interdependence which radicalises reflection on the nature of God. I propose that Feminist Liberation theology has the potential to afford a sacramental Eucharist where women are not required to assent to their own oppression but offers an expanded understanding of who we may become when we eat at the Eucharistic table.