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Thematische Bibliographien / Jesus Christ Art / Dissertationen

Dissertationen zum Thema „Jesus Christ Art“

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Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 31. Januar 2023

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1

Harley, Felicity. „Images of the crucifixion in late antiquity : the testimony of engraved gems“. Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.

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Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.

2

Kinman, Brent Rogers. „Kingdom, Christology, and narrative art in Luke 8:22-39“. Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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3

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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4

Rye, Ashley Gail. „"The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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5

Schlichtenmaier, Bert. „Die Passionsikonographie in der bildenden Kunst des 19. und frühen 20. Jahrhunderts“. Tübingen : Eigenverlag Bert Schlichtenmaier, 1987. http://catalog.hathitrust.org/api/volumes/oclc/28097793.html.

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6

Jefferson, Lee M. „The image of Christ the miracle worker in early Christian art“. Diss., Freely available online, 2008. http://etd.library.vanderbilt.edu/ETD-db/available/etd-09052008-145010/.

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7

Bent, Zackery R. „Dropping the ball and other common dilemmas : a study of the post-resurrection relationship of Christ and humanity“. Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1286396.

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In the Western tradition and beyond, there is a long history of art that has sought to describe and present Jesus of Nazareth from a historical and documentary perspective. The challenge I endeavor is to express the coexistence of the seen and unseen world in the present.As a Christian and an artist this project is an effort to see a marriage between my creative process and my spiritual ethos. My hope in this project is to engage a diverse audience and challenge its perspectives on the merging of faith and art.
Department of Art

8

Coffey, Rosemary A. „Man of sorrows of Giovanni Bellini sources and significance /“. Champaign, Ill. : Estate of Rosemary Coffey, 1988. http://catalog.hathitrust.org/api/volumes/oclc/21829626.html.

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9

Snyder, Cara L. „The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /“. Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

10

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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11

Billingsley, Naomi. „The visual Christology of William Blake“. Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/the-visual-christology-of-william-blake(f7f88baa-574c-4cb0-8d39-20046f370f6e).html.

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This thesis is an examination of Blake's images of Christ and a study of his theology of art. My central premise is that these two topics are to be viewed simultaneously: that is, I argue that Blake's visualisation of Christ is an expression of his theology of art. Moreover, I contend that through his art, Blake seeks to emulate the spirit of Jesus' life and ministry in order to engender a community of Imagination which is the Divine Body of Jesus. Through a series of case studies focusing on Blake's depictions of different aspects of Christ's life, this thesis examines how Blake uses images to express his Christology and his theology of art. In Part I, I set out Blake's Christological cosmology in three chapters which deal with beginnings in Christ's life. Chapter 1 examines Christ as Creator; here, Christ inhabits a role traditionally associated with the Father, demonstrating the pre-eminence of Christ in Blake's concept of God, and the divinity of his Creation. Chapter 2 focuses on the advent, birth and infancy of Christ; Blake depicts the Nativity as the birth of Vision, emblematic of the individual embodying that state. Chapter 3 discusses the inauguration of Christ's ministry, the Baptism and Temptations; in these subjects, Blake represents Christ as immanent in the world, making it a place of Imagination and Vision, and the individual must learn to see it as such. Part II is concerned with Blake's idea of art as apocalypse, and of Christ as the supreme type of the artist - the state which every individual should embody and which Blake seeks to engender through his works. Chapter 4 focuses on the Crucifixion, a subject with which Blake had difficulty owing to his objection to the doctrine of the Atonement but which he came to view as an emblem of the individual sacrificing his/her self-hood in order to realise his/her true identity in the Human Form Divine. Chapter 5 examines the Transfiguration, Resurrection and Ascension of Christ, exploring how Blake used these moments of transition between states in the life of Christ as types of the individual's transformation, and how these images seek to engender that process via a viewer- response aesthetic. Chapter 6 explores traditional apocalyptic subjects, in which, I argue, Christ is depicted as agent of artistic apocalypse, which for Blake consists of expunging error and embracing truth. Chapter 7 discusses Christ-like figures in Blake's depictions of Jesus' public ministry who embody the ideal state of imagination identified with Christ in the foregoing chapters, and thus act as members of Christ's Divine Body and as types for the individual's realisation of that state. I conclude with a discussion of the painting An Allegory of the Spiritual Condition of Man (1811?) which, I argue, encapsulates the central themes of this thesis.

12

Meier, Esther. „Die Gregorsmesse Funktionen eines spätmittelalterlichen Bildtypus /“. Köln : Böhlau, 2006. http://catalog.hathitrust.org/api/volumes/oclc/69104967.html.

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13

Wilde, Marc. „Das unbekannte Schlüsselwerk : Die Madonna del Bordone des Coppo di Marcovaldo in Siena /“. Weimar : VDG, 2004. http://www.loc.gov/catdir/toc/fy0701/2005424884.html.

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14

Penkrat, Tatiana. „Image and liturgy the history and meaning of the Epitaphion /“. Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0478.

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15

Giessel, Matthew. „Richard Wagner's Jesus von Nazareth“. VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3284.

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In addition to his renowned musical output, Richard Wagner produced a logorrhoeic prose oeuvre, including a dramatic sketch of the last weeks of the life of Jesus Christ entitled Jesus von Nazareth. Though drafted in 1848-1849, it was published only posthumously, and has therefore been somewhat neglected in the otherwise voluminous Wagnerian literature. This thesis first examines the origins of Jesus von Nazareth amidst the climate of revolution wherein it was conceived, ascertaining its place within Wagner’s own internal development and amongst the radical thinkers who influenced it. While Ludwig Feuerbach has traditionally been seen as the most prominent of these, this thesis examines Wagner’s sources more broadly. The thesis then summarizes and analyzes Jesus von Nazareth itself, particularly in terms of Wagner’s use of biblical scripture. The thesis demonstrates how his not infrequent misuse thereof constitutes one way in which Wagner transmogrifies Jesus as mutable lens through which his own ideology of social revolution is reflected. It also attempts to provide a critical assessment of the relative dramatic merits of Jesus von Nazareth and looks into Wagner’s ultimate decision not to complete the work. The thesis then briefly summarizes the changes that occurred in Wagner’s mature Christological outlook subsequent to his drafting of Jesus von Nazareth, attempting to concisely demonstrate some developments beyond Wagner’s well-known encounter with the philosophy of Arthur Schopenhauer. The thesis concludes with an evaluation of how Jesus von Nazareth informed Wagner’s general religious outlook and the extent to which this worldview is a productive one.

16

Hanna, Kamal Fahim Awad. „La passione di Cristo nell'Apocalisse /“. Roma : Ed. Pontificia università gregoriana, 2001. http://catalogue.bnf.fr/ark:/12148/cb39103063d.

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17

Hudson, Hugh. „Re-examining Van Eyck : a new analysis of the Ince Hall Virgin and Child /“. Connect to thesis, 2001. http://eprints.unimelb.edu.au/archive/00002867.

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18

Ashton, Anne M. „Interpreting breast iconography in Italian art, 1250-1600“. Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2675.

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The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.

19

Emery, Beth A. „Lorenzo Monaco's Man of sorrows“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33283.

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This thesis examines Lorenzo Monaco's altarpiece the Man of Sorrows with the Virgin, St. John the Evangelist, with the Emblems and Episodes of the Passion, (c. 1404) under historical, religious, political, and liturgical rubrics. While comparing various depictions of the Man of Sorrows, this project places Lorenzo Monaco's unique interpretation within the context of events surrounding the painting's conception and realization. With particular attention to Lorenzo's distinctive composition, techniques and juxtaposition of imagery, this study shows that his Man of Sorrows in fact conveys a complex message about Florentine society in Late Gothic times.

20

Donahue, John Raymond. „Are you the Christ? : the trial narrative in the Gospel of Mark /“. [Missoula, Mont.] : [Society of Biblical Literature], 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=0891301658.

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21

Lefler, Thomas J. „In Search of a Transcendental Film Style: The Cinematic Art Form and the Mormon Motion Picture“. Diss., CLICK HERE for online access, 1996. http://patriot.lib.byu.edu/u?/MTGM,23527.

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22

Kwon, Soon-Gu. „Christ as example : the imitatio Christi motive in biblical and christian ethics /“. Uppsala : Uppsala universitet, 1998. http://catalogue.bnf.fr/ark:/12148/cb39144634j.

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23

Ebner, Martin. „Jesus - ein Weisheitslehrer ? : synoptische Weisheitslogien im Traditionsprozess /“. Freiburg [im Breisgau] : Herder, 1998. http://catalogue.bnf.fr/ark:/12148/cb376366979.

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24

Linden, Teunis Gerard van der. „Volgenderwijs : een theologische studie over "navolging" als ecclesiologisch motief /“. Zoetermeer : Boekencentrum, 2000. http://catalogue.bnf.fr/ark:/12148/cb391118907.

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25

Mitchell, Gregory William. „"Come, follow me!" discovering whom we are to follow in selected works of twentieth century Protestant theology /“. Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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26

Laaksonen, Jari Pekka. „Jesus und das Land : das Gelobte Land in der Verkündigung Jesu /“. Åbo : Åbo Akademis Förlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb39140375b.

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27

Grimkowski, Rüdiger Willmann Michael. „Michael Willmann : Barockmaler im Dienst der katholischen Konfessionalisierung ; der Grüssauer Josephszyklus /“. Berlin : Weißensee-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2669394&prov=M&dok_var=1&dok_ext=htm.

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28

Cope, Rachel. „John B. Fairbanks : the man behind the canvas /“. Diss., CLICK HERE for online access CLICK HERE for online access, 2003. http://contentdm.lib.byu.edu/u?/MormonThesesC,7523.

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29

Jones, Daniel J. „"Christus sacerdos" in the preaching of St. Augustine : Christ and christian identity /“. Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb39263511z.

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30

Smith, Tamytha Cameron. „Personal Passions and Carthusian Influences Evident in Rogier Van Der Weyden's Crucified Christ between the Virgin and Saint John and Diptych of the Crucifixion“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5245/.

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This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, supported by original documentation- familial ties, associates, patrons, use of finances, and his close involvement with the Carthusians-- support this assertion. Other models of connections of belief, evidenced through artist's work, are corroborated in the work of Grunewald, Sluter and Durer.

31

Powery, Emerson B. „Jesus reads Scripture : the function of Jesus' use of Scripture in the synoptic Gospels /“. Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb39053804z.

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32

Ryu, Ho-Seung. „Jesus und Johannes der Täufer im Matthäusevangelium : eine sozio-rhetorische Untersuchung zur Darstellung Jesu und Johannes des Täufers im Matthäusevangelium /“. Frankfurt am Main : P. Lang, 2006. http://catalogue.bnf.fr/ark:/12148/cb41120543v.

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33

Auvinen, Ville. „Jesus' teaching on prayer /“. Åbo : Åbo Akademis Förlag, 2003. http://catalogue.bnf.fr/ark:/12148/cb391472496.

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34

Baker, Todd Damon. „Matthew 27:25 : "His blood be upon us" Are the Jews racially condemned for the death of Christ? /“. Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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35

Eusèbe, de Césarée Zamagni Claudio. „Questions évangéliques /“. Paris : les Éd. du Cerf, 2008. http://catalogue.bnf.fr/ark:/12148/cb41393448t.

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36

Wipfler, Esther. „"Corpus Christi" in Liturgie und Kunst der Zisterzienser im Mittelalter /“. Münster : Lit, 2003. http://catalogue.bnf.fr/ark:/12148/cb39924431x.

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Texte remanié de: Diss.--Historich-philosophische Fakultät--Heidelberg--Universität, 1997. Titre de soutenance : "Corpus Christi" in der Kunst der Zisterzienser. Zur Ausstatung mittelalterlicher Zisterzienserklosterkirchen.
Bibliogr. p. 320-361. Index.

37

Cho, Sukmin. „Jesus as prophet in the Fourth Gospel /“. Sheffield : Sheffield Phoenix press, 2006. http://catalogue.bnf.fr/ark:/12148/cb41325558f.

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38

Holmén, Tom. „Jesus and jewish covenant thinking /“. Turku : Karhu-kopio oy, 1999. http://catalogue.bnf.fr/ark:/12148/cb37089411x.

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39

Holmén, Tom. „Jesus and Jewish covenant thinking /“. Leiden : Brill, 2001. http://catalogue.bnf.fr/ark:/12148/cb377183297.

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40

Back, Sven-Olav. „Jesus of Nazareth and the sabbath commandment /“. Åbo : Åbo Akademis förlag, 1995. http://catalogue.bnf.fr/ark:/12148/cb361550238.

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41

Coulot, Claude. „Jésus et le disciple étude sur l'autorité messianique de Jésus“. Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37594659b.

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42

Neuheuser, Hanns Peter. „Zugänge zur Sakralkunst : narratio und institutio des mittelalterlichen Christgeburtsbildes /“. Köln : Böhlau, 2001. http://catalogue.bnf.fr/ark:/12148/cb39979634r.

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43

Bayer, Hans Friedrich. „Jesus' predictions of vindication and resurrection : the provenance, meaning and correlation of the synoptic predictions /“. Tübingen : J.C.B. Mohr, 1986. http://catalogue.bnf.fr/ark:/12148/cb36619232s.

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44

Marín, Javier-José. „The christology of Mark : does Mark's christology support the Chalcedonian formula "truly man and truly God" ? /“. Bern ; Frankfurt ; Paris : Peter Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb36656336j.

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45

Jansen, Harmen. „Door Simon gezien : anderhalve eeuw theologisch debat in het Nederlandse protestantisme over de opstanding van Christus : een systematisch-theologische studie /“. Zoetermeer : Boekencentrum, 2002. http://catalogue.bnf.fr/ark:/12148/cb38822396f.

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46

Byrnes, Michael. „Conformation to the death of Christ and the hope of resurrection : an exegetico-theological study of 2 Corinthians 4,7-15 and Philippians 3,7-11 /“. Roma : Ed. Pontificia università gregoriana, 2003. http://catalogue.bnf.fr/ark:/12148/cb390960138.

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47

Kimball, Charles Anthony. „Jesus' exposition of the Old Testament in Luke's Gospel /“. Sheffield : Sheffield academic press, 1994. http://catalogue.bnf.fr/ark:/12148/cb36677344t.

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48

Nebe, Gottfried. „Prophetische Züge im Bilde Jesu bei Lukas /“. Stuttgart : W. Kohlhammer, 1989. http://catalogue.bnf.fr/ark:/12148/cb36666126w.

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Texte remanié de: Habilitationsschrift--Evangelisch-Theologische Fakultät--Bochum--Ruhr-Universität, 1986/87. Titre de soutenance : Jesus von Nazareth als "Prophet mächtig im Wort" im Lukasevangelium. Untersuchungen zum lukanischen Jesusbild und seinen traditionsgeschichtlichen Hintergründen.

49

McGrath, James Frank. „John's apologetic christology : legitimation and development in Johannine christology /“. Cambridge : Cambridge university press, 2001. http://catalogue.bnf.fr/ark:/12148/cb40013045c.

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50

Gagliardi, Mauro. „La cristologia adamitica : tentativo di recupero del suo significato originario /“. Roma : Ed. Pontificia università gregoriana, 2002. http://catalogue.bnf.fr/ark:/12148/cb39103022t.

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