Dissertations / Theses: 'Art and religion'

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Sahoo, Ananda Chandra. "Jaina religion and art /." Delhi : Agam Kala Prakashan, 1994. http://catalogue.bnf.fr/ark:/12148/cb37493680r.

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Ferris, Iain M. "Studies in Roman archaeology, art and religion." Thesis, University of Birmingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573912.

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Levisse, Caroline. "Art et religion en Scandinavie depuis 1990." Paris 8, 2013. http://www.theses.fr/2013PA084243.

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Les interactions entre l’art et la religion se multiplient aujourd’hui et sont souvent interprétées comme des manifestations d’un mouvement plus profond : la résurgence de la religion dans l’art. Le phénomène artistique est alors rapproché du « retour de la religion » observé dans le monde depuis une vingtaine d’années. À partir du cas scandinave, ce travail se propose d’analyser la pertinence de cette interprétation. Les relations entre l’art et la religion sont en réalité diverses tant elles entretiennent des rapports différents avec la tradition artistique et s’appuient sur des conceptions divergentes de la religion. Nous considérons l’art d’église et les installations temporaires d’art dans les églises, mais aussi l’art critiquant la religion ou détournant des motifs religieux, ainsi que l’art inspiré par le bouddhisme ou les sciences occultes. L’étude des attitudes qu’adoptent les artistes envers la religion est structurée autour de trois parties. Elles sont fondées sur trois conceptions de la religion, soit comme système autoritaire structurant la société, comme rapport de l’homme au divin, ou comme foi post-religieuse. Chacune implique une articulation spécifique avec l’art : l’incompatibilité, l’affinité élective, le dialogue. Ainsi, selon les œuvres étudiées, la relation de l’art actuel envers la religion sera comprise en termes de restauration, de continuation ou d’innovation. Cependant, au-delà de cette diversité, des éléments récurrents sont identifiables, tels que la recherche de sens et le désir de cohésion. Ils semblent indiquer que la religion est aujourd’hui largement considérée par les artistes comme une « alternative »
The interactions between art and religion have recently multiplied. They are often interpreted as manifestations of a deeper movement: religion’s resurgence in the arts. As such, the artistic phenomenon is linked to the so-called “return of religion”, which has been observed throughout the world for more than twenty years. This research aims at analysing the relevance of such an interpretation, in the Scandinavian context. The relations between art and religion are, in fact, diverse because they hold different relations to artistic tradition and they lean on divergent conceptions of religion. Church art and temporary installations in churches are studied, but also art which is critical of religion or uses religious motifs for non-religious purposes, as well as art inspired by Buddhism or attracted to the occult. The study is structured around three parts, which are based on different conceptions of religion – religion as an authoritarian system structuring society, as a relation that man holds to the divine, or as a post-religious faith. They each imply a specific articulation with art: incompatibility, elective affinity, and dialogue. Thus, depending on which works of art are studied, the current relations of art towards religion will be understood in terms of restoration, continuation, or novelty. However, beyond this diversity, recurring elements are noticeable, such as a quest for meaning and a desire for cohesion. They seem to indicate that nowadays religion is largely considered by artists as an “alternative”

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Nafziger-Leis, Cheryl. "Art, even after Auschwitz, Adorno's critical theory of art, religion and ideology." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28025.pdf.

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Lewy, Mordechay. "Corporeality in Jewish Thought and Art." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2011/5331/.

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The essay compares the dichotomous concepts of corporeality and spirituality in Judaism and Christianity. Through the ages, deviations from normative principles of beliefs could be discerned in both religions. These can be attributed either to the somewhat confrontational interaction between Jews and Christians in the Medieval urban environment or to the impact of Hellenic civilization on both monotheistic religions. Out of this dynamic impact emerged Christian art with a predilection to expressed corporeality, whereas Jewish religiosity found its artistic expression in a spiritual noniconographical mode. A genuine Jewish art and iconography could develop only after a certain degree of assimilation and secularization. Marc Chagall was the first protagonist of a mature expression of Jewish iconography.
Im Essay werden Körperlichkeit und Spiritualität als dichotomes Begriffspaar im Judentum (und Islam) gegenüber dem Christentum verglichen. Im Geschichtsverlauf wurden bei beiden Religionen Abweichungen von den sogenannten normativen Glaubenssätzen festgestellt. Diese können sowohl auf gegenseitige Beeinflussung (Anpassung durch Konfrontation im Mittelalter zwischen Judentum und Christentum) wie auch auf externe Akkulturationsprozesse (Hellenisierungsprozess im antiken Judentum) zurückgeführt werden. Es entsteht ein dynamisches Wechselspiel, wobei in der christlichen Kunst eine allmähliche Verkörperlichung stattfindet, während sich die jüdische Religiosität und der Kunstausdruck auf eine Vergeistigung festlegen. Eine eigenständige jüdische Kunstsprache und Ikonographie konnte allerdings erst nach einem gewissen Assimilationsgrad und Säkularisierungsprozess entstehen. Bei Marc Chagall hatte sie ihre erste Reife erreicht.

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Driskel, Michael Paul. "Representing belief : religion, art, and society in nineteenth-century France /." University Park (Pa.) : Pennsylvania State university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716402q.

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Buscemi, John. "The visual arts and religion the changing relationship /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.

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Scott, Nadine Althea Theda. "Fine art as an expression of religion in the Jamaican culture : implications for art education /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392715688.

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Barker, Andrew David. "Creating art against the sky-gods: GoreVidal's manifesto and didacticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31242832.

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Platt, Verity J. "Epiphany and representation in Graeco-Roman culture : art, literature, religion." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422525.

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Iida, Yoshiho. "La « religion civile » chez Rousseau comme art de faire penser." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL003/document.

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L'avant-dernier chapitre du Contrat social, intitulé « De la Religion civile », est un texte qui suscite encore de nombreuses polémiques. Jean-Jacques Rousseau semble avoir inventé la notion de « religion civile » pour trouver un moyen de garantir au Souverain la fidélité de chaque citoyen. Mais qu'est-ce précisément que cette « religion civile » ? Par quel moyen peut-elle garantir la fidélité des citoyens ? Pour répondre à ces questions, notre étude a choisi de se concentrer sur les termes employés par Rousseau et qui nous semblent résumer le mieux, d'une manière concrète, l'essentiel de la « religion civile » : les « sentiments de sociabilité ». Pour ce faire, cette étude s'articulera en quatre parties : La Partie I consacrée à la notion de « sentiment » chez Rousseau relève d'une étude « psychologique ». La Partie II relève d'une étude historique : à travers la lecture des œuvres écrites juste avant et après la publication du Contrat social, nous préciserons le contexte historique de la rédaction du chapitre « De la Religion civile ». La Partie III sera consacrée à l'idée de « sociabilité » : nous mesurons la portée de cette idée employée par Rousseau dans un contexte à la fois théorique et polémique. La Partie IV sera consacrée à la lecture du Contrat social lui-même. Nous expliquerons finalement ce que signifient les termes « sentiments de sociabilité » dans cet ouvrage. À travers l'ensemble de ce travail, nous vérifierons la pertinence de la thèse suivante : la « religion civile » chez Rousseau est un dispositif qui déclenche et renforce l'auto-contradiction chez le citoyen. Notre projet précisera donc le point de confluence de la pensée morale, politique et religieuse de Rousseau, qui se trouve dans le Contrat social
The eighth chapter of the Book IV of the Social Contract, entitled “On the Civil Religion”, still remains problematic. Jean-Jacques Rousseau seems to have invented the concept of “civil religion” to find a way to guarantee the fidelity of each citizen to the Sovereign. But what is this “civil religion” precisely? By what kind of means can this religion guarantee the citizens' fidelity? To solve these problems, we will examine the expression used by Rousseau which seems to summarize precisely the essence of the “civil religion”: the “sentiments of sociability [sentiments de sociabilité].” We will be able to show the importance of this expression only after a detailed exploration of its historical and philosophical context, which can be divided into four Parts: Part I will offer an analysis of the concept of “sentiment” used by Rousseau in the late 1750s. This Part will also show the philosophical background of this concept. Part II will describe the historical background of the writing and the publication of the Social Contract, focusing on the chapter “On the Civil Religion.” Part III will offer a detailed examination of the concept of “sociability:” we will verify the theoretical and polemical aspect of this concept, as it is used by Rousseau. Part IV will offer a detailed analysis and commentary of the chapter “On the Civil Religion” of the Social Contract, weaving together the various threads of the explanations provided in the previous parts. As a whole, this dissertation asserts that religion was a necessary component of Rousseau's political system, insofar as it provided a tool to generate self-contradiction and, as its consequence, moral thought and moral choice in the citizens' conscience

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Benedetti, Alexa Leigh. "Civil Religion Iconography : A New Theoretical Perspective Regarding Public Art." Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445889.

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Based‌ ‌on‌ ‌the‌ ‌idea‌ ‌that‌ ‌public‌ ‌art‌ ‌reflects‌ ‌cultural‌ ‌values‌ ‌and‌ ‌is‌ ‌meant,‌ ‌not‌ ‌as‌ ‌many‌ ‌have‌ ‌argued‌ ‌as‌ ‌a‌ ‌means‌ ‌of‌ ‌teaching‌ ‌history,‌ ‌but‌ ‌rather‌ ‌as‌ ‌a‌ ‌means‌ ‌of‌ ‌promoting‌ ‌cultural‌ ‌ideals,‌ ‌ ‌public‌ ‌art‌ ‌serves‌ ‌a‌ ‌role‌ ‌in‌ ‌lauding‌ ‌people‌ ‌and‌ ‌behaviors‌ ‌and‌ ‌reflects‌ ‌a‌n important facet in the ‌creation‌ ‌of‌ ‌a‌ ‌national‌ ‌identity‌ ‌and‌ ‌ethos. Further,‌ ‌that‌ ‌in‌ ‌this‌ ‌function‌ ‌of‌ ‌promoting‌ ‌societal‌ ‌norms,‌ ‌public‌ ‌art‌ ‌serves‌ ‌as‌ an‌ iconography ‌of‌‌ a “civil ‌religion”‌ ‌which‌ ‌tell‌s ‌a‌ ‌story‌ ‌to‌ ‌the‌ ‌citizenry‌ ‌about‌ ‌what‌ ‌a‌ ‌given‌ ‌country‌ ‌admires,‌ ‌reveres‌ ‌and‌ ‌aspires‌ ‌to‌ ‌and‌ ‌promotes‌ ‌a‌ ‌specific‌ ‌moral‌ ‌narrative‌ ‌regarding‌ ‌a‌ ‌country‌ ‌and‌ ‌its‌ ‌people.‌ ‌Thus,‌ ‌public‌ ‌art‌ ‌forms‌ ‌an‌ ‌iconography‌ ‌reflecting‌ ‌the‌ ‌norms‌ ‌of‌ ‌the‌ ‌“civil ‌religion”‌ ‌and‌ ‌its‌ ‌related‌ ‌mores,‌ ‌morals‌ ‌and‌ ‌ethical‌ ‌values.‌ ‌

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Covin, Michel. "Hypnologica éléments pour une esthétique du sommeil, art, médecine, religion." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37594661w.

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Carrere, Ginette. "Danse et religion : une prise en charge en art-therapie." Toulouse 3, 1986. http://www.theses.fr/1986TOU31007.

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Barker, Andrew David. "Creating art against the sky-gods : Gore Vidal's manifesto and didacticism /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24709256.

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Herrmann, Fredrik. "Världens viktigaste oviktiga sak : kan fotboll fungera som religion?" Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-559.

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Fotboll har under de senaste 100 åren växt till att bli en enorm företeelse i Sverige och övriga världen. Att vara fotbollsintresserad är idag en vanlig sida hos många människor, i Sverige och i övriga världen. För vissa är det identitetsskapande, och så viktigt att allt kretsar runt det fotbollslag man följer. Livet i övrigt kommer i andra hand. Det finns de som säger att fotboll är viktigare än religion för dem, eller att det är fotboll som är deras religion. Jag har i detta arbete försökt se om fotboll kan vara en religion eller fungera som en religion. I ett samhälle där kyrkans roll blir mindre och mindre, har jag funderat på om fotbollen i viss mån tagit kyrkans tidigare roll i många människors liv. Inom fotbollskulturen finns bilder, ikoner, färgkoder, språk, rum, sociala koder, tankesätt och åsikter, som alla är delar av livet som supporter. Jag kommer i arbetet ta på mig religionshistorikerns roll, liksom fotbollssupporterns. Uppsatsen redogör för medias roll och vikt för fotbollen, som kanal för utövandet av fotbollen som ”tro”. Att gestaltningen skulle vara en film bestämde jag tidigt, och samlade in mycket material. Tanken var att under tiden man ser filmen någon gång ställer sig en fråga liknande: ”Kan fotboll verka som en religion?” Det var de bilder från matcher med supportrar från Malmö FF, där största engagemang visas, som jag bäst kunde få fram detta. Vad jag kommit fram till är inte ett svar som ja eller nej, men däremot en förståelse för fotboll, som om man ser på frågeställningen lite annorlunda, blir väldigt lik en religion.
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McGuigan, Noel Damascus. "The social context of Abelam art : a comparison of art, religion and leadership in two Abelam communities." Thesis, University of Ulster, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359352.

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Affleck, William. "Oh Father where art thou: The moral experience of bereaved fathers." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96899.

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It has been recognized that Western bereavement programs, and the research on which they are based, rely primarily on models of female grief and fail to adequately take into account gender differences, especially men's experiences of bereavement. As a result, in contemporary research, fathers' grief has been studied primarily through the lens of mothers' grief. This comparative approach has lead to the perception, in some bereavement studies, that fathers' experience of grief is less intense and debilitating than that of mothers. This has been reported in studies of infant death, catastrophic accident death, and death from childhood cancer. The study to be discussed examines fathers' experience of bereavement, using both the ethical framework of the moral philosopher Paul Ricoeur, and phenomenological analysis. The findings from a series of interviews conducted with 5 bereaved fathers will be presented. The emergent themes will be discussed, specifically: 1) Bereaved fathers' experiences of social expectation and regulation; 2) bereaved fathers' challenges with issues of morality (for example, what it means to be a good father, a good spouse, etcetera.); 3) bereaved fathers' experiences with bereavement support services. By focusing on the experience of bereaved fathers', my study challenges the common practice of comparing fathers' grief to that of mothers will be avoided. This study is designed to show how the experience of bereaved fathers is gendered and must be examined in relation to social and familial expectations, as well as internalized standards of proper behavior. This study will contribute to building both a theoretical and clinical evidence base for the field of bereavement studies as well as to the interdisciplinary field of palliative care.
Les programmes de deuil occidentaux et la recherche qui les soutiennent ont été reconnus comme étant basés sur des models de deuil en grande partie féminins, donc qui échouent à tenir compte des expériences des hommes. En conséquence, la recherche actuelle en grande majorité étudie le deuil des hommes en comparaison avec le deuil des femmes. Cette approche comparative amène une perspective selon laquelle le deuil des hommes est moins intense et incapacitant que celui des femmes. Ceci a été reporté dans les études portant sur le deuil des nourrissons, les morts part accidents catastrophiques et les morts de cancer dans l'enfance. Cette étude examine l'expérience du deuil chez les pères, en utilisant l'approche étique du philosophe Paul Ricoeur ainsi que l'analyse phénoménologique. Les résultats d'une série d'entrevue avec cinq pères endeuillés seront présentés. Les thèmes saillants seront discutés, notamment 1) leurs expériences des attentes et des règles sociales, 2) les défis que les pères endeuillés perçoivent en rapport avec les questions morales (tel que, qu'est-ce qu'être un bon père, un bon époux, etcetera.) et finalement 3) leurs expériences des services de soutient au gens endeuillés. En mettant l'emphase sur les expériences des pères endeuillés, la pratique commune de comparer le deuil des mères et des pères se trouve évité. Cette étude a pour but de démontrer que l'expérience des pères est affectée par leur sexe et doit être examinée en relation avec les attentes sociales et familiales, ainsi que les standard de comportements adéquats qui sont intériorisés socialement. L'étude contribuera à bâtir une base théorique et empirique dans le domaine des études sur le deuil et apportera une contribution substantielle à l'approche interdisciplinaire qui prime en soins palliatifs.

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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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Noel, Cheryl S. Mrs. "Assembling the Bones: Using Religion, Animal Bones and Sculpture in Art Education." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/99.

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This arts-based thesis is a culmination of how I explore the condition of being mortal through artwork which includes the use of animal bones and religion. This examination will determine how my future art curriculum may help students think in personal and spiritual which provides critical thinking and personal growth.

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Smick, Rebekah. "Interview with Richard Kearney (Art Talks, October 13, 2012)." Institute for Christian Studies, 2012. http://hdl.handle.net/10756/294312.

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Janz, Oliver. "Bürger besonderer Art : evangelische Pfarrer in Preussen 1850-1914 /." Berlin ; New York : W. de Gruyter, 1994. http://catalogue.bnf.fr/ark:/12148/cb35726323m.

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Feller, Shon Scot. "Creativity & Religion: A Self-Study of Mormon Mindset in the Art Classroom." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6185.

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A high school art teacher investigates the relationship of his religious beliefs with his notions of what it means to be creative. This Mormon teacher examines his religious and experiential life through self-study, by drawing from autoethnographic and hermeneutic phenomenological strategies. He believes that everyone, including himself and his students, has a creative potential. He also analyzes how his Mormon religion affects his view of creativity and how creativity has affected his behavior as a Mormon. The conclusions he reaches uncover the need for balance between his creative self and his Mormon self and outlines several ways to merge these two aspects of his life.

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Myers, Summer Anne. "Visualizing the Transition Out of High-Demand Religions." Digital Commons at Loyola Marymount University and Loyola Law School, 2017. https://digitalcommons.lmu.edu/etd/321.

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This research uses a questionnaire and a bridge drawing directive to explore the lived experience of transitioning out of a high-demand religion. Subjects include disaffiliated Mormons, Jehovah’s Witnesses, and Fundamentalist Protestants who were recruited through a dedicated website via limited promotion in online communities for disaffiliates. Visual and textual responses are analyzed through qualitative coding, with additional analysis performed on the artwork using Hays and Lyons’ (1981) bridge drawing criteria. Results reveal the psychological, social, behavioral, identity, and existential effects of disaffiliation. Results also produce seven emergent themes: ambivalence; embracing uncertainty; social justice; simultaneous transitions; freedom and constraint; growth; and remaining ties. The paper then explores the subjects’ lived experiences, latent content in the artwork, and the role and value of artmaking in healing from these difficult transitions. Lastly, this paper discusses treatment considerations, limitations of the study, and suggestions for future research on religious struggles and disaffiliation.

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Shirey, Heather Marie. "Empowering spaces Candomble art in sacred and secular contexts in Salvador da Bahia, Brazil /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3204301.

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Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006.
Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0005. Adviser: Patrick McNaughton. "Title from dissertation home page (viewed Jan. 22, 2007)."

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Nixon, Kathrine Mary Gill. "A visualization of dissident voices in sixteenth-century Italy: a reflection of the religious debate in art." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1044.

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The focus of this dissertation is an exploration of the relationship between the Italian Reformation and some sixteenth-century religious paintings. It aims to discover if, when viewed chronologically, they provide a visualization of the course taken by the Italian Reformation. For sometime art historians have been aware that some religious paintings are at odds with the iconography of Catholic orthodoxy, such works are usually treated in isolation from each other. Here they are brought together and analyzed in the context of a widely disseminated religious debate in which artists were participants, if only as members of society, and not necessarily as members of a particular Protestant sect. It focuses on individual works by Fra Bartolomeo della Porta, Jacopo Pontormo, Lorenzo Lotto, Michelangelo, Jacopo Bassano, and Caravaggio. The paintings considered are interpreted in relation to the sermons of Savonarola, the Catechism and One Hundred and Ten Considerations, of Juan de Valdès, the Beneficio di Cristo, Italian evangelism, the spirituali, and radical groups such as the Anabaptists.

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Crossman, Colette M. "Art as lived religion Edward Burne-Jones as painter, priest, pilgrim, and monk /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6825.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Cooper, Richard. "The languages of philosophy, religion, and art in the writings of Iris Murdoch /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72105.

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This thesis develops a complex theoretical model for conceptualizing the relationships among philosophy, religion, and art and, then, examines the philosophical writings and the novels of Iris Murdoch from this perspective. The theoretical model in its most general form is based on the premiss that philosophy, religion, and art can be thought of as conventionally defined linguistic fields analogous to Wittgensteinian language-games. Relations among the linguistic fields are, in turn, analysed as exclusive ("Disparate" Model), inclusive ("Reductionist" Model), or interactional ("Dialectical" and "Tensional" Models), the latter pair being most appropriate for figurative language, the former pair for non-figurative language. The Dialectical and Tensional Models are assimilated, respectively, to Roman Jakobson's theory of metaphor and metonymy as the fundamental poles of language. Emphasis falls upon the continuum between the dialectical-metaphoric and the tensional-metonymic poles as the area in which creative, imaginative activities, such as the writing of novels or deliberation upon ethical problems, takes place. Iris Murdoch's theories of "crystalline" and "journalistic," "open" and "closed" novels and the related ways of thinking are coordinated with this continuum as a paradigm. Moreover, a creative tension is revealed in her philosophical writings between a resisted impetus towards totalizing explanations and the experience of the inherent contingency of philosophical thought. Thus, there is in Murdoch's philosophy, as in her creative prose, an exploration of the dynamics between the dialectical-metaphoric pole of thought and language and the tensional-metonymic pole, with an increasing, though never finally realized tendency towards the tensional-metonymic pole. Detailed analyses of Murdoch's aesthetic and ethical thought and of a wide selection of her novels illustrate this thesis.

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Tanner, Jeremy James. "The invention of art history : religion, society and artistic differentiation in ancient Greece." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296707.

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Black, Edward A. "Verve for the visual Reformed and Presbyterian churches and visual display art /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Seniw, Thomas. "Plotinus, the term and the way : theory of art and beauty." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79978.

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Ammonius Saccas instructs Plotinus towards a synthesis of ancient Greek philosophy. A brief introduction to the historical Plotinus is offered. The Hypostases: The One or Supreme Reality, the Divine Mind, Nous, and the Universal Soul, Logos, are discussed in the context of Plato's eternal ideas, Beauty, Truth and Good.
An examination of the dialogue Plotinus has with art and beauty is offered. The relationship between Plato's divine intelligibles and art is discussed in context of the treatise On Beauty. The intelligible beauty of ideas, cosmos, nature and art are examined in context of the treatise On Intellectual Beauty. Plotinian theory of art is summarized.
Plotinus advances an "iconic" dialectic that serves his theological theory of art. The more important critical issues that arise from his description of the realm of art are addressed. Plotinian mysticism, and the subject of matter and form, identity and difference, is discussed. The opposing ways of the "picture" and the "word" are briefly summarized.
The appearance of theos is an event of hierophany . The meaning of art points towards the object of our ultimate concern. A Plotinian studio program for the painter concludes the thesis.

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Martonis, Stephen V. "Offerings for Jahilia." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=596.

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Slenczka, Ruth. "Lehrhafte Bildtafeln in spätmittelalterlichen Kirchen /." Köln : Böhlau, 1998. http://catalogue.bnf.fr/ark:/12148/cb373222260.

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Tofighian, Omid. "Rethinking Plato’s Theory of Art: Aesthetics and the Timaeus." Thesis, Department of Studies in Religion, 2003. http://hdl.handle.net/2123/6103.

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The Timaeus presents a fascinating account of the cosmos. It includes a creation myth that introduces the figure known as the Demiurge who, despite the fact that he is the cause of the sensible world, is reverently attributed with reason, and whose creation – the cosmos – is actually beautiful and good. In this dialogue Plato offers his readers a panorama of the universe. But just what are his intentions for this? Is his approach a precursor to the methods of natural science,1 or does the Timaeus fall under the category of theology? This thesis will discuss the outcome Plato wished to achieve by finally writing on cosmology and how the methods used to accomplish these ends reveal a more existential attitude towards aesthetics.

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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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Hasan, Abdullah Mohammed Abdullah. "The role of religion and literary art in the development of Wittgenstein's philosophical thought." Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:15296.

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Carter, Christopher Richards. "Springing from the Same Root: Religion and Art in the Fiction of Willa Cather." W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539625670.

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Schmidt, Carolyn Woodford. "Bodhisattva, headdresses and hair styles in the Buddhist art of Gandh?ra and related regions of Sw?t and Afghanistan /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487681788251828.

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Doolan, Lucas. "The sublime ruin enigmatic feminine : Master of Art & Design, 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/420.

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This thesis explores through the creation of four artworks, the nature of the sublime ruin. To facilitate this it examines the disintegration of selected religious feminine metaphors. The artworks are rendered through a multiplication of layers bound by translucent/transparent resin. These are produced to examine the potentials between traditional craft and contemporary digital mediums, thus creating sites where eroding fragments may express an excess of meaning through enigmatic construction.

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Bimber, Jayson. "Good is dead /." Online version of thesis, 2007. http://hdl.handle.net/1850/5278.

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Ramirez, Loretta Victoria. "Spain's Toledo Virgen Abridera| Revelations of Castile's shift in Marian iconography from Medieval to Isabelline." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10046237.

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For what secular purposes did Spanish artists absorb into Marian Immaculate Conception devotional art the attributes of the Apocalyptic Woman from the Book of Revelation? In this absorption of a traditionally active Apocalypse motif into a traditionally inactive Marian motif, were artists and patrons responding to religious, political, and cultural turmoil of multi-faith Iberian societies? I argue that a shift in Marian iconography paralleled consolidation of Castilian national identity in the late-fifteenth and early-sixteenth centuries. This consolidation manifests in the Virgen Abridera at the Convent of the Concepcion de las Madres Agustinas, dated 1520 in Toledo, Spain. This mutable sculpture, also called a Shrine Madonna, Triptych Virgin, or Vierge Ouvrante, is an example of the tota pulchra Immaculate Conception motif, the absorption of Apocalyptic Woman imagery, and the transference in narratives from the Joys of Mary to the Sorrows of Mary?all the products of contemporary Franciscan and Spanish worldviews.

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McNutt, David Wayne. "Karl Barth's doctrine of creation and a reformed vision of artistic creativity." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283926.

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Ryu, Charles Young-Chul. "Until history imitates the vision a proposal for theological aesthetics /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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Schader, Jo-Mari. "Psalm 47 - how universal is its universalism? an intra-, inter-and extratextual analysis of the poem /." Pretoria : [s.n.], 2010. http://upetd.up.ac.za/thesis/available/etd-03102010-201401/.

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Lepage, Andrea. "Arts of the Franciscan Colegio De San Andres in Quito : a process of cultural reformation." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319103.

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Labrique, Françoise. "Stylistique et théologie à Edfou : le rituel de l'offrande de la campagne : étude de la composition /." Leuven : Peeters : Departement oriëntalistiek, 1992. http://catalogue.bnf.fr/ark:/12148/cb35762753h.

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Jung, Myung Won. "Iconoclasm and aesthetics from fear to celebration, focusing on contemporary cases in Korea /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p051-0111.

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Jung, Myung Won. "Iconoclasm and aesthetics from fear to celebration, focusing on contemporary cases in Korea /." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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Antona, Stéphanie. "L’expérience du religieux dans l’art vidéo des années 2000 : perspective française et italienne." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP073.

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Dans les années 1960, les artistes se sont emparés de la vidéo avec cette volonté d’expérimenter un médium neuf engageant une nouvelle réflexion sur la représentation et la figuration. À partir de la fin des années 1990, les mutations de la technique vidéo permirent d’ouvrir le champ de création sur des thèmes peu explorés dans le domaine. Or, l’évolution du religieux dans la société moderne souleva des questions à la fois politiques et sociales qui trouvèrent un écho dans l’art vidéo. À partir de deux pays de tradition catholique, cette thèse a pour ambition de montrer que les artistes vidéastes français et italiens réalisent à partir du religieux, une réflexion sur le monde du XXIe siècle en offrant des repères spirituels et culturels disséminés dans une société de consommation. Cette étude montre également le désir de mettre en lumière, à partir d’une technique liée à l’immatériel, des rites et des croyances qui répondent à une quête de spiritualité et de merveilleux
During the sixties, artists chose video to try out a new medium with a new way to comprehend representation and figuration. Since the end of the nineties, video technique has changed and artists have worked new subjects. Indeed, the evolution of religion in modern society raised both political and social issues that are expressed in video art. Based on two countries with Catholic tradition, this doctoral thesis demonstrates that French and Italian videoartists create, with religious themes, a new way to observe the world of the XXIst century, giving spiritual and cultural bearings which are scattered in this era of overconsumption. Thanks to this technique related to the immaterial, video artists also show a desire to pass on rites and beliefs in order to respond to a quest of spirituality and wonder

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Hopkins, Justine Tracy. "Terrible and traditional muses : science, religion and landscape art from John Martin to William Dyce." Thesis, Birkbeck (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410575.

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Dissertations / Theses on the topic 'Art and religion'

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