In the concluding remarks to her 1913 dissertation, Helen Bowerman notes that “[a]lthough the sacrificial altars [sic] form a group of comparatively unimportant monuments.” This study is an attempt to both refute Bowerman’s conclusion and to replace altars into the dialogue about Roman architecture and political propaganda during the late Republic and early Empire. While I challenge the standard, scholarly categorical definition of Roman altars set forth in the early 20th century, the primary aim of my study is to explore the complex environments in which altars, of all sizes, appear in the Imperial period and the ways in which these altars performed in their political and urban contexts. Furthermore, with an eye to topographical relationships in Rome itself, I trace the use and manipulation of altars by emperors, a type of analysis that has long benefitted our understanding of other manifestations of state, honorific monuments. As monuments, altars were unique in their stylistic and contextual adaptability while simultaneously remaining essentially uniform in their function, the place of ritual sacrifice. Congruently, I explore the role that altars played in the negotiation between an emperor’s position as a man and his potential as a divinity. That is, I examine the means by which the emperor—or dictator in the case of Caesar—used the altar form to at once avoid direct assimilation with the gods while simultaneously establishing the veneration of divine powers unequivocally associated with him. In this discussion, I seek to define how the altar form, its imagery, and the honorific system in which it operated conceptualized the new office of the princeps, reconceived the traditional institutions of power, and transformed the role of altar monuments in the early Empire. / text

Teilw. zugl.: Münster (Westfalen), Univ., Diss., 2000

Thesis--Giessen, 1972. / Vita. Includes bibliographical references (p. [i]-v).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1979. / Includes bibliographical references.

Submitted by Francisco Costa (xcosta@ufba.br) on 2013-06-28T15:37:26Z No. of bitstreams: 1 Dissertação de Mestrado.pdf: 9671701 bytes, checksum: bb3bb8ad82818e49e5abf8007773c5c3 (MD5) / Approved for entry into archive by Eleonora Guimaraes(esilva@ufba.br) on 2013-07-03T20:44:33Z (GMT) No. of bitstreams: 1 Dissertação de Mestrado.pdf: 9671701 bytes, checksum: bb3bb8ad82818e49e5abf8007773c5c3 (MD5) / Made available in DSpace on 2013-07-03T20:44:33Z (GMT). No. of bitstreams: 1 Dissertação de Mestrado.pdf: 9671701 bytes, checksum: bb3bb8ad82818e49e5abf8007773c5c3 (MD5) / CAPES / Evidencia-se nesse trabalho o altar-mor, sua origem e evolução, no decurso dos séculos, identificando a ação da igreja católica, como agente de veiculação de ideologias e da fé cristã, onde, a atividade espiritual que especificava a arte, se caracterizava por uma exigência de perfeição e constituíase na síntese de três formas distintas: unidade, integridade e harmonia; propiciando, além do prazer estético, o envolvimento do fiel no ato litúrgico. Analisa-se os aspectos construtivos, estruturais e ornamentais dos altares-mores das igrejas de Salvador, construídos nos séculos XVII e XVIII, agrupando-os por semelhança, estabelecendo um paralelo entre as suas expressões formais, na sua totalidade e em seus aspectos particulares. Procurou-se, conseqüentemente, situar estas obras no contexto social da época, analisando as influências decorrentes da religiosidade, interpretando as ornamentações e simbologias, vislumbrando-se ressaltar a importância de suas expressividades e destacar a necessidade de preservação deste patrimônio cultural. / Salvador

[pt] À luz das considerações de Heidegger em seu texto Sobre a Madona Sistina, pretendo defender que a singularidade da Madona Sistina como um sui generis essenciar do Bild está relacionada a um transparecer apropriativo (Ereignis) que emerge nesta pintura. Vou argumentar que é possível rastrear este transparecer apropriativo através da investigação da especificação que Heidegger faz de seu uso do termo Bild como significando Antlitz (semblante) e de sua caracterização deste Bild como sendo um Altar-Bild. De acordo com o filósofo, o trazer à emergência traz à emergência (das Bild bildet) ambos: uma janela e um sítio (Ort). No primeiro capítulo, vou relacionar o sentido de Antlitz como um Entgegenblick (um olhar voltado a um encontro) enquanto chegada ao caráter de janela enquanto um olhar para fora (Ausblick) na direção daquilo que chega. O objetivo é sugerir que aquilo que singulariza este Bild é sua referência a um transparecer apropriativo do mútuo pertencimento de velar e desvelar. No segundo capítulo, vou relacionar o caráter de altar do Bild ao trazer à emergência de um sítio. Meu propósito é associar o pertencimento da Madona Sistina a um sítio a um mútuo pertencimento de sítios, a saber: um mútuo pertencimento do altar e da igreja. Supondo que ambos estão relacionados à memória do sagrado, eles poderiam ser relacionados ao pensamento enquanto a salvaguarda do sagrado. Segundo Heidegger, o pensamento é pensamento do Ser. Isso significa que ele pertence ao Ser e que ele ausculta o Ser. Ele é um transparecer apropriativo (Ereignis). / [en] In the light of Heidegger s remarks in his text On the Sistine Madonna, I intend to defend that the singularity of the Sistine Madonna as a sui generis Bild essencing (Bildwesen) is related to an enowning (Ereignis) that is brought forth in this painting. I will argue that it is possible to trace this enowning through the investigation of Heidegger s specification of his use of the term Bild as meaning Antlitz (countenance), and of his characterization of this Bild as being an Altar-Bild. According to the philosopher, the bringing into emergence brings into emergence (das Bild bildet) both: a window and a site (Ort). In the first chapter, I will relate the meaning of Antlitz as an Entgegenblick (encountering glance) as arrival to the window character as an outlook (Ausblick) of arrival. The aim is to suggest that what singularizes this Bild is its reference to a disclosure of appropriation (Ereignis) of the mutual belonging of concealment and unconcealment. In the second chapter, I will relate the altar character of the Bild to the bringing into emergence of a site. My purpose is to link the Sistine s belonging to a site to a mutual belonging of sites, that is: a belonging together of the altar and the church. Supposing that they are both related to the memory of the sacred, they could be related to thinking as the safeguard of the sacred. According to Heidegger, the thinking is the thinking of being. This means that it belongs to being and that it listens to being. It is an enowning (Ereignis).

Poster exhibited at GPSC Student Showcase, February 24th, 2016, University of Arizona. / There has been little research carried out which assesses the ability or inability of the Pima pineapple cactus (Coryphantha scheeri var. robustispina) to be transplanted successfully, and what a successful transplant entails. From what little research has been done, experiments have demonstrated low-levels of survival, and determinate variables remain largely unknown. As a result, the U.S. Fish and Wildlife Service (USFWS) does not consider transplanting as a viable conservation measure. This study monitors [a population] of individual Pima pineapple cactus (PPC) transplanted in 2014 and distributed along the natural gas pipeline put in place by Kinder Morgan Inc. southwest of Tucson, Arizona, as well as other data sets from past transplant experiments. This post-transplant monitoring, in addition to a thorough analysis of varying transplant methodology and abiotic variables associated with each site, will be used to develop a framework for analyzing transplant successes for the PPC. Variables assessed during this study will include the influence of supplemental watering, using soil vs. bare root methods, and the number of times an individual is transplanted. With the information gathered from the PPC along the pipeline right-of-way, along with information gathered from historical PPC transplant locations, I will present a predictive model for transplanting success of PPC using a chi-square test with the statistical software package, STATA. Success will show a clear correlation between plant vigor after transplanting and the methodology with which each cactus was moved.

Thesis (doctoral)--Universität Rostock, 1934. / Includes bibliographical references.

LEGIO ANGELICA - HISTORY AND INSPIRATION FOR EDUCATION OF ALTAR BOYS. Main focus of this master thesis is on altar boys education in Legio Angelica. This association was founded in 1929 by a Benedictine priest Method Klement (1889-1979). It existed until 1948 and gave a number of personalities to the Church in Czechoslovakia. First the thesis briefly describes liturgical and scout movement, which had a significant impact on the organization. Furthermore it presents: the history of Legio Angelica with regard to the life stories of its directors, the functioning of the association, the magazine Legio Angelica (which is the main source of the work) and other themes from the associations history. The principal part of the thesis are the third chapter which reflects the educational objectives in Legio Angelica and the fourth chapter that deals with the particular tools of this education. Eventually the author returns to the scouting which has turned into interesting enrichment of the association. Keywords Legio Angelica, Fr. Method Klement, altar boys, education, catholic scouting

Trata-se de um estudo aprofundado e diversificado sobre o espaço litúrgico cristão, lugar de encontro da comunidade de fé com seu senhor, Jesus Cristo, Logos encarnado, visível na Palavra e no Pão e no Vinho da refeição eucarística, e expressos nos focos físicos do ambão e da mesa/altar. O estudo do tema leva, em primeiro lugar, à investigação sobre as características que devem ter um espaço físico de teofania, vinculadas aos transcendentais de Beleza, Bondade, Verdade e Harmonia, que Platão entendia como da essência divina. Busca-se entender como esses transcendentais foram observados ao longo dos tempos também no pensamento de Plotino, Agostinho, Kant e Hegel. Em seguida, de forma multidisciplinar, são apresentadas as contribuições de uma teologia da estética e dos sacramentos, em diálogo com a Filosofia, a Ética, a História, a Arquitetura, a Filosofia da Arquitetura, a Liturgia e as Santas Escrituras, nas tradições cristãs do anglicanismo, do luteranismo e do catolicismo romano. Há desdobramentos sobre a reflexão e o trabalho de arquitetos em torno da expressão concreta da imanência e da transcendência divinas na arquitetura, tentando expressar o Inexpressável, e vinculando assim a Bela Arte da Arquitetura ao campo da fé cristã. A seguir, uma exaustiva pesquisa é realizada em torno ao ambão e ao altar, focos físicos da Presença divina, interpretando- os a partir de tipologias teológicas e de sua utilização nas três denominações acima mencionadas. Finalizando, tendo como base teórica a filosofia da arquitetura e a hermenêutica filosófica de Gadamer, analisa espaços litúrgicos concretos, projetados e construídos pela arquiteta Maria Inês Bolson Lunardini, especializada em arquitetura sacra na cidade e na área metropolitana de Porto Alegre (RS). Assim o estudo teórico realizado ao longo do corpo do trabalho dialoga com um contexto concreto. A tese mostra que ambão e a mesa/altar são, no contexto do espaço sagrado onde a comunidade de fé é convocada e se congrega, o lugar da Presença viva do Logos Encarnado. / This academic work is a profound and diversified study on the Christian liturgical space, place of gathering of the community of faith with his Lord, Jesus Christ, the incarnated Logos, visible in the Word and in the Bread and Wine of the eucharistical meal, as expressed in the physical foci of the ambo and the altar/table. The consideration of the subject leads, firstly, to the research of the characteristics that the physical space of a theophany must have, entailed to the transcendentals of Beauty, Truth, Goodness and Harmony, meant by Plato as qualities of the divine essence. Attempt is made in order to understand how transcendentals were seen along history and also in the thought of Plotinus, Augustine, Kant and Hegel. Inmediately, in an multidisciplinarian way are introduced the contributions of a theology of aesthetics and sacraments in dialogue with Philosophy, Ethics, History, Architecture, Liturgy and Holy Scripture, with glimpses on the Anglican, Lutheran and Roman Catholic traditions. There are, also, an unfolding on how architects reflect and work around the concrete expressions of the divine immanence and transcendence in Architecture, trying to express the Unexpressable, and relating, in this way, the Fine Art of Architecture to Christian Faith. Following on the way, an accurate research is made on the ambo and the altar, physical foci of the divine Presence, viewing them from the point of view of theological typologies and their use in the three denominations afore said. Finally, and bearing in mind as theoretical base the philosophy of architecture and the philosophical hermeneutics of Gadamer, is made a critic of concrete liturgical spaces, designed and built by the architect Maria Ines Bolson Lunardini, specialized in sacred architecture and working in the city of Porto Alegre (RS) and its metropolitan area. In this manner, the theoretical study developed along this work dialogues with a concrete context. Thesis points out that ambo and altar/table are, in the context of the sacred space where the community of faith is summoned and gathers, the place of the living Presence of the Incarnated Logos.