The Revenger's Tragedy, a Jacobean revenge tragedy by Cyril Tourneur, was produced and directed by Jana Veverka, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Dorothy Somerset Studio Theatre, from October 15th to 18th, 1969. The following is a detailed record of that production, along with the director's analysis and interpretation of the script. The Revenger's Tragedy was performed by a predominantly student cast, in costumes and setting by Michelle Bjornson, with music arranged and played by Jim Colby. This record is divided into three main sections. The first is an essay in three parts, consisting respectively of a discussion of the historical background of the play including a brief biographical note on the author, a detailed analysis of the play with reference to the significant critical interpretations available and with reference to its position in the genre of Revenge Tragedy, and concludes with the directorial concept adopted for this production. The essay is followed by a short bibliography which is not intended as a complete list of the works on or by Tourneur, but gives an indication of those which were taken into consideration during the preparation of this production. The second section is made up of the prompt script of the production, showing cuts, blocking, significant divisions of the play into units, and indication and light and music cues. The script is followed by a unit by unit analysis of each scene, briefly discussing the directorial approach taken in terms of purpose, action, motivation, dominant emotions, character dominance and particular difficulties involved. The third section is made up of various tables, records and illustrations relating directly to the. production. Included are lists of light cues, set changes, property and costume lists. Also included are transcripts of the music arranged for this production, samples of the programme and copies of the press reviews. The illustrations include colour photographs of the production, renderings of the sets, costumes and finally blue-prints of the floor plan and working drawings. / Arts, Faculty of / Theatre and Film, Department of / Graduate

<p>In this thesis, I examine the pneumatology of Cyril of Alexandria ( d. 444). Cyril was one of the foremost exegetes and theologians of the patristic period, and so was a figure of considerable importance in the history of the development of Christian theology. Of central concern for Cyril throughout his writings was the doctrine of the Holy Spirit, a fact that is unsurprising given that the archbishop came to prominence shortly after pneumatological controversies in the late fourth century were addressed through the calling of the council of Constantinople in 381.</p> <p> I demonstrate in this study that Cyril's understanding of the Holy Spirit revolves primarily around his identity as the Spirit of the Son and the soteriological ramifications of the unity of the Spirit with the Son. Although Cyril is insistent that the Spirit is the Spirit of both the Father and the Son, it is his relationship with the latter that receives particular attention. This accentuation on the unity that exists between the Spirit and the Son influences Cyril's interpretation of potentially problematic passages of scripture, particularly those that refer to the work of the Holy Spirit in relation to Jesus Christ. His emphasis on the unity of the Spirit and the Son also profoundly shapes his perception of the Spirit's person and his role in the salvation of humanity. He portrays the Spirit largely with respect to his likeness to the Son, and ties the Spirit's soteriological operations directly to this likeness. Cyril does not engage in the kind of trinitarian speculation regarding eternal relations as is found in Augustine's De Trinitate. He focuses rather on the interaction of God with the created order and what this interaction tells us about God as triune. Cyril's emphasis on the Spirit as the Spirit of the Son is borne out of his perception that the mystery of God has been revealed to us concretely in the person of Christ, and therefore that our understanding of the Holy Spirit is inextricable from the revelation of the incarnate Word and the soteriological possibilities Christ extended to all humanity. I argue that Cyril constructs a pneumatology wherein the far-reaching soteriological role of the Holy Spirit in relation to Jesus Christ is delineated, and in the process provides a conception of the Holy Spirit that is nuanced and vigorous.</p> <p> My examination of Cyril's pneumatology involves analysis of his understanding of the identity and divinity of the Holy Spirit vis-a-vis the Father and the Son, the role of the Spirit in the incarnation and life of the Son, and the particular soteriological work of the Spirit in the individual believer as well as in the formation, structure, and unity of the church. Primary attention is given to three works: De Trinitate Dialogi (Dialogues on the Trinity), written 423-25; In Joannem (Commentary on the Gospel of John), written 425- 28; and In Lucam (Commentary on the Gospel of Luke), written c. 430. In addition to these writings, I draw on various other commentaries written by the archbishop, as well as on his anti-Nestorian compositions.</p> / Thesis / Doctor of Philosophy (PhD)

Thesis (M.A.)--Trinity Evangelical Divinity School, 1997. / Abstract. Includes bibliographical references (leaves 114-138).

Th.--Lett.--Montpellier 3, 1986.

This master's thesis is dedicated to the theological disputation upon the using of the title Theotokos for Virgin Mary that had been finally resolved at the Third Ecumenical Council in Ephesus in 431 AD. The first part deals with the crucial moments of deepening theological knowledge in the Church history in order to show a development of the disputation mainly in the 3rd and 4th century. Although Christology wasn't the main theme of the teachings of the Church in that early period some of the theologians especially Irenaeus, Origen, Paul of Samosata and Apollinaris of Laodicea also raised some issues in the field of Christology. The end of the first part offers an inside into the theological mindset of both sides of the disputation - Diodorus of Tarsus and Theodor of Mopsuestia on the one side and the Orthodox fathers Athanasius, the Cappadocian Fathers, Didymus the Blind and John Chrysostome on the other side. The second part presents the written sources of the disputation and offers an insight to its beginning and development. The third and main part focuses on the correspondence between Cyril of Alexandria and Nestorius mainly on their Second Epistles containing the major topics of the disputation. It discusses a content of these two epistles and also analyses and compares theological arguments of both...

The master thesis is concerning about opening to decimal numbers at primary school and the interactive textbook called Cyril I created in the Imagine Logo programme. It contains theory about computer-aided teaching, decimal numbers, manual for the programme and the results of experiment which proved the textbook in practice. Important component of master thesis is the programme itself, which works both as a textbook and a workbook, and which is directed at completion opening to decimal numbers and his exercises at the same time.

The following work will examine the historical genesis of the unit that will serve the Orthodox Church in the Czech lands. It will also defend the religious doctrine of that community and its relations with the state and other Christian denominations, especially with those that have historically had to reflect, and with those that have traditionally dominated the Czech territory and share in the co-importance of the national ethos. In our diploma thesis we try to respond to the questions of the origin of Orthodoxy, its development in history, its arrival in our territory, and its fate here. The subject of our research will be examined mainly from the historical point of view, but with some interdisciplinary intersections, especially in the field of literary history, linguistics, religion and comparative cultural studies in religion and collective psychology in determining and influencing the Czech nation's own national identity. Of course, all this with a critical distance, but also with a feeling for the spirit of the relevant epoch.

Judean hagiographies are unusual. Some are unexpectedly structured: a saint’s life in the form of a history text. Others offer surprising content. Expected hagiographic stylizations, for example, often depict moments in which the saint is offered money for a miracle. In such cases the saint invariably refuses. Judean saints, however, accept gratitude willingly – often with cash amounts recorded. The peculiarities of these works have regularly been examined on literary and theological grounds. In this dissertation I propose a different approach: socio-economic context. The monasteries that produced these texts were utterly dominated by the environment of Christian Jerusalem. Although often commented upon, the unmined implications of this reality hold the key to understanding these hagiographies. It is only by examining these monasteries’ ties to – and embeddedness within – their peculiar context that we can perceive the mindset that produced such baffling texts. Lengthy historical, literary, and archaeological analysis force Judean hagiography to give up its secrets. These works were in fact not odd at all. Rather, they were hyper-specialized, a unique adaptation to a unique environment. True, we do not see their like in other eastern regions over the span of late antiquity. Yet this is to be expected. Nowhere else can we find the particular conditions that brought these works into being. Nor can we understand the Judean works absent their milieu. It is only upon the foundation of layers of context that these hagiographies stand high enough to view. They were, most accurately, Holy Land hagiographies: a label as unique as the land that produced them.

M.A. (African Languages) / The study looks at the socio-economic milieu, the socio-political milieu, the socio-economic themes and the socio-political themes in the three novels written by Sibusiso L. Nyembezi namely; Ubudoda Abukhulelwa, Mntanami-Mntanami and Inkinsela YaseMgungundlovu. The socio-political milieu and socio-economic milieu are viewed from the perspective of the Marxist Literary Theories. These theories are chosen to form the theoretical framework of this study because they best view man in relation to his sociopolitical circumstances and also in relation to the country's system of economic production. We observed that Nyembezi places his characters in real socioeconomic and socio-political circumstances. These in turn determine the thoughts, words, actions and fate of characters...

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.