The fantastic Simurgh, the mythical bird of ancient Persia, has maintained a significant presence in Persian culture. The visual and textual references to this bird manifest a mysterious and complex symbolism shaped around this super-natural creature in Persian literary sources. The Simurgh evolves from a myth, to the symbol of royalty, to the guardian of Persian kingdom, and finally to represent the Divine. This promotion and transformation is facilitated through the idea of divine protection and kingship inherited from ancient Persia, transforming the representations of the Simurgh into powerful images. The intertextual analysis of the Avestan and Pahlavi references to the Simurgh, and their comparison with the characteristics of the Simurgh in the Shāhnāma, allows this study to trace the amalgamation of these sources in the Persian national epics. Through a process of literary creativity, Firdausi combines the characteristics of the two mythical birds, Saēna and Vāreghna, to shape the Simurgh in the Shāhnāma. The transformation of ancient Persian myths into Islamic Persia continues in the works of Islamic philosophers such as Suhrawardi who, once again, synthetized the mythical bird of pre-Islamic Persia with its recent embodiment in the Shāhnāma. In this phase of transformation and in the work of Suhrawardi’s contemporary, ʿAttar, the Simurgh was raised to the symbol of the Divine. It is in the light of these literary sources from the genres of epic literature and religious writings that the representations of the Simurgh are contextualized in this study, and the formation of three iconographic prototypes for the bird are proposed. In addition, the presence of the royal, divine, and Iranian glory (farr-i īzadī, farr-i Īrānī), sought for by both rulers and individuals in the Persian system of though, charges the representations of the Simurgh in the illustrated manuscripts of the Shāhnāma produced between the fourteenth and the seventeenth-century, in the realm of Persian painting in particular, as well as in Iranian visual vocabulary, in general. / Graduate / 2020-12-08

This thesis begins a dialogue between Hans Urs von Balthasar’s theological aesthetics and Chinese academic aesthetics. We identify a tension between aesthetics and religion in Chinese academic aesthetics, and argue that a dialogue with von Balthasar’s work has the potential to contribute to the development of Chinese academic aesthetics with regard to overcoming that tension. In order to set a ground for the dialogue, von Balthasar’s theological aesthetics is examined in Part I. His theological aesthetics reveals that genuine beauty can never be fully accounted for by a perspective based in modern aesthetics, an aesthetics that limits itself to worldly categories. Rather, genuine beauty comes only from the beauty of the Christ form, in which religion and aesthetics converge. In Part II, we examine the tension between religion and aesthetics in Chinese academic aesthetics. The origin and influence of Chinese academic aesthetics stems from Cai Yuan-pei’s proclamation calling for the “substitution of aesthetics for religion”. For Cai, with a perspective based in modern aesthetics, aesthetics and religion occupied opposed and incompatible positions. Social and historical factors, for example government backed Marxist ideology, also contribute to hostility towards Christianity. We argue that due to the lack of the transcendental dimension, a result of rejecting the divine and so divine beauty, the further development of Chinese academic aesthetics may be stunted. Finally, in Part III, we outline the beginning of a dialogue between von Balthasar’s theological aesthetics and Chinese academic aesthetics. We argue that by dialoguing with von Balthasar’s theological aesthetics, Chinese academic aesthetics may potentially obtain a transcendental dimension in coming to recognise genuine beauty, divine beauty. In coming to recognise genuine beauty, we argue that true progress in Chinese academic aesthetics may be made.

Thesis advisor: David S. Vanderhooft / I contend that Ezekiel's portrait of the Glory represents an understanding of Yahweh's earthly presence that is markedly different from how the earthly divine presence is understood in Deuteronomistic Name theology. As formulated in Deuteronomy and maintained in the Deuteronomistic History, "Name theology" understands the divine earthly presence to be restricted to the "one place that Yahweh will choose," which is designated as the Jerusalem Temple. Contrary to traditional scholarly understanding, this does not divorce Yahweh from his Temple and place him in Heaven alone, and does not relegate the Temple to symbolic status only. Rather, Name theology not only affirms the divine presence in the Temple, but views it as the only legitimate location for that presence. From his position of exile, Ezekiel depicts the Glory with no exclusive connection to the Temple or the land; the Glory vacates the Temple to allow for its destruction and appears outside sanctified precincts in Babylonia, where God disputes the Jerusalemites' contention that the exiles are now far from him (Ezek 11:15-16). I maintain that Ezekiel's portrait of the Glory finds its inspiration in the Priestly account of the Exodus wanderings before the Tabernacle's existence; in Priestly tradition, this was the only time the Glory appeared outside sanctified precincts. These appearances occurred outside Israel, amidst dislocation, with no physical sanctuary - a situation homologous to Ezekiel's own. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Trata-se, neste trabalho, de perscrutar pela noção de glória em O Príncipe de Nicolau Maquiavel. Para tanto, propõe-se articular a basilar noção maquiaveliana de virtù a ação humana para o enfrentamento da fortuna e constituição da política com a noção de glória a avaliação da ação política. A hipótese de investigação da presente dissertação é de que a relação entre a virtù e a glória revela um momento privilegiado de justificação de um desejo de liberdade como paradigma da exposição de O Príncipe. / In this work, I intend to analyze the concept of glory present in The Prince, by Niccolò Machiavelli. In order to do so, I propose to articulate his fundamental notion of virtù the human action to confront fortune and constitute politics with the notion of glory the evaluation of political action. My hypothesis is that the relationship between virtù and glory reveals a see-through moment for the understanding of a desire for liberty as the paradigm within The Prince.

Thesis advisor: Christopher Constas / Philosophers throughout the ages have grappled with the concept of glory-seeking and have offered many different references, analyses, insights, and explanations. Three great thinkers in particular stand out above the rest: Plato, Thomas Hobbes, and Jean-Paul Sartre. While these three minds span from circa 420 BC all the way up to 1980 AD, they all would agree that glory-seeking certainly matters – they would most likely argue over the following: In what way? For Plato, glory-seeking is an inherent part of the human soul. It matters because it is an essential part of our being. Plato’s model for the soul found in The Republic as well as a comparable illustration in the Phaedrus expresses this claim most thoroughly. Additional support for the idea of glory-seeking being an existing precondition of humanity can be found in other ancient works as well, most notably Homer’s Iliad. A current example is professional athletes in the NFL risking their earning potential in order to play injured. For Hobbes, glory-seeking is a tool to be used for social advantage. It matters because it can be used it for advantage and power. Chapters X and XIII in The Leviathan most critically highlight this sentiment. Further support for the idea of glory-seeking being a weapon in the self-made man’s arsenal can be found in Jean-Jacques Rousseau’s Discourse on the Origin of Inequality. The largest modern-day example is celebrity culture: the news and entertainment factory so woven into current American culture, which is particularly embodied by the public behavior and lyrics of hip-hop artist Kanye West. For Sartre, glory-seeking provides an answer to existential angst. It matters because it helps us believe that we matter. The Sartre’s philosophical work, Being and Nothingness, as well as his existential novel, Nausea, provide ample evidence of this notion. More support for the idea of glory-seeking as a method of coping with the awareness one’s own existence can be found in Søren Kierkegaard’s The Present Age. Contemporary manifestations include the incessant self-promotion and self-presentation found on social media sites such as Twitter, Facebook, Instagram, and YouTube. The goal of this work is to first investigate glory-seeking for Plato, Hobbes, and Sartre and analyze what each thinker has to say on the matter. After that, modern examples and additional input from other relevant philosophers will be assessed within the overall context of glory-seeking for Plato, Hobbes, and Sartre. Finally, after everything has been considered, I will attempt to synthesize all that has been presented thus far while answering the question: Why does glory-seeking matter? / Thesis (BA) — Boston College, 2014. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: Philosophy Honors Program. / Discipline: Philosophy.

Thesis (Th. M.)--Dallas Theological Seminary, 2001. / "Doxa" and "parrhēsia" appear in Greek letters on t.p. Includes bibliographical references (leaves 77-84).

Tesis-Madrid. / Bibliography: p. [9]-16.

Thesis (Ph. D.)--Bob Jones University, 2003. / Includes bibliographical references (leaves 277-289).

Thesis (Ph. D.)--University of Sydney, 1998. / Title from title screen (viewed Apr. 15, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Studies in Religion, Faculty of Arts. Degree awarded 1998; thesis submitted 1997. Includes bibliography. Also available in print form.

Thesis (M.A.)--Trinity Evangelical Divinity School, 2006. / Abstract. Includes bibliographical references (leaves 142-144).