The Spiritual Exercises of Ignatius of Loyola, the founder of the Jesuit order, presuppose Roman Catholicism, but are today made by many who are not Catholics. Moreover, even Roman Catholics who make Ignatian Exercises often are not spontaneously inclined to obey Roman ecclesiastical authority. Neither avoiding the ecclesial dimension nor an authoritarian ‘follow the rules!’ provides spiritual directors with adequate orientation when working with issues at Church frontiers. This dissertation in pastoral theology seeks to navigate a middle position by moving beyond the individualism and the a-historical assumptions of the existing relevant literature. The dissertation remains close to the Ignatian primary sources, in the awareness that the Ignatian tradition needs to be constantly updated and that the contemporary ecclesial frontiers are not fully foreseen in the canonical texts. The main hypothesis is that a notion is needed of a ‘pilgrim Church’ in space and time, with Christians who are related to one another in a deep and fundamental sense. The minor hypothesis is that the individual needs to be open towards and prepared to learn from the Roman Catholic Church, in order to understand and to be profoundly moved by these exercises, but not necessarily to become a Roman Catholic. Having presented and discussed various approaches in the writings of twentieth-century and recent thinkers, this thesis puts forward its own ecclesiological position informed by Charles Taylor, Hans-Georg Gadamer and Karl Rahner. The aim is to take Ignatian studies forward by combining relational anthropology, hermeneutics and a sacramental understanding of the Church, and to apply this synthesis to the practice of giving Ignatian Exercises. The final chapter discusses a selection of cases in the light of my ecclesiological position. The synthesis and application claim originality.

This thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …