This thesis contains an edition of the Coucher Book of Bolton Priory, an Augustinian house in Yorkshire, together with edited sections of Dodsworth MS 144, like the Coucher Book, a copy of the lost cartulary, and a number of original charters. These documents have been edited in full, with each being preceded by a caption in English together with a date and references to other copies. The edition of the Coucher Book contains notes as to where those sections believed to have been omitted from the cartulary are located in Dodsworth NIS 144. The chapters which precede the edition are intended to give some context to the edition, as well as a brief examination of its contents. The first chapter contains a short history of the Augustinian Order, its development in England, and how Bolton Priory fits into this scheme. Chapter two is concerned with the patrons and benefactors of the priory. It is divided into two sections: the first examines the founders and patrons of the priory and their descendants, whilst the second explores the non-patronal benefactors of the house, with a brief analysis of several of the families who were connected from an early date with the priory, as well as the extent of their support and their motives. The third chapter investigates the estates of the priory and their development. Temporal property is examined first, focussing upon the various types of property acquired, together with its location, and methods of acquisition, and then spiritualities: those churches in which the canons acquired an interest, and to what extent as well as how this was acquired. Finally chapter four examines the lost cartulary and the Coucher Book, exploring their administrative histories, as well as a brief analysis of the charters of the founders and others.

Thesis (Ph.D.) - University of Glasgow, 2002. / Includes bibliographical references. Print version also available.

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Akademisk avhandling - Lund. / Summary in German. Extra t. p., with thesis statement, inserted. Bibliography: p. [266]-277.

This thesis explores principles inherent in Eastern Orthodox monasticism as they contribute to informing a philosophy of religious education. Beginning with an examination into the origins of Christian monasticism, we proceed to investigate the divergence between monastic practice in the Latin West and Greek East. This discussion is followed by an inquiry into the prayer of the heart, and the pedagogical principles discernable in Athonite hesychastic practitioners. Theirs is a lived pedagogy directed toward theosis, a participation in the divine energies of God. If theosis is the telos of their education, it is an end occasioned through asceticism (i.e. praxis). The pedagogy of Eastern monastics is infused with an inward-oriented gaze, concerning itself not with external objects, but rather inward relation. This interior cultivation is put into dialogue with John Henry Newman’s educational theory, as this serves as a useful lens through which to read the Eastern monastic tradition.

This thesis explores principles inherent in Eastern Orthodox monasticism as they contribute to informing a philosophy of religious education. Beginning with an examination into the origins of Christian monasticism, we proceed to investigate the divergence between monastic practice in the Latin West and Greek East. This discussion is followed by an inquiry into the prayer of the heart, and the pedagogical principles discernable in Athonite hesychastic practitioners. Theirs is a lived pedagogy directed toward theosis, a participation in the divine energies of God. If theosis is the telos of their education, it is an end occasioned through asceticism (i.e. praxis). The pedagogy of Eastern monastics is infused with an inward-oriented gaze, concerning itself not with external objects, but rather inward relation. This interior cultivation is put into dialogue with John Henry Newman’s educational theory, as this serves as a useful lens through which to read the Eastern monastic tradition.

Issued also as the author's thesis, Munich. / "Literaturverzeichnis": p. [77]-81.

The medieval wall paintings of the church of S. Maria in Pallara, situated on the Palatine Hill, Rome, provide insight into the intellectual use of images in the Middle Ages. The fragmentary apse programme survives, supplemented by antiquarian drawings that include copies of lost nave cycles and a lost donor portrait of their patron, Petrus Medicus. The patron, along with his monastic foundation, is documented in tenth-century charters, on which documents the paintings’ dating currently depends. Questions about this dating have surfaced in the art-historical literature, as have concerns about gender and historical veracity, matters of historiography which are introduced in Chapter 1. Thus, the goals of this study were to verify the paintings’ dating, to examine their use of text and image and to illuminate the context in which they were created. Chapter 2 describes and analyses the S. Maria in Pallara paintings within Roman artistic traditions of the Romanesque period. Since no contemporary parallel can be found for the iconography of the Apostles on the shoulders of Prophets decorating the church’s apse arch, a composition more common to Gothic art, Chapter 3 examines the iconography’s diffusion and sources. Textual evidence suggests that a church dedicated to Saint Sebastian preceded the tenth-century foundation of S. Maria in Pallara, which was then rededicated to the Virgin Mary, Saints Sebastian and Zoticus. Thus, Chapter 4 examines the visual profile of the cult of Saint Sebastian and its dependence on the Acta Sebastiani to provide a context for the church’s depictions of that saint, including portraits and a lost narrative cycle. Messages about chastity encoded in these images are also examined. Chapter 5 examines the lost narrative cycle depicting the life of the little-known Saint Zoticus, to whom the church was also dedicated and who was envisioned in the guise of another saint, Getulius, who was martyred with his wife, Saint Symphorosa, and their seven sons. Messages about chastity were also communicated through that cycle’s manipulation of S. Maria in Pallara’s topographic history. Thus, far from being simple reflections of text, the S. Maria in Pallara paintings engage Roman history, reforming that history to project a moral image of the future. / Thesis (Ph.D, Art History) -- Queen's University, 2007-11-12 13:38:42.99

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