M.Tech. (Fine Art) / In this study, I explore the way in which materials and biomorphic forms are used in selected artworks to convey aspects of gendered and cultural identity constructs. This is done with specific reference to Nicholas Hlobo’s work and to the artwork I produce as part of the practical component of my research. I have chosen Hlobo’s installation Izithunzi (2009) because it is a pertinent example of the way in which he uses biomorphic form and typifies his use of materials, both of which have some similarities to my work. Although Hlobo’s use of materials is widely discussed in the available literature on his work, little has been written on his use of biomorphic form. To address this gap in the literature, I look specifically at how Hlobo uses biomorphic form in Izithunzi to represent what I argue to be the hybridity of his gendered and cultural identity. In the practical component, I present a series of sculptures made from second-hand furniture, polystyrene, concrete, plastic, stuffing, fabric, thread, steel pipe and fibreglass. As Hlobo does in Izithunzi, I consciously make reference to biomorphic forms.

This work provides an account of the Crimean residency of Nicholas II's mother, Dowager Empress Maria Fedorovna, Grand Duke Nicholas Nikolaevich, former Commander--in-Chief of the Russian Armies, and other members of the Romanov dynasty, from the abdication of the tsar (March 1917) until their departure aboard the H.M.S. Marlborough (April 1919). The first two chapters provide a background of conditions within the Imperial Family during the reign of Nicholas II. The remainder of the work traces their lives from arrival in the Crimea until the Dowager Empress accedes to the request of her sister, Dowager Queen Alexandra, to emigrate to England. The study concludes that the Romanovs played no active role in the Russian Civil War, although they were considered dangerous counterrevolutionaries by the Bolsheviks.

No description available.

Vollst. zugl.: Frankfurt (Main), Philos.-Theol. Hochsch. St. Georgen, Diss., 2006.

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 89-92).

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 89-92).

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 89-92).

Made available in DSpace on 2014-12-17T15:12:09Z (GMT). No. of bitstreams: 1 JoseTN_TESE.pdf: 2213604 bytes, checksum: cf37c1420d6ee578c21d46c5a3bb9a38 (MD5) Previous issue date: 2012-04-23 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / We indicate the idea of nexus or conexio, thought of as intelligible connection with the intelligent, the foundation on which the reason why you can understand and name, even if inadequately, what the intellect sees incomprehensible and unnameably. Thus, it opens a way for our research: we will take the idea of nexus as fundamental to the interpretation of the divine names and the "metaphysics of the unnameably" and we show how the divine names, mainly in possest, mirrored in the Trinity, relatedness of the principle and therefore also the nexus. For that you need to think some preliminary questions: we will place Nicholas of Cusa in the tradition of medieval Christian Neoplatonism, we resume some discussions on the problem of naming and the philosophy of language in his thinking, we will reflect such thinking is molded from active dialogue with the tradition and how it is your speculation is founded upon the dynamic and dialectical relationship between philosophy and theology to be thought of in our text using the relationship between faith and understandig (intellectus). After introductory clarify these issues we will come to consider introductory understanding of the Trinitarian Beginning and speculation about the nexus taking as its starting point from where the De venatione sapientiae nexus or conexio is designed as a hunting field of wisdom and the First Book of De docta ignorantia where the maximum is now thought of as one and triune. From the Second Book of the same work and the Idiota. De mente we will show in what sense the universe and men, as imago dei, imitate the eternal Trinity. Finally, we will resume the notion of the scientia aenigmatica of De beryllo and some information that will clarify that Nicholas assumes the divine names as enigmas. Finally, we will try to show that the enigmatic or symbolic names also mirror the triune Beginning principle. So, before we return some traces of this aspect in some divine names and texts of the "late period" and then conclude with that which in itself already indicates the nexus and therefore the trinity: possest / Indicamos com a ideia de nexus ou conexio, pensada como conex?o do intelig?vel com o inteligente na especula??o de Nicolau de Cusa, o fundamento no qual a raz?o pode compreender e nomear, mesmo que inadequadamente, o que o intelecto v? incompreens?vel e inomin?vel. Assim, abre-se um caminho para a nossa investiga??o: tomaremos a ideia de nexus como fundamental para a interpreta??o dos nomes divinos e para a metaf?sica do inomin?vel e mostraremos como nos nomes divinos, principalmente no possest, espelha-se a Trindade, a relacionalidade do princ?pio e, portanto, tamb?m o nexus. Para tanto, ser? necess?rio pensarmos algumas quest?es pr?vias: situaremos Nicolau de Cusa na tradi??o medieval do neoplatonismo crist?o; retomaremos algumas discuss?es sobre o problema da nomea??o e da filosofia da linguagem no seu pensamento; refletiremos como esse pensamento se molda a partir do di?logo ativo com a tradi??o e como a sua especula??o se constitui a partir da rela??o dial?tica e din?mica entre filosofia e teologia, que ser? pensada em nosso texto por meio da rela??o entre f? e conhecimento intelectual (intellectus). Ap?s esclarecermos essas quest?es introdut?rias, passaremos a considerar a compreens?o trinit?ria do princ?pio fundante e a especula??o sobre o nexus, tomando como ponto de partida o De venatione sapientiae, em que o nexus ou conexio ? pensado como um campo de ca?a da sabedoria e o Primeiro Livro do De docta ignorantia, no qual o M?ximo ? j? pensado como uno e trino. A partir do Segundo Livro dessa mesma obra e do Idiota. De mente mostraremos em que sentido o universo e a mens, enquanto imago dei, imitam a Trindade eterna. Por ?ltimo, retomaremos a no??o de scientia aenigmatica do De beryllo e algumas indica??es para esclarecer que Nicolau de Cusa assume os nomes divinos como enigmas. Finalmente, tentaremos mostrar que os nomes enigm?ticos tamb?m espelhar?o o princ?pio unitrino. Assim, retomaremos previamente alguns tra?os desse aspecto em alguns nomes divinos e em textos do per?odo tardio para depois concluirmos com aquele que em si mesmo j? indica o nexus e, portanto, a Trindade: possest

Keywords The Znojmo altarpiece, Znojmo, Church of St. Michael, Dutch realism, Jakob Kaschauer Abstract This diploma thesis deals with the Znojmo Altarpiece, dated from 1430-1440 and now being exhibited in the Austrian Gallery Belvedere. Thesis is intentionally devided into two topics. The first one is the critical evaluation of the present literature, the second topic interprets the Znojmo Altarpiece itself. This evaluation is based on a specific fine art and visual value of the altarpiece connected to its sociocultural environment for which it was made for: the Church of St. Nicolas in Znojmo city. The complexity of the theologial program of the piece is also analysed, as well as its connection to a supposed donor, Duke Albrecht II. of Germany of the House of Habsurg. Thesis deals with the motives of duke's order including the choice of the carving workshop originated in the artistic environment of Bavaria, which was completed by the domestic Viennese painting workshop. In terms of its artistic style, both the painting and carving style of the alterpiece are putting into context of the Bavarian and Viennese contemporary production. The relationship between the origins of the Znojmo Altarpiece and the painting work of the Master of the Fridrich Altarpiece and the sculptural work of Jakob Kaschauer are also...

This thesis deals with the anthropological thinking of Nicholas of Cusa. The first part presents the fundamental metaphysical motifs that are the basis for this anthropology - above all, it concerns the conception of human as a mind (intellect). This conception is linked with the thinking of the first Principle (God) as the unity that is identical with itself. This unity/oneness of the One descends into the world through number that is one and multiple at the same time (all higher numbers consist of ones). The emphasis on unity of the One and on number as a mean of the creation is the reason, why Cusa's main concern, regarding the understanding of the world, aren't individual substances, but the relations between these substances. And for this kind of metaphysical thinking it is really important to develop also a strong notion of human intellect (mind), but the first philosophical texts to some extent fail to do so. The second part of this thesis deals with the proper anthropology that is developed in the dialogues with the idiota. It is shown what is the role of human mind in the dynamics of descent and ascent of unity of the One - it is the human mind and its intellectual return to its Beginning through which is all creation being made one and being brought to its true nature that is the One. The last...