Texte remanié de: Diss.--Ludwig-Maximilian-Universität--München, 1991. / Bibliogr. p. 259-266. Contient un résumé en anglais.

Th.--Paris, 1908.

Th. 3e cycle--Ecole du Louvre--Paris--Ecole du Louvre, 1991. / Bibliogr. p. 99-129 (vol. 6). Index.

Mém. de maîtrise--Histoire de l'art--Paris 4, 1996. / Bibliogr. p. 183-188.

Texte remanié de: Th.--Philos.--Paris, 1996. / Bibliogr. p. 323-343. Index.

Diss.--Philosophische Fakultät--Münster--Universität, 1991.

Magíster en artes, con mención en teoría e historia del arte / Tesis no autorizada por su autora para ser publicada a texto completo en repositorio institucional. / Este documento revisa el texto Estética Relacional de Nicolas Bourriaud, considerado como una curaduría: una selección y exposición de obras, examinando, por una parte, las afirmaciones que propone esa selección para referirse al arte contemporáneo; y, por otra parte, la posibilidad de la acción curatorial para ser definida como obra. Este ejercicio es realizado por medio de la relación de los textos de Bourriaud: Estética Relacional, Formas de vida. El arte moderno y la invención de sí, y Postproducción; así como por medio del diálogo de esos textos con distintos autores que sirven como referencia y contrapunto para realizar este ejercicio. Desde esta relación de textos, se propone a la acción del dandy en convergencia con la acción

Galileo's confirmation of Copernican cosmology was one of the major cultural problems of seventeenth-century Europe. Which was right? The reasoned experiments of science, or the faith of the Roman Catholic Church, which condemned such cosmology as contrary to Holy Writ? Nicolas Poussin, the classical French painter in Rome, offered his personal solution to this dilemma in his final paintings, mainly landscapes, usually mythological, but always allegorical. From antique, sixteenth-century and Campanellan thought, particularly Stoicism, he depicted the order and harmony of Creation by means of allegory. He concluded with Campanella that contemplation of the Copernican universe offered a means of spiritual growth. To Poussin, the Stoic Divine Reason behind Nature became the sign of eternal salvation offered by God to those who accepted union with Him. In particular, he felt that this union depended upon Man’s use of the Christian sacraments to obtain the grace needed to act in co-operation with God. This fusion of religious feeling with philosophical conviction caused an exquisite integration of form with complex allegorical content, in an intense unity characteristic of the age of the Baroque. The masterly classical freedom and precision of Poussin’s final manner adapted all pictorial elements in order to arouse delectation, or spiritual delight, in the person who perceived his pictures. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (Ph.D.)--Boston University / The purpose of this study is (1) to explore the theological significance of Berdyaev's idea of human creativity and to determine its relation to a Christian doctrine of salvation, and (2) to identify the major theological presuppositions which undergird this idea, compare them with the thought of Paul Tillich and L. Harold DeWolf, and evaluate them. The study engages the thought of Berdyaev at its most inclusive and determinative point--his dualism of spirit and nature. It then narrows to an investigation of the content and meaning which is given to the idea of "spirit." On the basis of theological meanings which appear, the preliminary conclusion is drawn that the main theological concern of Berdyaev's teaching on human creativity involves the problem of a particular understanding of man's relationship to God Following a study of Berdyaev's doctrines of God and man, and an identification of the marks of the creative experience of God and its cosmic consequences, the conclusion is dram that Berdyaev, in his teaching on human creativity, seeks to give an interpretation of the meaning of Christian salvation. [TRUNCATED]

Dissertation--Hümanistische Fakultät--Göteborgs universitet, 2002. / Bibliogr. p. 192-201.