Thesis (Ph. D.)--University of Chicago, Dept. of Art History, August 2002. / Includes bibliographical references. Also available on the Internet.

Habil.-Schr.--Köln--Universität Köln, 1999. / Bibliogr. p. 319-350. Notes bibliogr. Index.

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D.Litt. et Phil. / The aim of the present thesis has been to examine the course of Christianity and civilization in the medieval kingdoms of Nubia, in relation to the developments in the Byzantine Empire during the same period; that is, to look into the direct and indirect influences exerted by Byzantium on Nubia, at both political and cultural level. The study departs from the observation that there is a significantly close parallelism between the Nubian and the Byzantine history. More specifically, following the 7th century Arabic expansion, the Christian statal entities of Nubia and the Byzantium seem to run a parallel course, with rather similar fluctuations. Thus, there is a time when, initially, both Byzantium and Nubia – to a varying degree and in different ways – rally their forces against the Arabic threat. This is followed by a period of prosperity and growth, leading up to the 11th century and, finally, from the 12th century onwards, starts a gradual decadence that reaches its breaking point with the overthrow of both the Byzantine Empire and the remaining Christian statal formations of Nubia by the Ottomans. By way of conclusion then, we will summarise the most important observations and assumptions the present research has led to. Firstly, throughout the course of this study, the main goal has been to examine in juxtaposition and to correlate the developments in Nubia and Byzantium, through their relations with the Islamic world and its activity in the Mediterranean, and to ascertain whether there are substantial and considerable interrelations. At what time, to what extent and in what way did the Byzantine-Islamic relations affect the course of the Medieval Christian Kingdoms of Nubia? While various hypotheses have been formulated regarding the interrelation between Byzantium and Nubia, the issue has not as yet been subjected to a thorough and long-term study. The present dissertation intends to fill in this gap in research, thus contributing to a better understanding of the Nubian history.

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The relationships between movement, emotion, and ritual communion in Byzantium have drawn the attention of art historians in recent years. While Henry Maguire has considered many facets of this subject, a monumental Late Byzantine icon, the Two-Sided Icon with the Virgin Pausolype, Feast Scenes, the Crucifixion and Prophets, suggests others. While the catalog entry by Annemarie Weyl Carr in Byzantium: Faith and Power remains the only published discussion of this particular icon, or even specifically of the Pausolype ("cease sorrow!") iconographic type, I believe that this image contributes significantly to our understanding of Late Byzantine culture and liturgical practice. Careful study of this particular icon encourages a consideration of the problematic subject of emotion, and its interactions with movement, ritual and art. The paucity of evidence makes it difficult to address specific devotional practices associated with this particular object, although some observations can be made. I am able, however, to align it with its iconographic antecedents and establish contemporary relationships, illuminating aspects of its original function. / Art History

This dissertation investigates a middle Byzantine (10th-11th c.) typology, the rock-cut Courtyard Complexes, spread throughout Cappadocia in central Turkey, with a special focus on the A&ccedil / iksaray Group. Usually organized around three sided courtyards, these complexes stand either within an ensemble or in isolation. Nevertheless, the concentration of complexes is remarkable on strategic points near fortresses or military roads. Courtyard Complexes have large receptional suites as well as utilitarian spaces such as kitchens, stables and apparently multi-functional rooms all carved around a courtyard. The majority of the complexes have their own churches also carved in the rock mass. High decorated fa&ccedil / ades adorn the Courtyard Complexes and make them visible from a considerable distance. Because of the distinctive elaborate design, and the large number of still standing examples, as well as the communal life style that they indicate, these Cappadocian complexes have attracted scholarly attention in both monastic and secular Byzantine studies. Consequently, it was necessary for the dissertation to reconsider both religious and secular communities and their physical expressions in the form of monasteries and various dwelling types of the era. On the other hand, the idiosyncratic volcanic landscape and carved architecture required an extensive comparative architectural investigation of all Courtyard Complexes known so far in Cappadocia. Based on the results coming out from the contextual studies and architectural analysis this dissertation proposes aristocratic families with a military function on this border land of Byzantine as the initial inhabitants of the Courtyard Complexes. The A&ccedil / iksaray Group in particular, with the paucity of its churches contrasting its elaborate stables, bears the traces of a secular medieval community of some importance.

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D.Litt. et Phil. (Greek) / Please refer to full text to view abstract

This thesis examines the relationship between Jews and Christians in the Holy Land from the age of Constantine the Great to the conquest of the eastern provinces by the Arabs from an archaeological viewpoint. At stake is a better understanding of how Jews adapted to changing times, particularly during the rise of Christianity in Palestine. Whereas earlier scholars have viewed the growth of the Byzantine empire as time of persecution toward the Jews, a re-evaluation of the archaeological evidence indicates that Jews prospered along with their Christian neighbors. In scope, this dissertation aims first to re-evaluate how many ancient building remains can be classified as synagogues, and how many of those can be accurately dated. For only after a solid body of archaeological research is firmly established can further progress be made toward our better understanding of the ancient world. Diversity in contemporaneous synagogue layouts, rather than a linear development throughout this period is the norm. Yet, in the sixth-century, one-third of all known synagogues in Palestine bear similar features to early Byzantine churches: basilical layouts, mosaic floors, apses, and chancel screens. Since no single fourth-century synagogue had an apse or chancel screen in its repertoire of furnishings, a reform must have taken place, which ultimately enhanced the synagogue. It has long been held that this change had originated under the influence of the growing Christian population in the Holy Land. Examining the nature of early Christian liturgical practice throws light on these changes to synagogues. For the focal point of the early Christian basilica, the altar in the sanctuary, separated from the hall by a chancel screen, was adapted by these Jewish communities. By placing the Torah Shrine in the apse of synagogues, the sacred nature of the Five Books of Moses was glorified. In focusing on the apse and niche it is suggested that rather than a positive influence toward the Jews, the deeply-rooted rivalry between Christianity and Judaism was the main implement for change. Jewish leaders built synagogues with apses and chancel screens to amplify and venerate the most important object in the hall - the Torah Scrolls - kept in the Torah Ark. Unlike earlier buildings, the Torah Shrine was set in the same position as the altar in churches, in the apse. Renovating interiors, changes to entrances, and new types of furnishings in synagogues were the physical changes to this institution which reflect the impact of Christian art on synagogues.