Thesis (Th. M.)--Grand Rapids Baptist Seminary, 1988. / Includes bibliographical references (leaves 189-193).

Thesis (Th. M.)--Dallas Theological Seminary, 1989. / Includes bibliographical references (leaves [74]-81).

Thesis (B.Div.)--St. Vladimir's Orthodox Theological Seminary, 1970. / Includes bibliographical references.

Thesis (B. Div.)--St. Vladimir's Orthodox Theological Seminary, 1967. / Includes bibliographical references (leaf 106).

This thesis argues that Jean-Paul Sartre's early philosophy retained a recognizable inheritance from the Christian doctrine of original sin. On the standard reading, Sartre's most fundamental and attractive idea - the idea that brought him his reputation as 'the philosopher of his generation' - is freedom. But, as Sarah Richmond notes, Sartre's interest in phenomenology 'co-existed with and was an instrument for his wish to demonstrate the existence of human freedom, and his sense that the way to do this was by establishing an essential connection of consciousness with nothingness.' Taking Being and Nothingness as its primary exegetical focus, this thesis argues that the early, anti-humanist Sartre retained a recognizable descendant of the Christian doctrine of original sin in his concept of le néant. Previous scholars have noted the resemblance between Sartre's and Augustine's ontology: to name but one shared theme, both thinkers describe the human as the being through which nothingness enters the world. But no in-depth examination of this 'resemblance' has been made. Using historical, exegetical, and conceptual methods, my research demonstrates that Sartre's intellectual formation prior to his discovery of phenomenology included theological elements which are often overlooked by Sartre scholars - especially in the English-speaking philosophical community, where his phenomenological influences receive greater attention. The thesis therefore (i) outlines the French Augustinianisms by which, I argue, Sartre's account of the human as 'between being and nothingness' was informed; in order to (ii) undertake a close reading of Being and Nothingness, which shows (a) that the psychological, epistemological, and ethical consequences of Sartre's le néant closely resemble the consequences of its theological predecessor and (b) that his account of freedom can be read as an anti-theodicy; and finally (iii) to argue constructively that Sartre is a useful resource for contemporary hamartiology. In doing so it contributes to both Sartre scholarship and the theological sub-discipline of modern doctrine.

1 score (xvii, 233 p.) / Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination. Composers have sometimes turned to mathematics as a tool for generating art though the systematization of musical elements. However, music often suffers from the conscious attempt by composers to bring it closer to the world of science and math through the serialization of musical material. This does not mean that mathematics and science do not play an important part in music of great expression. To be sure, composers have used simple mathematical concepts to discuss, analyze, and create music at every stage, whether consciously or unconsciously, since the beginning of Western music. These ideas are at the very heart of the great music of previous centuries, even if we celebrate those works more for their intrinsic beauty than their rational mechanics. It is the inventiveness and creativity that we find easy to value in music, but the science behind it also makes its creation possible. My symphony pays tribute to the marriage of creativity, not process, in scientific and musical thought, using the words of scientists and mathematicians as poetic texts, which generate musical imagery. I have chosen a series of quotations by notable scientists and mathematicians throughout history, which serve as textual introductions for each movement of the six-movement, approximately forty-five minute orchestral symphony. Each quotation makes reference to a specific scientific or mathematical discovery of its writer, or displays an aspect of his philosophy. The ideas expressed in the quotations serve as abstract inspiration and suggest musical imagery for each respective movement. / Committee in Charge: Dr. Robert Kyr, Chair; Dr. David Crumb; Dr. Jack Boss; Dr. Marilyn Linton

Arda is an instrumental chamber work scored for cello, percussion, and multiple keyboards with a total duration of approximately thirteen minutes. The work is structured in an arch form whose divisions are based on instrumental and textual groupings. The pitch organization utilizes prominent intervals, improvised passages on certain passages on certain pitches, and the double harmonic mode, which is derived from an Indian raga. Various instrumental techniques are also used throughout the work to alter timbres as well as to create more interesting vertical sonorities.

In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet's upper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions. The four works surveyed are: Heinrich Neumann's Serenata Svizzera Op.29, Ferdinand Rebay's Sonata for Clarinet and Guitar No.2 in A minor, Libby Larsen's Blue Third Piece, and Gernot Wolfgang's Four Miniatures. An extensive compilation of over 300 original published and unpublished works for clarinet and guitar, bass clarinet and guitar, and more than one clarinet and/or guitar is included.

We create fictions--personal and literary--to cope with fear, and it is our choice whether or not these inventions affirm life. This collection presents many ways of "making excuses for the universe," both from a personal standpoint and also by using the voices and visions of created characters. The collection contains a section of family poems and three sets of character poems: Beverly and Nanci, Strange Mary, and Blue Donna. Following each section are two related poems for transition or amplification. The poems show a progressive change in writing techniques, especially experimentation with sound, as well as pursuing the central theme that perception is a desirable goal, well worth the price.

The instrumentation is flute, B-flat clarinet, bassoon, violin, viola, and cello. The individual movements last four and one-half, four, and six minutes, respectively, with a total duration of fourteen and one-half minutes. The first movement is a theme and a series of nine sections that employ the variation principle. The second movement is characterized by its slow tempo and by its texture which is almost entirely homophonic. It is primarily concerned with gradual timbral changes created by special effects. The third movement, which is rapid in tempo, employs one main theme which provides four motives. This material is developed throughout the movement by frequent changes in meter, range, texture, and dynamics.