Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 62-67).

Thesis (Th. M.)--St. Vladimir's Orthodox Theological Seminary, 2000. / Abstract. Includes bibliographical references (leaves 112-119).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2000. / [Abstract]. Includes bibliographical references (leaves 60-61).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 62-67).

Thesis (S.T.M.)--St. Vladimir's Orthodox Theological Seminary, 1971. / Typescript. Includes bibliographical references.

Thesis (Ed.M.)--Boston University

The teachings of St. Feofan (1815-1894), together with his celebrated Russian translation of the Philokalia, played a major role in the spiritual revival of nineteenth century Russia, earning him the reputation of one of the greatest Russian theoreticians of Orthodox mysticism. Yet Feofan also provoked fierce criticism of such eminent Russian thinkers as Nicolas Berdyaev. This study focuses on one of the most significant elements of Feofan's legacy: the notion of legitimacy of spiritual diversity. This idea permeates Feofan's discussions of the striking dissimilarities demonstrated by persons engaged in ascetic and spiritual pursuits. It is highlighted by the fact that Feofan derives his positive attitude to diversity from within the tradition generally perceived as intolerant of dissent and non-conformity. Based within a wider context of Orthodox mystical tradition, this study examines Feofan's major writings, his work with the texts of the Philokalia, and his public and private correspondence. Attention is given to such pivotal concepts as his notions of the spirit and the heart; intimate communion with God; and the cardinal importance of spiritual self-consciousness. The study reveals Feofan's indebtedness to Byzantine ascetic spirituality, as well as his unusual openness to Western thought - reflected in his innovative synthesis of patristic asceticism and German romantic psychology. This study also addresses the ambivalence of Feofan's inner conflicts: namely, between his passionate belief in spiritual self-determination and his authoritarian teaching on 'silent submissiveness'; and between his defence of the legitimacy of spiritual diversity within the realm of ascetic experience and his unwillingness to extend that same principle beyond the limits of his own tradition. The thesis is not only the first critical account in English of Feofan's spiritual teaching, but is also an ecumenical exercise in which attitudes toward religious diversity within the Russian monastic tradition are examined by a Russian evangelical.

Thesis (M.M.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / Arvo Pärt is a contemporary sacred composer who is recognized for developing what he has referred to as the ‘tintinnabuli’ compositional technique. His tintinnabuli technique has led him to great success both in and outside of the Classical music world. Although a self-professed Orthodox Christian (to which he converted in 1972), he has composed choral works for Catholic, Orthodox, and Anglican services. In the year 2000, Pärt composed the work Orient and Occident for string orchestra. The work is a wordless tintinnabuli setting of the Nicene-Constantinopolitan Creed. Its idiosyncratic use of dissonance, string techniques, and modal vocabulary is atypical of his tintinnabuli works. Several reviews suggest that Orient and Occident shares similarities with Near-Eastern music, or the characteristics of Islamic cantillation. Throughout Pärt’s compositional career, he has declined to comment in depth on his own spirituality, and he has left it to his audience to draw their own conclusions. He has suggested letting the music "speak for itself," as a symbol to convey his own inner spiritual thoughts. I suggest that Orient and Occident is an exposition of his own inner Orthodoxy, and a musical mediation of his Orthodox faith in relation to other faiths, Christian or otherwise. This thesis considers the ways in which we view Pärt as mediator for sacred music in a secular, postmodern environment, through Orient and Occident and historical perspectives of the icon in Byzantine Orthodox traditions. It examines the broader connotations of Pärt, the icon, and spirituality; providing insights into his 2010 performance in Istanbul. It examines the ‘aural architecturality’ of tintinnabulation, through hermeneutic and phenomenological theories surrounding iconography and light mysticism. It tackles the notions of ‘catholicity’ and ecumenicity with which the world has come to know Pärt; from the lens of his Orthodox faith, and extending outwards across geographical, cultural, political, and spiritual borders. / 2031-01-01

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Thesis (Th. M.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Description based on microfiche version record. Includes bibliographical references (leaves 202-209).