The questions that underlined and motivated this research project have been: Why do members of the Orthodox Church participate in the ecumenical movement, and how can they negotiate an involvement in ecumenical contexts, together with their non-Orthodox counterparts – considering that the Orthodox see their Church as the one and only true Church? The background of this exploration has been the context of hostility and prejudice, which some groups within the Orthodox Church have manifested towards ecumenical encounters, which has marred and obstructed a genuine dialogue between the Orthodox and the non-Orthodox Christian communities. This project is based on the analysis of sources from contemporary Orthodox and Western theological milieux. It has interpreted these sources with a view to determining how they interact and coalesce into visions that inform the relationship between Orthodoxy and ecumenism. The interpretative stage of the discussion reveals the necessity of delineating paradigms for Orthodoxy and ecumenism that will enable future ecumenical interactions of greater efficiency and integrity. Such paradigms outline a vision wherein central aspects of Orthodox theology would move away from a paradigm of ‘passive conservatism’ to one of ‘active metanoia’ (transformation), while ecumenism would come to be seen as a perennial process and intrinsic aspect of theology. These vantage points define a new Orthodox vision of ecumenism as an ever-enlarging catholicity, by bringing back to the fore the common theological core of both Orthodoxy and ecumenism.

This thesis examines the role played by non-human creation in the liturgies for the feast of Holy Pascha (Easter), of the twelve major feasts of the Orthodox Church, and of the period of Great Lent. Applying to liturgical texts and practices the methodology developed by Paul Ricoeur for biblical interpretation, the thesis argues that the kind of world opened by these liturgies allows for the participation of non-human creatures in the liturgy and thus is amenable to an ecological theology. It investigates the implications of the liturgical texts for contemporary theological reflection about salvation, incarnation, sin, and theosis in light of the ecological crisis and the frequent Orthodox claim that the liturgy is ‘cosmic’ in scope. Chapter 1 looks at the role of non-human creation in the Paschal/Pentecost season and lays out the case for the need to include all of creation. Chapter 2 focuses on the feasts of the incarnation and argues for a more inclusive theological interpretation of the incarnation. Chapter 3 examines the liturgies of Lent and Holy Week and develops hamartiological implications of the ecological crisis. The final chapter focuses on the feasts of Theophany and the Transfiguration and proposes a view of theosis that extends beyond humans.

This project is a practical theological response to the so-called "rise of fundamentalism" and its extreme inverse—uncritical progressivism—in contemporary Orthodoxy within the United States. The dissertation argues that it is possible, and even traditional, for contemporary Orthodox communities to shape their religious practices in a manner that addresses fundamental needs in the present, without relying or insisting upon contextually inappropriate practices. Drawing on the so-called Christian practices approach to practical theology as found in the writings of Dorothy Bass and Craig Dykstra and the theology, spirituality, and mysticism of the Christian East—as exemplified by the writings of Maximus the Confessor—this project cultivates four critical lenses that contemporary Orthodox Christian communities can employ as they begin to explore the possibility of adapting traditional practices and incorporating innovative practices into their existing way of life. In order to concretize such an endeavor, this project includes a case study of the Communities at New Skete. In their own unique way, they have adapted their monastic life to meet their 20th and 21st century circumstances. Notably, they have engaged in a reform and renewal of the inherited liturgical tradition to meet not only their own needs, but also those of the Orthodox Church here in the United States. Additionally, and more significantly, they have allowed other spontaneously-arising activities to shape their way of life. For this latter point, the project focuses on the way that their dog breeding and training program has functionally become a spiritual practice for the monks and nuns. Their example can help contemporary Orthodox Christian communities consider the ways in which activities, which arise naturally in their own contexts, similarly function as spiritual or religious practices. In doing so, these communities can cultivate a contextually appropriate Orthodoxy, without falling into the trap of fundamentalist thought. This project will contribute to ongoing conversations around Christian practices, and to research at the intersection of practical theology and spirituality studies.

This thesis is a contribution to a growing field of studies on the reception of Byzantine culture in Russia. The object of investigation is the history of the Church Slavonic translation of the Cherubika, which constitute one of the most ancient and dogmatically important functional genres of Byzantine liturgical hymns. The chronological frame of this study is the 13th–17th century. Particular attention is focused on the last change in the liturgical texts in Muscovite Russia, in the mid-17th century. This liturgical reform, which led to the famous Schism in the Russian Church, is studied as part of the cultural reforms started by Tsar Alexis Romanov (1645-1676). The most characteristic feature of Orthodoxy is the principal unity of Scripture and Tradition, which in a hermeneutical perspective means the inseparability of text and context. The semiotic and interdisciplinary approach used in this study reflects this principle. The Slavic Cherubika are interpreted in a broad cultural perspective, and Church Slavonic translations are studied in the proper theological, rhetorical and linguistic contexts. Although the 17th-century translations made in Moscow were based on late Greek and South Slavic sources, they reconstruct the original dogmatic message of the Byzantine Cherubika and are hence closer to the Tradition than earlier Slavonic translations. This study offers a new interpretation of the nature of the Schism. It is shown that the main cause of the controversy between Reformists and Old Believers lies in their different understandings of the connection between Text and Ritual. The traditional medieval interpretation of the Cherubika is influenced by certain iconographical themes, other liturgical texts and the priest’s actions during the liturgy. The transition from a liturgocentric interpretation of sacral texts to a descriptive theological interpretation was a break from the characteristic Russian form of liturgocentrism and the beginning of a new cultural era.

This thesis is a comparative analysis of the doctrine of deification in sacramental worship as taught (and practiced) by the Eastern Orthodox and Latter-day Saint (Mormon) churches. The doctrine that man may become like God—known as deification, divinization, or theosis—is a central teaching in the Orthodox and Mormon traditions. Both faiths believe that man may become like God. However, because of doctrinal presuppositions and disagreements regarding the natures of God and man, Orthodox and Mormon teachings of deification do not mean the same thing. This thesis will outline several key distinctions between their respective doctrines. And yet, despite doctrinal disagreements, this thesis will also illustrate how Orthodoxy and Mormonism share several notable similarities regarding the function of sacramental worship in the process of theosis. Mormonism and Orthodoxy both believe that men and women may achieve theosis only as they interact with God. Through the combined initiatives of the Father, his son Jesus Christ, and the Holy Ghost, humankind may receive the attributes of divinity and participate in the process of deification. The means whereby humanity may interact with God are through sacramental participation. This thesis will illustrate how institutional rituals and personal worship practices foster man's divine interaction and ultimate deification. Furthermore, Orthodox and Mormon rituals are deeply rooted in the doctrine of deification—each ritual contributing to man's divine transformation. As such, those rituals reflect numerous thematic variations and emphatic differences of their respective traditions. This should not discourage the reader from comparing Orthodox sacraments with Mormon sacraments; rather, as one studies the similarities and differences in the Orthodox and Mormon sacraments, he or she will begin to see how deification is so intricately woven into the worship practices of these two faiths.

Pentecostalism, which developed its essential character during the classical period of 1901-1916, has many significant contributions to make to modern theology. Often viewed as a type of fundamentalism, it is actually a theological tradition in its own right that deserves consideration along with the other two major streams of protestantism, conservative evangelicalism and more liberal ecumenical-mainline thought. Although it emphasizes the experience of the Holy Spirit, pentecostalism is highly Christocentric as is evidenced by its foundational symbol of faith, the fourfold gospel of Jesus as savior, healer, baptizer, and coming king. This work examines how the pentecostal fourfold gospel, as a functional, from below Spirit Christology, anticipates and intersects with trends in twentieth century ecumenical theological thought. The result of the study is the articulation of a fuller, more holistic understanding of the work of Christ in salvation in the world today. / Systematic Theology & Theological Ethics / M. Th. (Systematic Theology)

L’objectif de ce mémoire est de comprendre comment une certaine vision du monde, basée sur des croyances théologiques, a contribué à la composition du concerto pour violon Offertorium de Sofia Gubaïdulina. C’est par le biais de cette œuvre qu’est explorée l’idée du dialogue musicothéologique, en proposant des façons par lesquelles la pièce musicale en question peut servir de porteuse ou d’interprète d’une pensée théologique. Afin d’appuyer cette idée, la démarche intertextuelle employée par Heidi Epstein est utilisée. Cette méthode permet de faciliter non seulement le travail interdisciplinaire, mais aussi la lecture théologique de l’œuvre musicale. Le premier chapitre explore les sources, les questions et la problématique qui entoure le dialogue musicothéologique. La conclusion tirée est que l’étude d’Offertorium nécessite une approche équilibrée. Nous entendons par cela, une approche qui prend en ligne de compte la réflexion théologique autant que la recherche musicologique tout en respectant les contributions théologiques que l’œuvre musicale peut apporter en soi. Dans le deuxième chapitre, une analyse thématique d’Offertorium a été tentée ainsi qu’une étude du discours théologique et spirituel de la compositrice. Il a été conclu que l’arrière-plan russe orthodoxe de Gubaidulina a beaucoup influencé sa vision du monde et son approche artistique. Le concerto est porteur d’idées et de symboles liturgiques ou théologiques de l’Orthodoxie dans sa structure et dans sa construction thématique. Le troisième chapitre explore les parallèles entre la pensée de Gubaidulina et les écritures de plusieurs théologiens russes orthodoxes du 20e siècle. La conclusion de ce chapitre démontre que, même s’il est improbable que la compositrice connaisse bien ces auteurs, sa compréhension théologique et spirituelle sort du climat religieux de l’Église Orthodoxe. Cette idée explique les complémentarités et les similarités entre son discours, son œuvre et les propos des théologiens discutés. Le quatrième chapitre évalue la validité d’Offertorium comme moyen d’expression théologique ainsi que de générateur de réflexion théologique. La conclusion de la recherche est qu’Offertorium peut bel et bien être un espace théologique. Ce qui veut dire que des idées théologiques peuvent être communiquées par le biais de l’expérience sonore que ce soit par la mélodie ou l’ambiance générale. Également, cela implique que la musique devient un partenaire égal, quoique différent des méthodes de réflexion traditionnelles au sein de la conversation théologique. / This paper explores the musico-theological dialogue through the study of Sofia Gubaidulina's violin concerto, Offertorium. Its aim is to understand how theological belief and worldview have influenced and contributed to Offertorium's composition, and in consequence, how the concerto serves as an interpretive conductor of theological thought. To support this idea, the intertextual method developed by Heidi Epstein is employed, which aids not only the interdisciplinary approach, but also a theological analysis of a musical work. Chapter One explores the sources, questions and problematic concerning musico-theological dialogues. It concludes that for studying Offertorium, a balanced approach was in order, one that took into consideration theological reflection as much as musicological research, and that respected the music's theological contributions in its own right. Chapter Two attempts an analysis of Offertorium and a study of the composer's discourse on matters of theology, religion and spirituality. It is concluded that Gubaidulina's background in Russian Orthodoxy has deeply influenced her worldview and artistic approach. Many Orthodox theological and liturgical themes and symbols are present structurally or thematically in the concerto. Chapter Three explores the parallels between the composer's ideas and the writings of several contemporary Russian Orthodox theologians. It concludes that while it is improbable that Gubaidulina is familiar with these writers, hers is a worldview that has emerged from the experience of a Russian Orthodox climate which explains the similarities and complementarities between her work and the work of the discussed authors. Chapter Four evaluates the validity of Offertorium as a means of theological expression, but also as the producer of original theological thought. It concludes that both are possible, rendering Offertorium its own theological ground. The conclusion of the study is that a musical work such as Offertorium can be a “theological ground”. This entails that theological ideas in this case are communicated through experience (experiencing sound, melody and musical ambiance) and not through traditional means of textbook or sermon. This also insinuates that music can be an equal, albeit entirely different, player in the theological dialogue.

L’objectif de ce mémoire est de comprendre comment une certaine vision du monde, basée sur des croyances théologiques, a contribué à la composition du concerto pour violon Offertorium de Sofia Gubaïdulina. C’est par le biais de cette œuvre qu’est explorée l’idée du dialogue musicothéologique, en proposant des façons par lesquelles la pièce musicale en question peut servir de porteuse ou d’interprète d’une pensée théologique. Afin d’appuyer cette idée, la démarche intertextuelle employée par Heidi Epstein est utilisée. Cette méthode permet de faciliter non seulement le travail interdisciplinaire, mais aussi la lecture théologique de l’œuvre musicale. Le premier chapitre explore les sources, les questions et la problématique qui entoure le dialogue musicothéologique. La conclusion tirée est que l’étude d’Offertorium nécessite une approche équilibrée. Nous entendons par cela, une approche qui prend en ligne de compte la réflexion théologique autant que la recherche musicologique tout en respectant les contributions théologiques que l’œuvre musicale peut apporter en soi. Dans le deuxième chapitre, une analyse thématique d’Offertorium a été tentée ainsi qu’une étude du discours théologique et spirituel de la compositrice. Il a été conclu que l’arrière-plan russe orthodoxe de Gubaidulina a beaucoup influencé sa vision du monde et son approche artistique. Le concerto est porteur d’idées et de symboles liturgiques ou théologiques de l’Orthodoxie dans sa structure et dans sa construction thématique. Le troisième chapitre explore les parallèles entre la pensée de Gubaidulina et les écritures de plusieurs théologiens russes orthodoxes du 20e siècle. La conclusion de ce chapitre démontre que, même s’il est improbable que la compositrice connaisse bien ces auteurs, sa compréhension théologique et spirituelle sort du climat religieux de l’Église Orthodoxe. Cette idée explique les complémentarités et les similarités entre son discours, son œuvre et les propos des théologiens discutés. Le quatrième chapitre évalue la validité d’Offertorium comme moyen d’expression théologique ainsi que de générateur de réflexion théologique. La conclusion de la recherche est qu’Offertorium peut bel et bien être un espace théologique. Ce qui veut dire que des idées théologiques peuvent être communiquées par le biais de l’expérience sonore que ce soit par la mélodie ou l’ambiance générale. Également, cela implique que la musique devient un partenaire égal, quoique différent des méthodes de réflexion traditionnelles au sein de la conversation théologique. / This paper explores the musico-theological dialogue through the study of Sofia Gubaidulina's violin concerto, Offertorium. Its aim is to understand how theological belief and worldview have influenced and contributed to Offertorium's composition, and in consequence, how the concerto serves as an interpretive conductor of theological thought. To support this idea, the intertextual method developed by Heidi Epstein is employed, which aids not only the interdisciplinary approach, but also a theological analysis of a musical work. Chapter One explores the sources, questions and problematic concerning musico-theological dialogues. It concludes that for studying Offertorium, a balanced approach was in order, one that took into consideration theological reflection as much as musicological research, and that respected the music's theological contributions in its own right. Chapter Two attempts an analysis of Offertorium and a study of the composer's discourse on matters of theology, religion and spirituality. It is concluded that Gubaidulina's background in Russian Orthodoxy has deeply influenced her worldview and artistic approach. Many Orthodox theological and liturgical themes and symbols are present structurally or thematically in the concerto. Chapter Three explores the parallels between the composer's ideas and the writings of several contemporary Russian Orthodox theologians. It concludes that while it is improbable that Gubaidulina is familiar with these writers, hers is a worldview that has emerged from the experience of a Russian Orthodox climate which explains the similarities and complementarities between her work and the work of the discussed authors. Chapter Four evaluates the validity of Offertorium as a means of theological expression, but also as the producer of original theological thought. It concludes that both are possible, rendering Offertorium its own theological ground. The conclusion of the study is that a musical work such as Offertorium can be a “theological ground”. This entails that theological ideas in this case are communicated through experience (experiencing sound, melody and musical ambiance) and not through traditional means of textbook or sermon. This also insinuates that music can be an equal, albeit entirely different, player in the theological dialogue.

Pentecostalism, which developed its essential character during the classical period of 1901-1916, has many significant contributions to make to modern theology. Often viewed as a type of fundamentalism, it is actually a theological tradition in its own right that deserves consideration along with the other two major streams of protestantism, conservative evangelicalism and more liberal ecumenical-mainline thought. Although it emphasizes the experience of the Holy Spirit, pentecostalism is highly Christocentric as is evidenced by its foundational symbol of faith, the fourfold gospel of Jesus as savior, healer, baptizer, and coming king. This work examines how the pentecostal fourfold gospel, as a functional, from below Spirit Christology, anticipates and intersects with trends in twentieth century ecumenical theological thought. The result of the study is the articulation of a fuller, more holistic understanding of the work of Christ in salvation in the world today. / Philosophy, Practical and Systematic Theology / M. Th. (Systematic Theology)