Inaug.-diss.--Göttingen. / Lebenslauf. "Quellen-und Literaturverzeichnis": p. 99-104.

Thesis (Th. M.)--Dallas Theological Seminary, 2003. / Includes bibliographical references (leaves [55]-62). Issued also in microform.

Thesis (Th. M.)--Dallas Theological Seminary, 2003. / Includes bibliographical references (leaves [55]-62).

Thesis (Th. M.)--Trinity Evangelical Divinity School, 2002. / Abstract. Includes bibliographical references (leaves 174-194).

Thesis (Th. M.)--Trinity Evangelical Divinity School, 2002. / Abstract. Includes bibliographical references (leaves 174-194).

Thesis (M.A.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2003. / Abstract and vita. Includes bibliographical references (leaves [116-126]).

Thesis (M.A.)--Trinity Evangelical Divinity School, 2002. / Abstract. Includes bibliographical references (leaves 106-111).

I. Introduction. This thesis shows that Adrienne von Speyr interprets the Son’s entire kenosis through the Suscipe, making this prayer the essential interpretative key to her writings. Although others have noted an Ignatian influence, most dissertations focus on pastoral applications of her writings; none have expressed the Suscipe as the essential key to her work, to her influence on Hans Urs von Balthasar, and through him to twentieth century theology. As a contemplative, her writings more nearly resemble monastic theological writings that have been valued in the Church from before the development of scholasticism and that have continued alongside scholastics until the present day. Attempts to read and understand her writings through a scholastic or academic lens rather than contemplative modes and without the Suscipe key can lead to misunderstanding and misinterpretation. II. A Biography of Adrienne von Speyr. To her contemporaries, von Speyr lived a full and normal life, actively involved with her family and city life. She was known as a physician to the poor, devoted to her family, charitable to all even as an invalid. Her most controversial moment as an adult was converting from the state reformed church to the Roman Catholic Church. Not until her death did anyone, even her family, become aware of her mystical experiences. Von Balthasar as her personal confessor emphasizes the mystical experiences and qualities of von Speyr’s life in his hagiographical styled writings. Her own accounts report mystical experiences including apparitions of Ignatius of Loyola (a mystic) and Mary Mother of God. Von Balthasar attributes certain of these experiences as the impetus for founding the lay secular order of the Community of St. John. Her visionary experiences during Passion Week form the basis for her writings on Holy Saturday and von Balthasar’s.

No description available.

The main topic of discussion in this thesis is the iconography of two etchings and five paintings of the Holy Family in a domestic or domestic/workshop setting. All of these works were, at one time, attributed to Rembrandt van Rijn. Although doubt now has been expressed by experts as to the authenticity of at least two of the paintings, namely, the Holy Family at Night (c. 1638/40, Amsterdam) and the Holy Family with St. Anne (1640, Paris), these disputed works are included because of a similarity to the way in which Rembrandt depicted the Holy Family in a non-Biblical context. If these are not works by Rembrandt’s own hand, they are certainly variants of his ideas, painted by artists in his circle. The remaining paintings consist of the Holy Family (1634, Munich), the Holy Family with Angels (1645, St. Petersburg), and the Holy Family with the Curtain (1646, Kassel). The etchings described are the 1632 Holy Family and the 1654 Virgin with the Cat and the Snake. Prior to a consideration of the aforementioned works of art, both individually and as a group, and in order to ascertain whether or not Rembrandt was influenced by earlier artists, a brief overview of depictions of the Holy Family in imaginary settings is provided, covering a period from the time of the Renaissance to the beginning of the seventeenth century. Mention also is made of the influence of restrictions on religious art that followed in the wake of the Reformation, particularly with respect to the art of the north Netherlands. Lastly, a look at a few depictions of the Holy Family by Rembrandt’s students and followers gives some indication of the extent to which they emulated his work. A comparison of the treatment of the same subject by Peter Paul Rubens and Jacob Jordaens, both of whom worked in the Catholic environment of the south Netherlands helps to demonstrate Rembrandt’s ability to meet the requirements of a largely Protestant society through the manner in which he chose to present the Holy Family. / Thesis (Master, Art History) -- Queen's University, 2008-05-27 17:26:55.126