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Thesis advisor: Jeffrey Bloechl / This dissertation examines the relationship between the experience of beauty and intuitions of transcendence. The first two chapters explore the role that natural beauty plays in humans’ existential ruminations, finding an intimate connection between beauty and belief in transcendent realities. The final three chapters examine the post-WWII turn away from beauty in fine art, and argue that this turn is intimately connected with a broader turn away from transcendent horizons in the wake of the second World War, e.g. that seen in Rawlsian Liberalism. Finally, an argument is developed that a culture without transcendence and beauty is unlikely to thrive in the long run, and so the postwar turn against same should be carefully, soberly abandoned. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

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Thesis (M.A. 1979) from the Department of English, University of Adelaide.

Thesis (D. Min.)--Bethel Theological Seminary, 1995. / Includes abstract and proposal. Includes bibliographical references (leaves 166-175).

Thesis (Th. M.)--Grace Theological Seminary, 1982. / Abstract. Includes bibliographical references (leaves 86-94).

This thesis project is an exploration of the sensory experiences through which one passes in the removal from the outside world toward introspection and mental clarity. The program consists of one large meeting space and four smaller meeting spaces sited in the Virginia Tech Duck Pond. / Master of Architecture

In this thesis, I demonstrate the relationship of transnationalism, transcendence, and exclusion in the life, works, and words of Horatio Parker (1863-1919). Parker was an organist, composer, and the dean of the School of Music at Yale from 1904 until his death. Although his reputation has since waned, during his lifetime he was a sought-after speaker and composer, gaining recognition across the United States and in England. This thesis engages with three categories of Parker’s repertoire including orchestral, choral/liturgical, and song, and employs intertextuality as the main method of analysis. Parker, like many of his contemporaries, rejected Antonin Dvořák’s 1893 suggestion to American composers that a national idiom could be founded on African American and Native American musics. In combination with his lectures on the topic, I argue that Parker’s symphonic poem A Northern Ballad may be read as his response to Dvořák’s claim. Using many techniques reminiscent of Dvořák’s “New World” Symphony, Parker’s work transcends national boundaries rather than defining or being defined by them. Of greater concern to Parker than the perceived national characteristics of a work was that it should acknowledge music’s spiritual significance. Although the belief in music as a transcendent art frequently divorced music from words and from function, as a devout Christian, Parker sought to reunite the inherently “religious” quality of music with religious service, in works such as Hora Novissima and Light’s Glittering Morn. I frame Parker’s efforts in the context of the writings of John Sullivan Dwight (1813-1893), Wilhelm Wackenroder (1773-1798), and E.T.A. Hoffmann (1776-1822), all major proponents of musical transcendence. In general, appeals to transcendence idolized Beethoven and defined beauty by Eurocentric standards, establishing a false hierarchy that resulted in exclusion. The work of Parker, and other American composers, fuelled also by the false hierarchy of racism, continued to propagate exclusion. The final chapter of this thesis thus contributes to efforts to decolonise Parker’s settler colonial attitudes and examine how these influenced his musical choices.

This thesis focuses on the problem of transcendence as it appears in Patočka's most relevant papers covering all periods of his work. The problem, conceived as an act of an individual, is examined in its three structural moments - its How, Whence, and Whereto. As for the How, the thesis discerns two kinds of transcendence: a constant and unconscious one that is mostly a matter of sensual perception, and a deliberate one that consists in reflection and, in Patočka's papers from the 60s on, in practical action as well. The Whence is usually the sphere of calculability and utilitarity, or a state when man is distracted in manipulating things and identifies himself with roles that are connected with this manipulation. In all this, human mortality is in control. The Whereto, in Patočka, is symbolized as World, Universal Life, Idea, Being, Appearing and suchlike. In the experience of transcendence, the thesis discovers an active and a passive aspect that may be stressed more or less in particular descriptions. The same applies to the aspects of affirmation and negation between the act of transcendence itself and its empirical manifestations. The thesis, at last, shows three possible failures of transcendence, as indicated by Patočka. Powered by TCPDF (www.tcpdf.org)