Thesis (doctoral)--Jena, 1653 (J. Hecht, respondent). / Signatures: A-D⁴. Text in Latin and Hebrew. Headpiece and initial. Year-date in title in old-style Roman numerals. At head of title page: Quod Deus Bene Vertat! Description based on print format version record.

M.A.

No description available.

No description available.

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2008. / Abstract and vita. Includes bibliographical references (leaves 189-196).

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2008. / Abstract and vita. Includes bibliographical references (leaves 189-196).

This phenomenological study presents a map of spatial forces in Ivan Doig’s The Sea Runners. The investigation calls attention to forms of space-experience that come across as a sense of embeddedness in environment. Events, places, feelings, and moods materialize as being nested within greater events and places that are likewise nested in even larger ones. The study shows that experience, place, memory, hope, and narrative have nested structures. The embedding of narrated realities within larger realities is identified as a mode of organization central to the text’s complexity. Even the smallest acts, events, moods, and feelings are set within larger ones with greater scope, reach, or extension. The literary force of The Sea Runners is made possible by a sustained presentation of complexly interlocking orders of embedding. These orders are co-ordinated and synchronized in terms of movement. The study shows how kinetic systems of circulation, vanishing, encircling, and transformation overlap and reinforce each other so as to create a comprehensive co-ordination effect that colours the presentation of landscape and travel. Movement is highlighted in the essay as a factor that makes it possible for these kinetic structures to be fused in various patterns of co-ordination. In The Sea Runners, place and motion complexly combine to shape the narrated flow of lived experience. In its various orders of fluctuation, space-experience flows in intimate association with life-feeling and movement-sensation. Certain basic kinetic categories are delineated as being at the heart of the text’s overall structure. The study brings its findings to a conclusion by discussing these kinetic categories of lived space as running parallel to categories of lived temporality.

Cette thèse est une enquête sur les peintures murales et sur panneaux représentant l’archange Michel en Italie, entre 1200 et 1518. Elle propose une large mise au point historiographique et un panorama du développement du culte et de l’iconographie michaélique des origines à 1200. À travers un corpus de plus de 500 images, les représentations de l’archange sont étudiées dans les moindres détails, et leur évolution générale est située dans un cadre spatio-temporel, propre à en faire ressortir les spécificités. Au niveau formel et iconographique, la figure de Michel est partagée entre évocation de la spiritualité de sa nature et monstration de sa force physique, à forme humaine, alors que son image se simplifie par une cristallisation autour du guerrier dès le milieu du Trecento. Cette étude considère en outre la peinture en tant qu’objet fabriqué, pensé, reçu et utilisé. Les évolutions iconographiques participent à une sanctification de l’archange et sont au cœur d’expériences visuelles mêlant images peintes, représentations et visions miraculeuses de l’archange. Symbole universel du bien contre le mal et de la justice divine, et acteur efficace de l’au-delà intermédiaire, organisé et géré par l’Église, l’iconographie michaélique est un outil de son système pénitentiel. Mais Michel est un être sans apparence réelle et sa représentation est donc un reflet de sa perception par les hommes. Les représentations du plus humain des anges et du plus céleste des saints, sont ainsi un moyen de penser l’homme, dans sa relation avec l’Église, avec Dieu, et surtout dans la perception de l’homme par lui-même, de son rôle et de sa responsabilité au moment même du salut. / This work is an investigation into murals and panel paintings depicting Archangel Michael in Italy, between 1200 and 1518. It presents a broad historiographical update and an overview of the development of the michaelic cult and iconography from its origins to 1200. With a corpus of over 500 paintings, the images of the Archangel are scrutinized in their finest details and their general evolution is put back into a spatiotemporal framework, so as to bring out its specificities. On both formal and iconographical levels, Michael's figure is split between evoking his spiritual nature and showing his physical strength, in human form, and it crystallises around the image of the warrior in the middle of the fourteenth century. This study considers a painting to be a manufactured object, a thought-through object, a received object, an used object. The iconographic developments play a role in the archangel's sanctification and are at the heart of visual experiences using painted images, representations and miraculous visions of the archangel. Universal symbol of the fight of Good against Evil or divine justice, and efficient agent in the intermediate afterlife, organised and managed by the Church, the michaelic iconography is a tool of its penitential system. But Michael has no real figure, therefore his representation is a reflection of how men perceive him. The representations of the most human of angels and the most heavenly of saints, are no less than a way of thinking Man itself, in his relationship with the Church, with God, and especially in the way Man perceives himself, perceives his role and his responsibility when time of salvation arises.