Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 168-184).

Thesis (Ph. D.)--University of California, Los Angeles, 1984. / Includes bibliographical references (p. 171-183).

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1993. / Includes abstract and vita. Includes bibliographical references (leaves 104-112).

Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisors: Wendy Bellion and Bernard L. Herman, Dept. of Art History. Includes bibliographical references.

Thesis (doctoral--Technische Universität Karlsruhe, 2006). / Includes bibliographical references (p. 324-329) and indexes.

The popularity of religious art in late seventeenth century Protestant England stands in apparent contradiction to the profound anti-Catholic sentiment that many current scholars argue characterizes the period. A close analysis of London auction catalogs from 1690 reveals that a significant number of all pictures listed for sale featured typically Catholic subject matter. Consulting both seventeenth century literature and current scholarship provides a rationale for this apparent contradiction. Factional conflict within Protestantism itself was often focused on the issue of religious imagery. Accordingly, it functioned as a means of articulating religious difference. While the radical Puritan mission may have involved abolishing all English "monuments of superstition," Anglicanism held biblical and hagiographic imagery to be an essential aspect of Christian worship. This thesis argues that Anglicans embraced religious imagery as a means of rejecting the Puritan cause and, in doing so, forged a unique Anglican identity.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references.

Text in English / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

D.Litt. et Phil. (Greek) / This thesis deals with the Christian divine, holy and saintly protection of African rulers in the Afro-Byzantine ‘Coptic’ (mainly Nubian and Ethiopian) iconographic tradition. The term ‘icon’ is used in its Byzantine Orthodox meaning as “a theological art picture; a religious, sacred image”, according to the theological and artistic Byzantine prescriptions.1 The term is also applied to frescos, murals, mosaics, larger wooden panels, illustrations in manuscripts and scrolls and smaller items such as protective amulets and charms, depicting a Christian holy representation. The iconographic themes, representing authority and its preservation and protection will be discussed, analysed and examined, the two coefficients being authority and protection of royals and their deputies and officials (i.e. the ‘protected’) on the one hand, and on the other hand Christ, the Holy Virgin, angels, military and non-military saints, supernatural and holy beings (i.e. the ‘protectors’). Firstly, a historical overview of the Byzantine and Afro-Byzantine Orthodox society in terms of religious, social, cultural and political influences is presented and the importance of Orthodox iconography and hagiography and the transformation of local Afro-Byzantine themes are analysed. As such, once the conversion from paganism to Christianity took place in Africa, influences of the Byzantine iconography and hagiography were transformed and integrated with local African Orthodox themes. Byzantine ideology and political theory as well as their relevance for the Coptic-Egyptian, Nubian and Ethiopian context have been discussed, while the artistic and symbolic iconographic representations of the Byzantine (and Medieval Afro-Byzantine) periods...