Thesis (Ph. D.)--Universiṭah ha-ʻIvrit bi Yerushalayim, Jerusalem, 2000. / Includes bibliographical references (p. 309-327).

Thesis (Ph. D.)--New York University, School of Education, Health, Nursing and Arts Professions, 1986. / Typescript. Includes bibliographical references (leaves [623]-668).

Thesis (B. Div.)--St. Vladimir's Orthodox Theological Seminary, 1973. / Includes bibliographical references (leaves 86-88).

Thesis (M.A.)--Catholic Theological Union at Chicago, 1991. / Vita. Includes bibliographical references (leaves 134-138).

Thesis (M.A.)--University of Wisconsin--Madison, 1965. / Title from title screen (viewed Sept. 20, 2007). Bibliography: l. 82-87. Online version of the print original.

Thesis (D. Min.)--Trinity Lutheran Seminary, 1979. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 615-644). Available also in a digital version from Dissertation Abstracts.

Historically, the Roman Catholic Church has used visual imagery as a powerful didactic tool to support and validate the patriarchal structure of the Christian faith. This study focuses on the prevalent visual portrayal of Mary Magdalene as a penitent prostitute. This visual conceptualisation is exposed as an unjust condemnation of a biblical woman whose apostolic calling is validated by the Gospel accounts. A critical examination of the Christian iconography within a representative selection of Mary Magdalene imagery further identifies a bias of condemnation towards women's sexuality. Thus, Mary Magdalene is epitomised as the archetypal immoral woman, and unfavourably contrasted to the chaste purity of the Virgin Mary. The study evaluates the ethical implications of this mis-representation, and proposes, as a corrective to the imbalance, the creative actualisation of positive woman-affirming imagery. · An extended chronological index of Mary Magdalene imagery is appended to the study as Appendix A / M.Th. (Theological Ethics)

Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.

Orientador: Percival Tirapeli / Banca: Claudete Ribeiro / Banca: Ana Maria Netto Nogueira / Banca: Mozart Alberto Bonazzi da Costa / Banca: Maria José Spiteri Tavolaro Passos / Resumo: Esta pesquisa tem como objetivo dar continuidade ao trabalho iniciado na minha dissertação de mestrado, sobre a obra pictórica de Jesuíno Francisco de Paula Gusmão, conhecido na historiografia da arte brasileira como Padre Jesuíno do Monte Carmelo (1764-1819). Apresentada em 2010, os estudos iniciais cobriram as obras do artista então encontradas na Igreja da Ordem Terceira do Carmo de São Paulo e seu processo de restauração, sob coordenação do Instituto do Patrimônio Histórico e Artístico Nacional - IPHAN. Daquele momento até o presente, outras relevantes descobertas envolvendo Jesuíno foram efetuadas na cidade de Itu (SP): na Igreja Matriz de Nossa Senhora da Candelária, onde o padre pintor trabalhou em parceria com o Mestre José Patrício da Silva Manso (1740-1801), foram resgatadas pinturas parietais do século XVIII e indícios da participação de outros artífices até então desconhecidos pelos pesquisadores, além de trechos de um tabuado com pinturas inéditas de Jesuíno. Desse modo, a finalização do restauro da Carmo paulistana, mais as recentes descobertas da Matriz ituana e a possível recuperação do painel do teto da Igreja do Carmo de Itu, também de autoria de Jesuíno, somadas à busca dos possíveis referenciais iconográficos utilizados pelo sacerdote artista, ampliam a obra pictórica do padre Jesuíno do Monte Carmelo e fornecem material para que se realize uma revisão sobre a relevância de sua produção para a história da arte paulista e brasileira / Abstract: This research aims to continue the work started in my master's dissertation about the pictorial work of Jesuíno Francisco de Paula Gusmão, known in the history of Brazilian art as Priest Jesuíno do Monte Carmelo (1764-1819). Presented in 2010, the initial studies covered the works of the artist found in the Church of the Ordem Terceira do Carmo de São Paulo and its restoration process, coordinated by the Instituto do Patrimônio Histórico e Artístico Nacional - IPHAN. From that time until the present, other relevant discoveries involving Jesuíno were made in the city of Itu (SP): in the Church of Nossa Senhora da Candelária, where the painter priest worked with the Master José Patrício da Silva Manso (1740-1801), parietal paintings from the eighteenth century were rescued and evidence the involvement of other craftsmen hitherto unknown by the researchers, as well as fragments from a clapboard with new paintings by Jesuíno. Thus, the completion of the restoration of the Igreja do Carmo de São Paulo, more recent discoveries of Itu's Mother Church and the possible recovery of the ceiling painting of the Igreja do Carmo de Itu, also authored by Jesuíno, together with the search for possible iconographic references used by the priest artist, extend the pictorial work of Priest Jesuíno do Monte Carmelo and provide material for that conduct a review of the relevance of its production to the history of São Paulo art and Brazilian art / Doutor