The aim of my work is the church of St. Nicholas in Benesov in terms of one of the monuments, which is the cycle of St. Clement Baroque painter Ignaz Raab. At the beginning shortly focus on the period of the formation and history of the church. Church on this site can be dated back to the 11th century already. It is very interesting to observe how the church was created in connection with the founding of the city. In the next part, I will study the cult of St. Clement and his association with the Czech environment. In the next chapter I will deal with the author cycle Ignaz Raab. I will be interested in what the creative period of a cycle of St. Clement, which Czech and foreign influences acting upon it, and how this inspiration reflected in his work. The last part will include individual images of the cycle, which will discuss the iconography and by comparison.

Although scholars have often acknowledged the spirituality in the writings of Clement of Alexandria (cir. 150-215 AD), a thorough study of the Platonic category θεωρία as it appears in this second century Father has never been undertaken. Most studies on Christian spirituality either ignore Clement's role altogether, or rush past him with little comment in favor of the great Origen (cir. 185-255 AD). Stromateis, Clement's most enigmatic work, contains over 75 occurrences of θεωρία. A close examination of these texts reveals that his use of the term is somewhat different from two of his greatest philosophical and spiritual mentors, Plato and Philo. Clement uses this term (usually translated "contemplation") to refer to a spiritual experience which occurs in space and time, as well as an ethereal one and one which occurs in the mind. A possible explanation for this difference lies with Clement's claim in the opening chapter of the work: he is the recipient of an oral tradition which has never been recorded, but which he plans to include in the Stromateis. This thesis demonstrates: 1) that Clement is the first Christian writer to adapt this philosophical category into Christian spirituality; 2) the primary purpose of Stromateis is to present the third stage in a spiritual pathway - to reveal θεωρία as the spiritual "meat" for the advanced believer; and 3) to present God and His contact with the Christian as immediate. In a radical move, going against the philosophical setting of the day, Clement presents this Platonic category as a means for the Christian to experience an immanent God.

Master of Philosophy / This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

Freie Univ., Diss.--Berlin, 2002.

No description available.

This thesis is a detailed biographical review of Brother Clement Sithole's life (1). This thesis traces Brother Clement's musical development, his acquisition of indigenous musical knowledge, and his application of this knowledge to his present experience. The purpose behind my enquiry is to further understand the relationship between historical musical practices and the present world experienced by the individual. What is the impact of past indigenous musical performance on the performer? Is indigenous musical performance an effective way for displaced people to alleviate alienation and disjuncture? What problems, complications, and contradictions are encountered by an individual when they attempt to use past musical practices to express their contemporary experience? The thesis is divided into six chapters. Chapter One is a general introduction to the Master's project. Chapter Two highlights Brother Clement's early years, and presents discussions related to the musical practices and cultural ideas acquired during this period. Certain childhood events are analyzed for the impact of these events on Brother Clement's later development. Chapter Three concerns Brother Clement's religious vocation and his liturgical compositions. Brother Clement has composed a number of religious songs for the umakhweyana bow and choral songs for Catholic Mass. In his compositions, he combines the text of the Catholic liturgy with indigenous Zulu musical styles. I discuss how indigenous Zulu music has assisted Brother Clement to create a sense of individuality, place, and belonging within the context of the Catholic community. In addition, I analyze how these compositions have brought a sense of continuity to his life through easing the tension between his commitments to the Catholic Church on the one hand, and to Zulu culture on the other. I also discuss some of the problems, and complications, which Brother Clement encountered when he attempted to introduce these indigenous musical styles to the context of the Catholic Church. In Chapter Four Brother Clement's work as a caregiver within his community is introduced. In the late 1980's, he opened a children's home to cater for needy children from the Vryheid area. Brother Clement is fully responsible for these children. In the home, the children practice and perform indigenous music on a regular basis. Brother Clement has named all of his musical work, including the children's home "Inyoni Kayiphumuli" which translates from isiZulu as "the bird that does not rest." The name is descriptive of his work within the abbey as a monk, and his continuous effort to transmit indigenous Zulu music and heritage to the youth. I focus on the impact of Brother Clement's work, and of the indigenous musical practice on the children from the Inyoni Kayiphumuli Children's Home. I analyze the relationship between the performance of past indigenous Zulu music and the introduction of certain moral values to the youth, and examine the relevance of these values in the context of contemporary South African society, in particular the national HIV/AIDS epidemic. Chapter Five provides a self-reflexive account of the creation of the accompanying video anthology. I discuss the relevance of video documentation in ethnomusicological study and analyze the relationship between the video and the written text presented in the thesis. Chapter Six serves as a conclusion to the thesis and presents an analytical summary of the project outcomes. I highlight the significance of this project and make some suggestions for future scholars undertaking similar research. (1) In this thesis, I use the name Mpimbili when referring to Brother Clement Sithole's formative years, since this is the name given to him at birth. In 1956, Mpimbili was baptized and his name changed to Albert, therefore when referring to these years I use the name Albert. In 1965, Albert takes his first vows as Benedictine brother, and his name changes to Brother Clement. Following this final name change I use his current name, which is Brother Clement. / Thesis (M.A.-Music)-University of KwaZulu-Natal, Durban, 2005.

Master of Philosophy / This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

Zugl.: Innsbruck, Univ., Diplomarbeit, 2004

Thesis (Ph. D.)--University of Missouri-Columbia, 1994. / Permission to use letters at end of volume 2. Typescript. Vita. Includes bibliographical references (leaves 462-595). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1994. / Permission to use letters at end of volume 2. Typescript. Vita. Includes bibliographical references (leaves 462-595). Also available on the Internet.