Thesis (Ph. D.)--University of Amsterdam, 1903.

Thesis (Ph. D.)--University of Amsterdam, 1903.

This thesis explores the formative influences, development and impact of the theology of David Smith Cairns, Scottish minister, academic and writer, during the high point of British imperial expansion, and at a time of social tension caused by industrialisation. In particular, it describes and evaluates his role in the Church’s efforts to face major challenges relating to its relationships to the different world religions, its response to the First World War, and its attitude to the scientific disciplines that called into question some of its long-standing perceptions and suppositions. Examination of Cairns’s life and work reveals an eminent figure, born into the United Presbyterian Church and rooted in the Church in Scotland, but operating ecumenically and internationally. His apologetics challenged the prevailing assumptions of the day: that science provided the only intellectually legitimate means of exploring the world, and that scientific determinism ruled out the Christian conception of the world as governed by Providence. A major feature of his theology was the presentation of Christianity as a ‘reasonable’ faith, and throughout his life he maintained a particular concern for young people, having endured his own crisis of faith when a student in Edinburgh. He enjoyed a decades long involvement with the Student Christian Movement and the World Student Christian Federation, based on a mutually enriching relationship with one of its leading figures, the renowned American evangelist John Raleigh Mott. As chair of Commission IV of the 1910 World Missionary Conference in Edinburgh, Cairns spearheaded efforts to encourage the Church to redefine its role in relation to the different world religions, and to adopt a fulfilment theology that allowed for a dialogical rather than confrontational model of mission. As leader of a Y.M.C.A. sponsored interdenominational enquiry into the effects of the First World War on the religious life of the nation and attitudes to the Churches, Cairns reported on the Churches’ failure to engage with a large section of the population, and in particular with the young men at the Front. The resulting report offered an important critique of the Church and its vision in the early twentieth century, and provided a call for reform and renewal in Church life, with an emphasis on the need for social witness. The thesis concludes that in these three major areas Cairns provided a prophetic voice for the Church as it entered the twentieth century and faced the challenges of that time.

Thesis (Ph. D.)--University of Iowa, 2000. / Supervisor: Adalaide Morris. Title-page, preliminaries, Certificate of approval, and Table of contents issued in paper (x, 6 leaves ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (35 files, 132 megabytes).

Studien undersöker utvecklingen av afrikansk-amerikansk religion i början på 1800-talet i USA. Materialet som studien är konstruerad på består av en undersökning gjord på sex olika slavar som blev predikanter och pastorer. Undersökningen i Studien svarar om dessa individers yrkesroll och socialisering var av betydelse för det religiösa engagemanget och dess utveckling. Slavarnas yrkens betydelse undersöks med hjälp av Etzionis teori om tvångsorganisationer och med Durkheims arbetsfördelningsteori. Studien avser att bidra med information om hur afrikansk-amerikansk religion utformades i början av 1800-talet.

The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.