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Once a keystone for the city of Alexandria, the Old Town Cinema has lost its relevance and spirit. Unable to compete with the prevailing Cineplexes, the Old Town becomes a spectacle of the pornographic: baring all at once, substituting base desire for refined attraction. Out of this disenchantment, an idea for a new cinema emerges- the momentous Cinema. Moments which unfold frame by frame- nurturing anticipation, choreographing the perspectives that the Cineplex has abandoned. A place free of solicitation, free of congestion. An alluring place, revealing itself in measured experiences. / Master of Architecture

This dissertation examines the impact of the filioque on the relationship between the Spirit and the Son, particularly as it pertains to the economy of salvation and the availability of salvation to the unevangelized. More specifically, it argues that rejection of the filioque cannot serve as a means of gaining an independent economy for the Spirit. Chapter 1 presents the thesis and describe the place of both pneumatology and the filioque in contemporary inclusive soteriologies. Chapter 2 surveys the status of the filioque debate in contemporary Western theology as well as the various ways that the filioque is treated by pneumatological inclusivists. Primary attention is given to Clark Pinnock and Amos Yong, who serve as the primary dialogue partners for this dissertation. Chapter 3 examines various Eastern Orthodox theologians, both past and present, and argues that inclusivists have misappropriated Orthodox theology. Specifically, this chapter argues that Orthodoxy has historically viewed the work of the Spirit as inextricably connected with that of the Son in spite of its rejection of the filioque . Chapter 4 addresses the biblical portrayal of taxis in the Trinity whereby the Father gives direction to the works of both the Son and the Spirit. Attention is given to the unity of the trinitarian economy that results from the Father's administration. Chapter 5 argues that pneumatological inclusivists have failed sufficiently to consider significant biblical-theological themes of Scripture and their impact on pneumatology. This is particularly true of eschatology. It further suggests that the pneumatological lens through which some inclusivists interpret Scripture distorts biblical pneumatology. This chapter also offers a brief proposal for understanding pneumatology in light of the Bible's eschatological framework. Chapter 6 summarizes the issues considered in the dissertation and offers some brief closing comments. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

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This thesis is a study of the threshold as a materialization of spatial limit; individually absolute in definition, but often part of a transition of greater scale. With the program of a public library serving as a vehicle for study, the project seeks to explore the role threshold has with the procession in architecture. This concept of spatial limit serves many roles, be it a marker of progress along the procession, a connector and separator between conflicting spatial conditions, or a manifestation of hierarchy within the building. / Master of Architecture

Karl Barth (1886-1968) was an ardent defender of the filioque, the doctrine which states that the Holy Spirit proceeds from the Father and the Son. Generally, scholarly analysis is restricted to Barth's defence of the filioque in the first half volume of the Church Dogmatics. However, this thesis proceeds on the assumption that a fuller understanding of the filioque in Barth must take into account the genesis and development of the doctrine in his earlier thought. A latent dialectical christocentric pneumatology in the second edition of Romans (1921) provides the material theological support for the doctrine, which subsequently appears in a formal discussion of the filioque in the Gottingen Dogmatics (1924). There Barth speaks of the filioque as a theological analogy of the structure of his developing doctrine of the threefold Word of God. As preaching proceeds from revelation and Scripture, so too the Spirit is to be understood as proceeding from the Father and the Son. / Barth continues to defend and apply the filioque in the Church Dogmatics, though the original connection to the threefold form of the Word of God recedes into the background. Instead, the filioque functions systematically both as a theological guarantee of the unity of the work of the Son and the Spirit and as the eternal ground of fellowship between God and humanity. Barth's most mature view of the filioque is construed in dialectical terms whereby the Spirit is understood to be eternally active in uniting and differentiating the Father and the Son. Furthermore, Barth is atypical in the Western filioquist tradition because he refuses to speak of the filioque in terms of a "double procession"; rather, he views the Spirit as proceeding from the common being-of-the-Father-and-the-Son. Barth's stance on the filioque does not result in a form of pneumatological subordinationism, as critics often maintain. Rather, his adoption of the filioque reflects a tendency toward a superordination of the Spirit over Father and Son in a structurally similar way to Hegel's pneumatology. The thesis concludes by pointing to a tension in Barth's thought which in practice tends toward a conflation of economic and immanent Trinity as he reads back into God the problem and confrontation he perceives to exist between God and humanity.

The Procession Fresco at Knossos is a large-scale mural found partially adhering to the walls of the ceremonial entrance to the largest palace in Minoan Crete. Although it was first published over a century ago, scholars rarely engage in critical discussion regarding its imagery, function, and meaning. The fragmentary state, extensive damage by fire, and insufficient publication likely account for the lack of academic attention the painting receives. This study seeks to engage the field in a critical discourse surrounding this painting by contextualizing it using both iconographic and phenomenological methodologies with the aid of digital tools. The first part of this approach reconsiders the imagery of the Procession Fresco in the context of the processional theme in Crete and the wider Aegean as well as the implications of the production date, here suggested as LM II. The second part of the approach explores how the broader architectural setting of the West Entrance System influences the way ancient processional participants interacted with and understood the mural, further investigating Mark Cameron’s theory that the painted figures acted as signposts to ancient processions. Using a new reconstruction of the mural placed within a digital model, this project includes a video walk-through of the ancient processional area included here as attached media. The study results in the finding that the mural moves beyond a synchronistic relationship with the architecture and the ancient processional participants, and instead it both includes and excludes the viewer using its imagery and scale. Alternatively, this mural may depict multiple processions that once took place at the palace. The mode of representation of the mural likely draws upon concepts of collective memory and myth in an attempt by the LM II administration to express authority over the island. / Art History

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The practice of architecture exists because man has sought shelter from the forces of the world he finds himself. It is wonder of this same world that has caused him to shape his rooms from age to age. In every instance, he recreates the world within the world with the materials of that world. It is the marks, the cuts, the juxtaposition, and the joining of these materials in which ornament dwells. It is present wherever man has shaped material for construction. It is a whisper when homogenized, and it is a trumpet blast when varied. This thesis will delve into the making of ornament, and my love for it. My first cognizant encounter with architecture, was my fascination with the sculpted stones of the gothic cathedrals. It was the ornament that caused me to be fascinated and to remember. So for this thesis, I sought to imagine walls worth remembering. I wanted to touch every material with my mind's eye so that it might be a gift for others. I wanted to ornate. It seemed best for the design to be sacred and to be in an urban setting. I also thought that the presence of time and aging might help the thesis. I came to choose the program of a catholic cemetery in Philadelphia. I hoped to explore what meaningful marks and arrangements of materials I could impart to this ephemeral world. / Master of Architecture