Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 280-312).

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

Thesis (M.S.)--Brigham Young University. Dept. of Physics and Astronomy, 2005. / Includes bibliographical references (p. 115-120).

abstract: Dr. Jerold D. Ottley's twenty-five years leading the Mormon Tabernacle Choir resulted in many distinguished awards and recognitions for the ensemble. Included among these are two Platinum and three Gold records from the Recording Industry Association of America, an Emmy from the Academy of Television Arts and Sciences, and two Freedom Foundation Awards for service to the country. He conducted the Choir at two presidential inaugurations, Ronald Reagan's in 1981 and George H. W. Bush's in 1989, as well as performances at the 1984 Los Angeles Olympics Gala. He presided over eleven international tours to twenty-six countries and crisscrossed the United States for engagements in nearly every region of the country. Despite the awards, commendations, and increased recognition of the Choir, Ottley's greatest contributions were largely internal to the organization. Jerold Ottley is a skilled music educator, administrator, and emissary. Application of these proficiencies while at the helm of the Choir, led to what are, arguably, his three largest contributions: 1) as educator, he instituted in-service training for choir members, raising the level of their individual musicianship, thereby improving the technical level of the entire Choir; 2) as administrator, Ottley created policies and procedures that resulted in a more disciplined, refined ensemble; and 3) as emissary, he raised the ensemble's reputation among the general public and with music professionals. For the general public, he significantly broadened the Choir's repertoire and traveled frequently thereby reaching a wider audience. He secured greater respect among music professionals by inviting many of them to work directly with the Choir. The results were unparalleled. Ottley's twenty-five year tenure with the Choir is reflected in broader audiences, increased professional acceptance, added organizational discipline, and unprecedented musical proficiency. It is a notable legacy for a man who reportedly never felt comfortable as director of the Mormon Tabernacle Choir. / Dissertation/Thesis / D.M.A. Music 2011

The aim of this thesis is to explore Gregory of Nyssa’s tabernacle imagery, as presented in Life of Moses 2.170-201. This part of Life of Moses has suffered from relative neglect compared to the scholarly attention conferred on Gregory’s apophatic darkness imagery. For the purposes of this study, Life of Moses 2.162-201 has been divided into nine consecutive sections, given the following headings: Darkness; The tabernacle ‘not made with hands’; Christological interpretation; Divine names; Heavenly powers; The earthly tabernacle; Heavenly and earthly worship; The holy of holies; The priestly vestments. Each section is analysed in the same way. Firstly, Gregory’s text is examined, and his biblical sources identified. Secondly, there is a presentation of relevant passages in the work of his Alexandrian predecessors – Philo, Clement and Origen. Thirdly, there is a discussion of the ways in which Gregory’s fourth century theological context has influenced his interpretation, often causing him to differ from his predecessors. It is under this heading of ‘theological context’ that contemporary scholarly discussions about Gregory are most in evidence. Fourthly, a heuristic comparison with a range of heavenly ascent texts from the Hellenistic and Late Antique worlds is undertaken. It is this methodology of heuristic comparison which is the experimental aspect of the thesis. The aim is not to prove influence, but to use heavenly ascent texts as a foil, in order to shed new light on Gregory’s imagery. Does Gregory’s interpretation of the tabernacle come into focus when viewed through the lens of heavenly ascent? In order to answer this question, the scholarship on heavenly ascent texts is mined for new ways of looking at Life of Moses. The conclusions begin by reviewing the methodology. It is argued that although many of the themes explored stem from the biblical text, and occur in Gregory’s Alexandrian predecessors, the richness of possibilities they provide, and therefore the choices made by Gregory, only become apparent when his work is compared and contrasted with a wide range of other heavenly ascent texts. Even in the case of a fourth century Christian work heavily influenced by Platonism, attending to the Jewish matrix of Christian mysticism pays dividends. The conclusions continue by listing the key ideas discovered in Life of Moses 2.170-201. They end by discussing the relationships between mysticism, theology and politics in Gregory’s tabernacle imagery. It is argued that Gregory holds all three together. This is typical of heavenly ascent texts, which combine descriptions of religious experience with claims to authoritative knowledge. For Gregory, the high point of Moses’ ascent into the darkness of Mount Sinai is the mystery of Christian doctrine. The heavenly tabernacle is a type of the heavenly Christ. This mystery is beyond intellectual comprehension, it can only be grasped by faith; and only the select few, destined for positions of responsibility, should even attempt to do so. But its benefits are available to all through the community’s worship in the earthly tabernacle. Anyone can aspire to wear an airy, angelic robe by living a life of virtue, in which faith and practice go hand in hand.

The objective of this dissertation is to explore the meanings, significance, and functions of sacred space developed in the Hebrew Bible. A wide range of categories, models, and geographical forms of biblical sacred space will be presented: the cosmos, Mt. Zion, the Land of Israel, Jerusalem, the Temple, the Tabernacle, sanctuaries and sacred sites, the high places, and the micro-scales of cultic installations, such as the Ark, altars, sacred poles, and sacred pillars. From a biblical point of view, the two realms of the sacred and the profane co-exist. The sanctity of a place can be restricted and intensified to a certain zone of space or micro-scales of cultic installations. It can also be extended to a wider scope of space, such as the entire sanctuary, the entire city, the entire land, or the cosmos. These models of sacred space used in the biblical texts reflect the manifestation of the specific worldview that is governed by the concept of holiness and the particular concepts of God associated with the notions of divine dwelling presence, divine glory, and divine rest. The Israelite model of sacred space emphasized in a particular biblical text can also represent related transformations of the functions, meanings, and significance of the concepts of sacred space. For instance, the establishment of the Temple of Solomon in Jerusalem signifies the transformation of the legitimate place of worship in ancient Israelite religion, from a dynamic model to a permanent, static one. Its meanings, significance, and functions are now contingent upon the fixed location in Jerusalem. This dissertation provides evidence of the plurality of meanings, significance, and functions of the concepts of sacred space in the Hebrew Bible. This exploration of the biblical concepts of sacred space includes a discussion of various issues: defining forms, sources of sanctity, rules of access and boundaries, and contexts and uses of biblical sacred space. The exploration also includes consideration of the distinctive intentions of various biblical writers and their perspectives on geographical and spatial realities.

Habilitationsschrift--Mainz. / Includes indexes. Includes bibliographical references (p. [175]-192).

Les voiles du Sacrifice d’Iphigénie de Timanthe et du Rideau de Parrhasios problématisent le regard antique et font naître un au-delà qui stratifie la représentation. Le silence qu’ils introduisent dans l’image génère une activité « phantastique » fondatrice d’une poéticité visuelle. La Pala di San Marco adapte à un espace pictural unifié la structure du Tabernacle des Linaioli déjà empruntée au Tabernacle mosaïque. Séparant des espaces de sacralité croissante qui font écho à la lecture exégétique en vigueur au Couvent, les voiles y épaississent l’espace et le sens de l’œuvre, exigeant à chaque étape une transformation du regard. L’exégèse identifiant Marie à l’Arca Dei, le XVe siècle développe autour d’elle diverses formules tabernaculaires susceptibles d’annexer l’espace profane du spectateur. Au fond des Annonciations du Quattrocento le voile révélait le thalamus virginis, ventre métonymique de la Vierge. Cette symbolique s’effrite quand la scénographie se charge de l’évocation du Mystère. Le voile prend des accents métapicturaux ou révèle le vulgaire, la vanité, l’intime, la chair. Il les sacralise alors comme il avait sacralisé l’Arca Dei ou la figure de l’empereur. Aléatoire, il ouvre les œuvres à de surprenantes transgressions, comme l’érotisation des Virgo lactans. Les métaphores visuelles se multipliant pour évoquer ce qui pose problème à la représentation, le voile finit par prendre en charge l’image de ce qu’il cache. L’émergence du caché s’assume comme projet de l’œuvre. Contournant le précepte albertien, ce commerce avec l’invisible relie le motif à l’antique approche, ravivée par La Pléiade, d’une poésie qui n’a d’autre raison que d’en-visager l’ineffable. / Veils in Sacrifice of Iphigenia by Timanthes and Curtain by Parrhasius signify a problematisation of the Antiquity’s gaze and engender a hereafter which stratifies representation. The silence these works introduce within the image generates a phantastic activity, the founding basis of a visual poetry.Pala di San Marco adapts to a unified pictorial space the structure of Tabernacolo dei Linaioli already borrowed from the Tabernacle of Moses. Separating spaces of increased sacredness and in accordance with the exegetic reading, veils thicken the space and the meaning of the masterpiece, demanding at each stage a transformation of the viewers’ gaze.The exegesis identifying Marie to Arca Dei, the 15th century develops around her numerous forms which are epigones of the Tabernacle’s and become liable to encompass the viewer’s profane space. Deep within Annunciations of the Quattrocento, the veil revealed the thalamus virginis, metonymical belly of the Virgin Mary. This symbolism becomes eroded when the stage design evokes Mystery. The veil conveys metapictorial allusions or reveals vanity, intimacy, flesh. It « sacralizes » them as it did of Arca Dei or of the emperor. Unpredictably, all works become opened up to surprising transgressions, such as the eroticisation of Virgo lactans. Multiple visual metaphors alluding to what is problematic about representation, the veil supports the image of what it is hiding. The surfacing of the concealed becomes the artwork in itself. Skirting around Alberti’s precepts, this trade with the invisible connects the motif with the ancient concept, revived by La Pléiade, of a poetry whose motive is no other than to en-visage the ineffable.

No description available.

We examined tree rings from Douglas-fir (Pseudotsuga menziesii var. glauca (Beissn.) Franco) timbers in the Salt Lake Tabernacle, constructed from 1863–1867 in Salt Lake City, Utah. A seismic upgrade to the Tabernacle initiated in 2005 required the replacement of wooden timbers with steel beams. Our objectives were to 1) determine cutting dates for the timbers to identify logs that may have been salvaged from previous structures, and consequently would have greater historical significance, 2) identify the species and provenance of the timbers, and 3) develop a chronology that could extend or strengthen the existing tree-ring record for environmental and historical applications in northern Utah. We built a 162-year floating chronology from 13 cores and 15 cross-sections, crossdated visually using skeleton plots and verified statistically with COFECHA. Statistically significant (p , 0.0001) comparisons with established chronologies from northern Utah indicated that the Tabernacle chronology extends from 1702–1862. Cutting dates ranged from 1836–1863, with most in 1862 or 1863 and a smaller cluster around 1855. The broad range of cutting dates suggests that some of the timbers were used in previous structures, and that some trees were dead before they were cut. This study provides valuable information for the preservation of historical materials, and increases the sample depth of existing chronologies during the 18th and 19th Centuries.