2024-03-28T19:09:53Zhttps://research-repository.st-andrews.ac.uk/oai/requestoai:research-repository.st-andrews.ac.uk:10023/21022019-07-01T10:13:52Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hart, Trevor A.
Partridge, Michael Francis
Farlow, Matthew S.
240
2011-12-12T11:33:49Z
2011-12-12T11:33:49Z
2011-11-30
uk.bl.ethos.552652
http://hdl.handle.net/10023/2102
The aim of this project is to investigate the proper response of theology to the Christian God who, as revealed through revelation, is Being-in-act. This project takes seriously the idea posited by Shakespeare, that totus mundus agit histrionem, and upon this stage ‘all the men and women merely players: They have their exits and their entrances; and one man in his time plays many parts.’ If, then, God’s Being is in act, and as so many have deduced, life and death are enveloped within the drama of everyday, then, might it be possible that our theological endeavours would prosper through a dramatic rendering? In light of this, the project seeks to illumine that it is beneficial for both the Church and society, to realise how drama can be, and is, fruitful for our theological endeavours. God is Being-in-act, and through His revelation, He invites humanity to enter into and participate in His action. In light of the aforementioned, then, theology must contend with the implications for its practices, which, as is being argued, are benefited most through a full embrace of the dramatising of theology.
The thesis is situated in the recent movement of our theological endeavours that recognise the profundity of the dramatic and its ability to illuminate God’s action and call to action from theology, the Church and society. Moving forward from the seminal work of Hans Urs von Balthasar, and set forth in the context of the theologies of Balthasar and Karl Barth, this project argues that it is through the dramatising of theology that theology is best equipped to illumine God’s desire for humanity’s participation in His Theo-drama. The dramatising of theology is a natural response to God’s Being-in-act; it is the natural movement of theology’s response to God’s action which calls for an active response on our part. Current examples of today’s theological movement towards the dramatic can be seen in such authors as Max Harris, Trevor Hart, Stanley Hauerwas, Michael Horton, Todd Johnson and Dale Savidge, Ben Quash, Kevin Vanhoozer, Samuel Wells and N.T. Wright. This project hopes to contribute to the movement towards the dramatising of theology.
en
University of St Andrews
The University of St Andrews
The Institute for Theology, Imagination and the Arts (ITIA)
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
http://creativecommons.org/licenses/by-nc-nd/3.0/
Theology
Jesus
Drama
Church
Trinity
Holy Spirit
Doctrine
Balthasar
Barth
God
Christianity
Performance
Theatre
Participation
Revelation
Reconciliation
Humanity
Narrative
Story
Eucharist
Eschatology
Improvisation
Scripture
Love
BT78.F28
Religion and drama
Theology, Doctrinal
Balthasar, Hans Urs von, 1905-1988
Barth, Karl, 1886-1968
The dramatising of theology : humanity’s participation in God’s drama with particular reference to the theologies of Hans Urs von Balthasar and Karl Barth
Thesis
Doctoral
PhD Doctor of Philosophy
THUMBNAIL
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oai:research-repository.st-andrews.ac.uk:10023/2102
2019-07-01 11:13:52.953
St Andrews Research Repository
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oai:research-repository.st-andrews.ac.uk:10023/164522019-07-16T14:17:50Zcom_10023_202com_10023_39col_10023_204
O'Hear, Natasha
Dyer, Rebekah Mary
University of St Andrews. School of Divinity
v, 261, [19] p.
2018-11-14T14:57:30Z
2018-11-14T14:57:30Z
2018-12-07
http://hdl.handle.net/10023/16452
This thesis contends that the image of fire is a multivalent and theologically valuable image for application in British Christian communities. My research offers an original contribution by contextualising the image of fire for Christian practice in Britain, and combining critical observation of several contemporary fire rites with theological analysis. In addition, I conduct original case studies of three Scottish fire rituals: the Stonehaven Fireball Ceremony, the Beltane Fire Festival, and Up-Helly-Aa in Lerwick, Shetland.
The potential contribution of fire imagery to Christian practice has been overlooked by modern theological scholarship, social anthropologists, and Christian practitioners. Since the multivalence of the image has not been fully recognised, fire imagery has often been reduced to a binary of ‘positive’ and ‘negative’ associations. Through my study of non-faith fire rituals and existing Christian fire practices, I explore the interplay between multivalence, multiplicity, and liminality in fire imagery. I demonstrate that deeper theological engagement with the image of fire can enhance participation, transformation, and reflection in transitional ritual experience.
I argue that engaging with the multivalence of the image of fire could allow faith communities to move beyond dominant interpretive frameworks and apply the image within their own specific context. First, I orientate the discussion by examining the multivalence of biblical fire imagery and establishing the character of fire within the British social imagination. Second, I use critical observation of community fire practices in non-faith contexts to build a new contextual framework for the analysis of fire imagery. Finally, I apply my findings to a contextual analysis of existing Christian fire practices in Britain. Throughout, I argue that sensory and imaginative interaction with the image of fire provides a way to communicate and interact with theological ideas; experience personal and communal change; and mediate experience of the sacred.
en
University of St Andrews
The University of St Andrews
Institute for Theology, Imagination and the Arts
Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
Theology
Ritual
Imagery
Image of fire
Rites of passage
Beltane Fire Festival
Beltane Fire Society
Stonehaven Fireball Ceremony
Up-Helly-Aa
Scottish culture
Biblical fire imagery
Eleventh Night bonfires
London 2012 Olympic and Paralympic Games
Temple by David Best
Olympic Flame
Paralympic Flame
Cycle of seasons
Hogmanay
Easter fire
Triduum
Need fire
Neid fire
Theological imagination
Social imagination
Conflagrations
Fire
Flame
Contemporary western culture
British culture
Token-burning
Christian practice
Christianity
Practical theology
Church liturgy
Forest Church
Pentecost
Burning bush
Fire theophany
Sense and affect
Embodied spirituality
Liminality
Multivalence
Community identity
Ritual experience
Community transition
Identity formation
Personal transition
Fire and gender
Masculinity
Firelight procession
Torchlit procession
Fire performance art
Contemporary experience of fire
Sacrifice
Earthed spirituality
Spirituality and nature
Hermeneutics
Ritual studies
BV178.D8
Fire--Religious aspects--Christianity
Fire--Religious aspects
Multivalence, liminality, and the theological imagination : contextualising the image of fire for contemporary Christian practice
Thesis
Doctoral
PhD Doctor of Philosophy
TEXT
RebekahDyerPhDThesis.pdf.txt
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oai:research-repository.st-andrews.ac.uk:10023/16452
2019-07-16 15:17:50.557
St Andrews Research Repository
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oai:research-repository.st-andrews.ac.uk:10023/110512019-03-29T13:41:47Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hopps, Gavin
Swanson, Kj
ix, 265 p.
2017-06-21T15:38:45Z
2017-06-21T15:38:45Z
2017-06-20
http://hdl.handle.net/10023/11051
This thesis seeks to show the ways in which Charlotte Brontë’s fiction anticipates the concerns of contemporary feminist theology. Whilst Charlotte Brontë’s novels have held a place of honor in feminist literary criticism for decades, there has been a critical tendency to associate the proto-feminism of Brontë’s narratives with a rejection of Christianity—namely, that Brontë’s heroines achieve their personal, social and spiritual emancipation by throwing off the shackles of a patriarchal Church Establishment. And although recent scholarly interest in Victorian Christianity has led to frequent interpretations that regard Brontë’s texts as upholding a Christian worldview, in many such cases, the theology asserted in those interpretations arguably undermines the liberative impulse of the narratives. In both cases, the religious and romantic plots of Brontë’s novels are viewed as incompatible. This thesis suggests that by reading Brontë’s fiction in light of an interdisciplinary perspective that interweaves feminist and theological concerns, the narrative journeys of Brontë’s heroines might be read as affirming both Christian faith and female empowerment. Specifically, this thesis will examine the ways in which feminist theologians have identified the need for Christian doctrines of sin and grace to be articulated in a manner that better reflects women’s experiences. By exploring the interrelationship between women’s writing and women’s faith, particularly as it relates to the literary origins of feminist theology and Brontë’s position within the nineteenth-century female publishing boom, Brontë’s liberative imagination for female flourishing can be re-examined. As will be argued, when considered from the vantage point of feminist theology, 'Jane Eyre', 'Shirley', and 'Villette' portray women’s need to experience grace as self-construction and interdependence rather than self-denial and subjugation.
en
University of St Andrews
The University of St Andrews
Charlotte Brontë
Feminist theology
Jane Eyre
Villette
Literature
Patriarchy
Victorian literature
Victorian society
Shirley
Feminist ethics
Spiritual formation
Feminist criticism
Literary criticism
Christian theology
Christian soteriology
Doctrine of Grace
Gender
Sin
Equality
Female empowerment
Female agency
Evangelicalism
Church of England
Romanticism
PR4169.S82
Brontë, Charlotte, 1816-1855--Criticism and interpretation
Brontë, Charlotte, 1816-1855. Jane Eyre
Brontë, Charlotte, 1816-1855. Shirley
Brontë, Charlotte, 1816-1855. Villette
Feminist theology
Grace (Theology) in literature
A liberative imagination : reconsidering the fiction of Charlotte Brontë in light of feminist theology
Thesis
Doctoral
PhD Doctor of Philosophy
THUMBNAIL
KathrynSwansonPhDThesis.pdf.jpg
KathrynSwansonPhDThesis.pdf.jpg
Generated Thumbnail
image/jpeg
3645
https://research-repository.st-andrews.ac.uk/bitstream/10023/11051/4/KathrynSwansonPhDThesis.pdf.jpg
348936a88a6df6be40b75cf9e804d31d
MD5
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LICENSE
license.txt
license.txt
text/plain
2188
https://research-repository.st-andrews.ac.uk/bitstream/10023/11051/1/license.txt
a10becd7ef5358e42635fd6aa9fc69b6
MD5
1
ORIGINAL
KathrynSwansonPhDThesis.pdf
KathrynSwansonPhDThesis.pdf
application/pdf
1980906
https://research-repository.st-andrews.ac.uk/bitstream/10023/11051/2/KathrynSwansonPhDThesis.pdf
967363436c55825cf9b2cf0ad3e52647
MD5
2
TEXT
KathrynSwansonPhDThesis.pdf.txt
KathrynSwansonPhDThesis.pdf.txt
Extracted text
text/plain
616572
https://research-repository.st-andrews.ac.uk/bitstream/10023/11051/3/KathrynSwansonPhDThesis.pdf.txt
1b38fe61e41a66f022f2d210432fd207
MD5
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10023/11051
oai:research-repository.st-andrews.ac.uk:10023/11051
2019-03-29 13:41:47.556
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/37282019-03-29T13:43:00Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hart, Trevor A.
Vander Lugt, Wesley
251
2013-06-19T15:09:08Z
2013-06-19T15:09:08Z
2013-06-25
uk.bl.ethos.574829
uk.bl.ethos.574829
http://hdl.handle.net/10023/3728
Situated within the theatrical turn in Christian theology, this project explores theatre as a model for theological ethics, looking particularly at the dynamic interplay between formation as disponibility (availability) and performance as fittingness (appropriateness). A primary goal is to demonstrate how disponible formation and fitting performance are multi-dimensional realities oriented simultaneously toward the triune God (as playwright-producer-protagonist), Scripture (as transcript and prescript), the church (as characters in company), tradition (as performance paradigms), unbelievers (as audience), and local context (as theatrical environment and place). As a result, this theodramatic approach seeks to integrate theology and ethics, describing and resourcing everyday Christian practice with reflection on the theodrama. In addition, focusing on the dynamic interplay between formation and performance represents an attempt to unify agent-oriented with action-oriented theological ethics within a holistic, theodramatic framework. Finally, through attentive interaction with theatrical theory and practice, this project contributes to a fruitful and growing dialogue between Christian theology and the arts, particularly how theatre provides imaginative, heuristic models for theological ethics pursued within the liberating constraints of confessional Christianity.
en
University of St Andrews
The University of St Andrews
Theodrama
Theological ethics
Formation
Performance
Theology and the arts
Theology and theatre
PN2049.V2
Arts and religion
Theater--Religious aspects
Available actors, appropriate action : theodramatic formation and performance
Thesis
Doctoral
PhD Doctor of Philosophy
THUMBNAIL
WesleyVanderLugtPhDThesis.pdf.jpg
WesleyVanderLugtPhDThesis.pdf.jpg
Generated Thumbnail
image/jpeg
3782
https://research-repository.st-andrews.ac.uk/bitstream/10023/3728/5/WesleyVanderLugtPhDThesis.pdf.jpg
8697d34a2642049fc282c0465c6584db
MD5
5
LICENSE
license.txt
license.txt
text/plain
2224
https://research-repository.st-andrews.ac.uk/bitstream/10023/3728/2/license.txt
640efec0e2404cd505c2580e38ee6d69
MD5
2
ORIGINAL
WesleyVanderLugtPhDThesis.pdf
WesleyVanderLugtPhDThesis.pdf
application/pdf
10490231
https://research-repository.st-andrews.ac.uk/bitstream/10023/3728/3/WesleyVanderLugtPhDThesis.pdf
ebd17fd7c25844792ecfa77253be07c4
MD5
3
TEXT
WesleyVanderLugtPhDThesis.pdf.txt
WesleyVanderLugtPhDThesis.pdf.txt
Extracted text
text/plain
728510
https://research-repository.st-andrews.ac.uk/bitstream/10023/3728/4/WesleyVanderLugtPhDThesis.pdf.txt
e5131a4deb319b59fb23a82ee1411752
MD5
4
10023/3728
oai:research-repository.st-andrews.ac.uk:10023/3728
2019-03-29 13:43:00.998
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/69242019-03-29T13:43:19Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Brown, David
Allen, Roger
Mayr, Christoph David
186
2015-07-07T14:39:35Z
2015-07-07T14:39:35Z
2015-06-23
http://hdl.handle.net/10023/6924
This thesis explores the sacred–secular distinction in the musical life of Austria and Bavaria during the eighteenth and nineteenth century with particular focus on its legitimacy and feasibility. It examines the attempts made by Joseph II of Austria to separate sacred and secular sphere by banning secular music from the church and finds them to have failed. Joseph’s endeavours are compared to those of the Cecilian Movement, which, although similar in their aim, are found to be motivated very differently, yet equally unsuccessful. A study of the rise of the public concert and choral societies points towards new loci for secular music as well as the spiritual experience of music. Finally Anton Bruckner is discussed as an example for filling old and new loci with a successful synthesis of sacred and secular, both in his lived life and his musical composition. Bringing sacred and secular together conforms to the natural state of Christian life in the world and bears the potential for mutual benefit which outweighs the presumed advantages of distinct lines of separation.
en
University of St Andrews
The University of St Andrews
Institute for Theology, Imagination and the Arts
Sacred-secular distinction
Music
Nineteenth century
Bruckner
Church music
Secular music
Sacred music
Cecilianism
Concert
Joseph II
Josephinism
Cecilian movement
Austria
Bavaria
ML246.3M2
Music--Austria--18th century--History and criticism
Music--Austria--19th century--History and criticism
Music--Germany--Bavaria--18th century--History and criticism
Music--Germany--Bavaria--18th century--History and criticism
Music--Religious aspects
The sacred–secular distinction in music during the eighteenth and nineteenth centuries in Austria and Bavaria
Thesis
Doctoral
MPhil Master of Philosophy
THUMBNAIL
ChristophMayrMPhilThesis.pdf.jpg
ChristophMayrMPhilThesis.pdf.jpg
Generated Thumbnail
image/jpeg
3780
https://research-repository.st-andrews.ac.uk/bitstream/10023/6924/5/ChristophMayrMPhilThesis.pdf.jpg
4692e8b51fc7b01a155df729a89ff48f
MD5
5
LICENSE
license.txt
license.txt
text/plain
2224
https://research-repository.st-andrews.ac.uk/bitstream/10023/6924/2/license.txt
640efec0e2404cd505c2580e38ee6d69
MD5
2
ORIGINAL
ChristophMayrMPhilThesis.pdf
ChristophMayrMPhilThesis.pdf
application/pdf
1686453
https://research-repository.st-andrews.ac.uk/bitstream/10023/6924/3/ChristophMayrMPhilThesis.pdf
2627c7e04a57797454fa3700a189f9bd
MD5
3
TEXT
ChristophMayrMPhilThesis.pdf.txt
ChristophMayrMPhilThesis.pdf.txt
Extracted text
text/plain
350574
https://research-repository.st-andrews.ac.uk/bitstream/10023/6924/4/ChristophMayrMPhilThesis.pdf.txt
4c2039f4e77851dce3c6eff5112e6366
MD5
4
10023/6924
oai:research-repository.st-andrews.ac.uk:10023/6924
2019-03-29 13:43:19.263
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/120062023-04-27T10:39:49Zcom_10023_202com_10023_39col_10023_204
Hart, Trevor A.
Matson, Cole C. E.
[6], 252 p.
2017-11-06T15:17:16Z
2017-11-06T15:17:16Z
2016-06-21
http://hdl.handle.net/10023/12006
https://doi.org/10.17630/10023-12006
This thesis explores the use of eucharistic language in the theatre theories of three different mid-20th-century Polish theatre companies--the Reduta Theatre, the Rhapsodic Theatre, and the Laboratory Theatre--especially as expressed in the writings of their respective primary founders: Juliusz Osterwa, Mieczysław Kotlarczyk, and Jerzy Grotowski. The thesis also describes how the Rhapsodic and Laboratory Theatres inherited different elements of the Reduta tradition, and how those two diverging branches of the Reduta's legacy have affected contemporary theatre. In addition, the thesis examines how different 20th-century theatre theorists have related the eucharist to theatre, and evaluates the legitimacy of the claim that religious rituals such as the eucharist can and ought to be replaced by secular theatrical rituals. Special attention is paid to Carl Lavery's three views of the sacred: secular, theological, and a/theological. Alexander Schmemann's conception of the eucharist is used to correct Lavery's presentation of the theological sacred and to argue for the possibility of a Christian sacred theatre, or a "eucharistic theatre." The thesis defines the concept of a eucharistic theatre; demonstrates the extent to which the Reduta, Rhapsodic, and Laboratory Theatres meet this definition; and suggests some ways in which a eucharistic theatre may be created today.
en
University of St Andrews
The University of St Andrews
Reduta Theatre
Rhapsodic Theatre
Laboratory Theatre
Juliusz Osterwa
Mieczysław Kotlarczyk
Jerzy Grotowski
Karol Wojtyła
John Paul II
Eucharist
Theatre
Eucharistic theatre
Ritual
PN2859.P6M28
Theater--Religious aspects--Christianity
Theater--Poland--History--20th century
Reduta (Theatrical company)
Teatr Rapsodyczny
Teatr Laboratorium "13 Rzędów"
Towards a eucharistic theatre : the theatrical theologies of the Reduta, the Rhapsodic Theatre, and Grotowski's Lab
Thesis
Doctoral
PhD Doctor of Philosophy
ORIGINAL
Cole-Matson-PhD-thesis.pdf
Cole-Matson-PhD-thesis.pdf
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Cole-Matson-PhD-thesis.pdf.txt
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THUMBNAIL
Cole-Matson-PhD-thesis.pdf.jpg
Cole-Matson-PhD-thesis.pdf.jpg
Generated Thumbnail
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oai:research-repository.st-andrews.ac.uk:10023/12006
2023-04-27 11:39:49.736
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/65002019-07-01T10:04:11Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hart, Trevor A.
Hearn, Emily K.
xii, 264
2015-04-16T13:33:03Z
2015-04-16T13:33:03Z
2014-12-01
uk.bl.ethos.644832
http://hdl.handle.net/10023/6500
This thesis is concerned with the hypothesis that an intellectual conversation between Christian and Hindu traditions on questions of aesthetic concern may not only prove mutually illuminating as such but also touch obliquely upon matters of religious and theological concern without exciting the defensive response often posed by more familiar strategies of inter-faith ‘dialogue’. It seeks to establish the existence of sufficient conditions for such a conversation within the respective traditions.
The Introduction considers the relevant model of ‘conversation’ distinguishing it from other forms of encounter between religious traditions. It proceeds by identifying three shared concerns: freedom and constraint, aesthetic experience and religious encounters, and the relationship between the material artwork and its significance.
The first three chapters address them by examining various elements in Hindu traditions, including a detailed treatment of the Śilpaśāstras, a comprehensive consideration of the concept of rasa and its relation to religious experience, and an exploration of the role of the senses in scriptural traditions, the importance of Form and the value of the art object as a devotional aid. Finally it outlines the notion darśan, of seeing and being seen by a deity through a material image.
The last three chapters address them by examining the work of Christian theologians including Dorothy Sayers on Art as Idea, exploring bequeathed traditions in iconography and the music of John Tavener, and expounding Tolkien’s category of ‘sub-creation’. It considers the work of David Brown, Richard Viladesau, John Ruskin, Frank Burch Brown and Abraham Kuyper who span a putative spectrum of equating aesthetic and religious experience at one end and strictly demarcating between them at the other end. It explores the relationship of the physical art object with its spiritual significance in the work of Dorothy Sayers, John Carey, Rowan Williams, David Brown and Trevor Hart.
en
University of St Andrews
The University of St Andrews
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
Hindu
Christian
Engagement
Conversation
Rasa
Religious & aesthetic
Spirit & matter
Freedom & constraint
BL65.A4H4
Aesthetics--Religious aspects--Comparative studies
Aesthetics--Religious aspects--Hinduism
Aesthetics--Religious aspects--Christianity
Hinduism--Relations--Christianity
Christianity and other religions--Hinduism
Overhearing : Hindu & Christian perspectives on artistry
Overhearing : Hindu and Christian perspectives on artistry
Thesis
Doctoral
PhD Doctor of Philosophy
THUMBNAIL
EmilyHearnPhDThesis.pdf.jpg
EmilyHearnPhDThesis.pdf.jpg
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ORIGINAL
EmilyHearnPhDThesis.pdf
EmilyHearnPhDThesis.pdf
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EmilyHearnPhDThesis.pdf.txt
EmilyHearnPhDThesis.pdf.txt
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oai:research-repository.st-andrews.ac.uk:10023/6500
2019-07-01 11:04:11.495
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/179902019-06-27T14:55:39Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Elliott, Mark
Saward, John
Maple, Sarah Elizabeth
x, 274 p.
2019-06-27T14:51:43Z
2019-06-27T14:51:43Z
2017-06-20
http://hdl.handle.net/10023/17990
en
University of St Andrews
The University of St Andrews
Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
2020-06-01
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 1st June 2020
BL65.A4M2
Title redacted
Thesis
Doctoral
PhD Doctor of Philosophy
LICENSE
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oai:research-repository.st-andrews.ac.uk:10023/17990
2019-06-27 15:55:39.57
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/287672024-02-13T03:03:32Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Corbett, George
Morley, David Jacob
244
2023-11-27T11:50:06Z
2023-11-27T11:50:06Z
2022-06-16
https://hdl.handle.net/10023/28767
https://doi.org/10.17630/10023-28767
This thesis explores how the Protestant poets Edmund Spenser and John Milton utilize the beautiful as a theological category, and it sets their concerns as Protestant poets in constructive dialogue with the insights of Hans Urs von Balthasar’s theological aesthetics. In Part I, I demonstrate important similarities between the experiential rhythm of Balthasar’s aesthetics and the typical justifications of poetry in Protestant literary theory of the sixteenth and seventeenth centuries: the interrelationship of theological form, attraction, and response (Chapter 1); I also show how Balthasar’s aesthetics provide an account of the connection between the forms of Christ, the Christian, and Christian art which offers a theological grounding for the conception of the Christian poet in such Protestant poetics (Chapter 2). In light of this theological approach, I explore four poems across the careers of Spenser and Milton. In Part II, I examine the power and function of Una’s beauty in Spenser’s narrative of holiness in Book 1 of The Faerie Queene (Chapter 3), and I argue that the climactic, beautiful figure of Sapience in his An Hymne of Heavenly Beautie should be interpreted Christologically rather than philosophically (Chapter 4). In Part III, I consider the beauty of the Christian form in Milton’s Mask Presented at Ludlow Castle, arguing that the Lady’s beauty manifests a paradoxical “strong weakness” central to Milton’s understanding of Christianity (Chapter 5), and I positively reappraise the oft maligned figure of Christ in Paradise Regained in light of Balthasar’s theological retrieval of the concept of Ignatian indifference, while maintaining some fundamental differences between Balthasar and Milton’s doctrines of God such that Milton’s Christ cannot aesthetically manifest the glory of the Father (Chapter 6). The thesis contributes to a revaluation of the history of Protestant theological aesthetics in English literature by illustrating how two of England’s major Protestant poets frequently portray Christian theological realities as beautiful and attractive. It also contributes ecumenically to Balthasar studies by demonstrating how such canonical Protestant poetry can both nuance and be illuminated by Balthasar’s aesthetic insights about the Christian faith.
en
University of St Andrews
The University of St Andrews
Milton, John
Spenser, Edmund
Balthasar, Hans Urs von
Theological aesthetics
Sidney, Philip
Religion in literature
Theology in literature
English poetry
Religious poetry
Literary theory
Christianity and literature
BR115.A8M7
Spenser, Edmund,--1552?-1599--Criticism and interpretation
Milton, John, 1608-1674--Criticism and interpretation
Balthasar, Hans Urs von, 1905-1988
Aesthetics--Religious aspects--Christianity
Theology in literature
"That glorious sight" : theological aesthetics in the poetry of Edmund Spenser and John Milton
Thesis
Doctoral
PhD Doctor of Philosophy
2026-12-08
Thesis restricted in accordance with University regulations. Restricted until 8th December 2026
ORIGINAL
Thesis-David-Morley-complete-version.pdf
Thesis-David-Morley-complete-version.pdf
Complete version
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license.txt
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oai:research-repository.st-andrews.ac.uk:10023/28767
2024-02-13 03:03:32.79
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/165792018-11-30T12:05:34Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hart, Trevor A.
Partridge, Michael Francis
Reinhardt, David Lee
xi, 262 p.
2018-11-29T14:51:54Z
2018-11-29T14:51:54Z
2018-06-26
http://hdl.handle.net/10023/16579
God is revealed through Scripture and the Incarnation as desiring to establish loving relationships with others beyond the Trinity. In the beginning he did so by creating human beings, and making himself, his desires, and his ways known to them. He chose to do so through particular actions and encounters in history which involved various forms of embodied manifestation, and led up to the supreme manifestation: the enfleshing of Jesus. Following on from the acts of Jesus which perfectly manifested God and his ways to the world in the flesh, human creatures created in the image of God and united to Christ are also called and gifted by God to manifest God’s presence, activity, and ways in this world by using their bodies to live faithfully and responsively to the leading of the Spirit.
In order to investigate and demonstrate these claims, Part I of the thesis examines a selection of precedent-setting events chronicled in the Old Testament in which God manifested his presence and ways to people in a variety of circumstances. Part II is concerned with a theological examination of God’s manifestations and the roles people can and should play in these manifestations. It begins by engaging with reflections on the subject from the early church fathers Irenaeus, Athanasius, and Augustine; and, in keeping with the Reformed approach taken in the thesis generally, this is followed by in-depth treatments of Reformer John Calvin and Reformed theologian Karl Barth on the revelation, manifestation, and proclamation of God by people in this world.
Having substantiated the claim that how people live is significant and of concern to God as it can impinge upon his ongoing desire to make himself and his ways known, Part III is designed to provide a fuller understanding of some of the meaning and significance conveyed by bodily expressions in human interactions with an eye towards seeking ways to live more faithfully to God. It identifies the theatre, particularly improvisational theatre, as a laboratory for understanding human living, and so explores the insights of theatre practitioners into everyday living; while also considering the work of philosophers of language and sociologists who do the same. Through this spotlight on the theatricality of life the case is made for attempting to live responsively, in keeping with improvisational actors, in ways that are faithful to God and which can serve to aid those united to Christ as they seek to make God known to others.
en
University of St Andrews
The University of St Andrews
Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
2021-03-15
Thesis restricted in accordance with University regulations. Electronic copy restricted until 15th March 2021
Theatre
Theology
Incarnation
Improvisation
Jesus
Embodiment
Responsiveness
Revelation
Accommodation
Speech act
BV4509.5R45
Christian life
Christian life--History of doctrines
Theater--Religious aspects--Christianity
Theatrical living : responsive lives which manifest God's loving presence and ways
Thesis
Doctoral
PhD Doctor of Philosophy
CC-LICENSE
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2018-11-30 12:05:34.097
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/37552019-11-19T03:06:04Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Brown, David
McCullough, James J.
vii, 231
2013-06-21T08:37:58Z
2013-06-21T08:37:58Z
2013
uk.bl.ethos.574849
http://hdl.handle.net/10023/3755
The general claim of the thesis is that the exercise and development of skills and capacities related to sensory perception can contribute positively to the process commonly referred to as spiritual formation. The dynamics of aesthesis and ascesis can be perceived as existing in a symbiotic
relationship, encouraging and reinforcing the potentials of the other toward the development of a vibrant, discerning Christian spirituality. The arts can help mediate this relationship, and in doing so can be said to catalyze these dynamics.
In order to maximize the catalytic potentials of the arts for lay formation, a definition of art is employed that identifies art as the result of a combination of craft, content and context. Accent is placed on the communicability and cognitive cogency of art in this analysis. In order to argue for the moral and spiritual efficacy of the arts, resources from aesthetics, ethics and human development
theory as appropriated within practical theology are explored. A variant on virtue ethics that emphasizes the morally-formative potential of narrative is highlighted as the correlative to the claim that works of
art can be seen as conveyers through which an ‘inhabitable’ sense of worldview, the truth-claims of which are insinuated effectively or ineffectively according to the relative strength of the artistic
utterance. It is through the inhabitation or indwelling of the story so conveyed that art exerts its spiritually formative influence.
en
University of St Andrews
The University of St Andrews
BR115.A8C8
Spiritual formation
Christianity and art
Senses and sensation--Religious aspects--Christianity
Aesthesis and ascesis : the relationship between the arts and spiritual formation
Thesis
Doctoral
PhD Doctor of Philosophy
ORIGINAL
JamesMcCulloughPhDThesis.pdf
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2019-11-19 03:06:04.423
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/63902023-09-26T02:06:03Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hart, Trevor A.
Partridge, Michael Francis
Starks, Gwendolyn Aileen Pacey
287
2015-03-27T12:10:11Z
2015-03-27T12:10:11Z
2014-06-24
http://hdl.handle.net/10023/6390
https://doi.org/10.17630/10023-6390
In this dissertation, I will be looking at the actor as a craftsperson and artist from
both a secular and a theological standpoint in order to determine if the labour of acting
can be considered both as work, a “proper job”; and as a calling from God, a vocation.
The main questions prompting and shaping this dissertation have arisen out of my own
personal experience as an actor struggling both in the performing arts business and with
my Christian faith. So, the opening chapter will introduce a personal background
approach to the dissertation. It will summarize the experiences that brought me to the
place of asking these two questions. It will also serve as an introduction to the life of
Dorothy L. Sayers, outlining her own life and demonstrating why she is important to our
work as actors. Chapter Two will then cover historical data on Anti-Theatrical
Prejudice, laying the foundation for the ongoing discomfort with and misunderstanding
regarding the actor’s craft. Chapters Three and Four will examine separately our
notions of work (Three) and then of vocation (Four) in order to gain a broader view of
these two terms. At this point, we will have laid the path to reintroduce Dorothy L.
Sayers in Chapters Five, Six and Seven, both as a partner in conversation and as one
who held this broader understanding of the terms work and vocation and applied them
to creative activities, in particular acting. The final chapter will look at acting as
connected to the basic features of life. It, among other things, will revisit some of the
anti-theatre argument; pick up on ideas such as the imagination’s ability to rehearse life;
and will examine some uses of acting as a means of human exploration and social
change. Finally, we will explore the artistry, technique, and craft of the actor, to firmly
establish the place of acting in society as an important task, a “proper job,” and a
Christian vocation.
en
University of St Andrews
The University of St Andrews
Intstitute of Theology, Imagination and the Arts
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
Embargo period has ended, thesis made available in accordance with University regulations.
Acting
Vocation
Work
Sayers
Redemption
Creativity
Imagination
Arts
PN2055.S8
A "proper job" : acting as vocation and work in theological perspective with particular reference to Dorothy L Sayers
Thesis
Doctoral
PhD Doctor of Philosophy
ORIGINAL
Gwendolyn-Starks-PhD-thesis.pdf
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oai:research-repository.st-andrews.ac.uk:10023/198522021-07-26T17:06:21Zcom_10023_202com_10023_39col_10023_204
Wolfe, Judith (Judith E.)
Vaughan, Simon
246 p.
2020-04-24T11:53:00Z
2020-04-24T11:53:00Z
2020-06
http://hdl.handle.net/10023/19852
https://doi.org/10.17630/10023-19852
Standard accounts of C. S. Lewis’s life and work have typically struggled to explain the complexity of the data and its apparent contradictions, and reduce his conversion to an inscrutable metaphysical event of unquestioned validity. Such treatments of Lewis are often constrained by the shared evangelical intent of the scholars concerned. This thesis argues, sympathetically but critically, that sense can more easily be made of Lewis’s life and work in general, and of his conversion and poetry in particular, if they are understood as the outworking of a dynamic psychological process, one bound up with his failure in early manhood to achieve success (in terms of either recognition or creative potency) as a poet. It argues further that after his conversion his creativity was hampered by the metaphysical constraints he placed on it, which were themselves partly an expression of neurotic demands he made on himself as a consequence of the earlier failure. In giving such an account, the thesis avoids the pitfalls of a Freudian analysis (the only kind to which Lewis has so far been subjected). Instead, the methodology used draws on the psychoanalytical theories of Karen Horney as applied within a broader humanist framework.
Horney’s theory posits the imaginative creation in the neurotic person’s mind of an idealized self as a substitute for the real self, which is despised (Chapter 2). The idealized self must then be defended from the incursions of reality by the adoption of various defensive postures (Chapters 3 and 4). These postures, however, offer only partial solutions to the neurotic conflict and are inherently unstable, providing a spurious sense of integration (Chapter 5), as evidenced by the shifting from one solution to another in moments of crisis. Lewis is shown both to have undergone this self-idealization and, to some degree, to have intuited it, without extricating himself entirely from the process (Chapter 6).
en
University of St Andrews
The University of St Andrews
C. S. Lewis
Karen Horney
Erich Fromm
Ludwig Feuerbach
Theology
Psychology
Psychoanalysis
Neo-Freudianism
Neurosis
Anxiety
Selfhood
Imagination
Poetry
Religious conversion
PR6023.E90Z5V2
Lewis, C. S. (Clive Staples), 1898-1963--Psychology
Neuroses
Psychoanalysis
Conversion--Christianity
C. S. Lewis and the neurotic imagination : a Horneyan analysis
Thesis
Doctoral
PhD Doctor of Philosophy
2025-04-16
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 16th April 2025
LICENSE
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St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/178192021-03-04T10:25:29Zcom_10023_202com_10023_39col_10023_204
O' Hear, Natasha
Brown, David
Marples, Carol
322 p.
2019-06-05T13:36:38Z
2019-06-05T13:36:38Z
2019-06-25
http://hdl.handle.net/10023/17819
https://doi.org/10.17630/10023-17819
This dissertation argues that liturgical installation is a sub-genre of installation art. Liturgical installation encompasses many of the same key characteristics as installation art but with the distinction that its main focus is to ‘serve the liturgy.’ I intend to demonstrate that liturgical installation, albeit in very different forms, has existed in Christian worship in Scotland and England since the early 1980s. This was initially on the fringes but latterly also within the institution of the Church.
Despite its presence in worship for nearly forty years, to date, only a very limited amount has been published on the subject of liturgical installation either by academics, ministers or artists. In support of my key claim that liturgical installation is a sub-genre of installation art, Chapter One will explore the history, development and nature of secular installation art. Contemporary secular art installations, in particular the work of Ann Hamilton and Paul Thek, will be examined in detail. This body of work will be drawn upon throughout the dissertation by way of comparison with the liturgical installations under discussion. This will enable exploration of the parallels and differences between installations created for the purely secular art world and those with a liturgical focus.
Chapters Two, Three and Four of the thesis investigate a series of liturgical installations in three different worship expressions: The worship of Wild Goose (1982 - Present Day), the Alternative Worship Movement, with particular focus on the Nine O’ Clock Service (1985-1995), the Late Late Service (ca. 1991-2000) and Soul Circus (2011 - Present Day) and specific instances where liturgical installation has been employed in institutional worship: that of the Presbyterian Parish Church of Renfield St. Stephen’s, Glasgow and the Scottish Episcopal of St. James the Less, Leith, Edinburgh. In addition, in order to compare and contrast liturgical worship with installations made for exhibitional purposes in ecclesial spaces, I examine three case studies of exhibitions at Sheffield, Salisbury and Birmingham Cathedrals. Throughout the thesis, I will explore what this new genre of liturgical installation has brought to the worship of the Church and what it can bring in the future. I will investigate where and for what reasons it has been employed albeit in diverse ways in these very different expressions of contemporary worship. I will conclude by offering some important questions and considerations for the enhanced practice of liturgical installation in the Church.
en
University of St Andrews
The University of St Andrews
Attribution-NonCommercial-NoDerivatives 4.0 International
http://creativecommons.org/licenses/by-nc-nd/4.0/
2021-04-26
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 26th April 2021
Liturgical installation art
Worship
Art
Scotland
England
Wild Goose Resource Group
Alternative Worship
St. James the Less Episcopal Church, Leith, Edinburgh
Peter and Heidi Gardner
Nine O Clock Service
Late Late Service
Soul Circus
Graham Maule
Tassy Thompson
Carol Marples
Jake Lever
Renfield St. Stephens, Glasgow
BV165.M2
Christianity and the arts
Liturgy and art
Installations (Art)--England
Installations (Art)--Scotland
Liturgics
Public worship--Great Britain--20th century
Public worship--Great Britain--21st century
Contrasting examples of liturgical installation art in Christian worship in England and Scotland from the 1980s to the present day
Thesis
Doctoral
PhD Doctor of Philosophy
CC-LICENSE
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oai:research-repository.st-andrews.ac.uk:10023/17819
2021-03-04 10:25:29.993
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/78602021-02-17T10:22:46Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hopps, Gavin
Buchanan, Travis Walker
xvi, 339 p.
2015-11-27T09:32:57Z
2015-11-27T09:32:57Z
2015-11-30
http://hdl.handle.net/10023/7860
The thesis is organized as two sections of two chapters each: the first section establishes a theoretical framework of a broad and reinvigorated Christian sacramentality within which to situate the second—an investigation of the theories and practice of the mythopoeic art of C. S. Lewis and J. R. R. Tolkien in this sacramental light.
The first chapter acknowledges the thoroughgoing disenchantment of modernity, an effect traced to the vanishing of a sacramental understanding of the world, and then explores the history of the sacramental concept that would seek to be reclaimed and reconceived as a possible means of the re-enchantment of Western culture such as in the recent work of David Brown.
An appreciative critique of Brown’s work is offered in chapter two before proposing an alternative understanding of a distinctly Christian and reinvigorated sacramentality anchored in the Incarnation and operating by Transposition. A notion of sacramental vision is developed from the perceptual basis in its classic definitions, and a sacramental understanding of story is considered from a theological perspective on the infinite generativity of meaning in texts, along with recent theories of affect and affordance.
The second half of the thesis expounds the views of mythopoeia held by Lewis and Tolkien in order to show how they are not only compatible with but lead to a sacramental understanding of story as developed in part one, with mythopoeia affording the recovery of a potentially transformative vision of reality, awakening it into focus in distinctly Christian ways (chapter three). The final chapter demonstrates how their mythopoeic theories are exemplified in their art, examining specific ways Till We Have Faces and The Lord of the Rings afford the recovery of a potentially transformative vision of various themes central to them. In closing it is suggested that such a sacramental understanding of story may contribute to the re-enchantment of Western culture, not to mention the re-mythologization and re-envisaging of Christianity, whose significance in these regards has been hitherto mostly unrecognized.
en
University of St Andrews
The University of St Andrews
C. S. Lewis
J. R. R. Tolkien
Imagination
Mythopoeia
Theology and imagination
Theology, imagination and the arts
Theological aesthetics
Theology and literature
Disenchantment
Re-enchantment
Sacramentality
Sacramental theology
Sacrament
Story
Myth-making
Myth
PR6023.E90Z5B83
Truth incarnate : story as sacrament in the mythopoeic thought and fiction of C. S. Lewis and J. R. R. Tolkien
Thesis
Doctoral
PhD Doctor of Philosophy
2025-10-28
Thesis restricted in accordance with University regulations. Print and electronic copy restricted until 28th October 2025
LICENSE
license.txt
license.txt
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2224
https://research-repository.st-andrews.ac.uk/bitstream/10023/7860/2/license.txt
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10023/7860
oai:research-repository.st-andrews.ac.uk:10023/7860
2021-02-17 10:22:46.798
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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oai:research-repository.st-andrews.ac.uk:10023/37322019-07-01T10:05:11Zcom_10023_61com_10023_20com_10023_202com_10023_39col_10023_63col_10023_204
Hart, Trevor A.
Craft, Jennifer Allen
253
2013-06-19T15:31:23Z
2013-06-19T15:31:23Z
2013-06-25
uk.bl.ethos.574839
http://hdl.handle.net/10023/3732
This thesis will explore a theology of place and placemaking that is focused on the participatory role of humans in both creation and redemption, while suggesting the central and paradigmatic role of artistry in our construction of and identification with place. Building on the most recent theological and philosophical engagement with place, this thesis will argue for a theology of place that takes seriously the doctrines of creation and incarnation, focusing on a particularly redemptive understanding of placemaking in the material world. In its study of scripture and theology, it will focus on God’s blessing of people to participate in the making of places, along with the role this human making has in relationship to divine presence and the divine plan for creation and redemption. After developing a theology of place and placemaking more generally, the second half of this thesis will consider the practical, constructive, and transformative capabilities of placemaking as witnessed through the arts. Relying on theological engagement with the arts, it will argue that artistic making of all kinds and attention to place go hand in hand. Exploring a selection of artistic genres, including the photography of Marlene Creates, the quilts of Gee’s Bend, and the literature of Wendell Berry, this thesis will suggest that imaginative and “artistic” placemaking practices can give us a deeper understanding of the creative, redemptive, and transformative work of Christ in Creation, while also elucidating our calling to participate in it.
en
University of St Andrews
The University of St Andrews
Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported
http://creativecommons.org/licenses/by-nc-nd/3.0/
Place
Placemaking
Creation
Redemption
Incarnation
Art
Theology and the arts
Wendell Berry
Quilts
Quilts of Gee's Bend
Marlene Creates
B105.P53C8
Place (Philosophy)
Place (Philosophy) in art
Place (Philosophy) in the Bible
Social ecology--Religious aspects
Making a place on Earth : participation in creation and redemption through placemaking and the arts
Thesis
Doctoral
PhD Doctor of Philosophy
THUMBNAIL
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oai:research-repository.st-andrews.ac.uk:10023/3732
2019-07-01 11:05:11.214
St Andrews Research Repository
Digital-Repository@st-andrews.ac.uk
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