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"Behold, it is I": A theological int...

Winborne, Sheila Faye.

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"Behold, it is I": A theological interpretation of F. Holland Day's photographic representations of persons of African descent.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Behold, it is I": A theological interpretation of F. Holland Day's photographic representations of persons of African descent./
作者:	Winborne, Sheila Faye.
面頁冊數:	419 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3343.
Contained By:	Dissertation Abstracts International66-09A.
標題:	Theology. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3173764
ISBN:	9780542352232

"Behold, it is I": A theological interpretation of F. Holland Day's photographic representations of persons of African descent.
Winborne, Sheila Faye.

"Behold, it is I": A theological interpretation of F. Holland Day's photographic representations of persons of African descent. - 419 p.

Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3343.

Thesis (Ph.D.)--Harvard University, 2005.

Visual art has embedded theological significance rooted in both the original intent of the artist as creator and the interpreter who engages the art within "ways of seeing" formed by his or her personal experiences and the ways he or she has been trained to visually interpret based upon particular communal teaching. Through an interdisciplinary analysis of photographic works of fine art by the Boston-based artist F. Holland Day (1864--1933), I endeavor to illustrate this correlation, highlight the potential of the visual arts for theological education, and present a practical example of how the theological significance of a visual art form can be interpreted and presented.

ISBN: 9780542352232Subjects--Topical Terms:

516533
Theology.

"Behold, it is I": A theological interpretation of F. Holland Day's photographic representations of persons of African descent.
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500 $a Source: Dissertation Abstracts International, Volume: 66-09, Section: A, page: 3343.
500 $a Advisers: David C. Lamberth; Richard R. Niebuhr.
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520 $a Visual art has embedded theological significance rooted in both the original intent of the artist as creator and the interpreter who engages the art within "ways of seeing" formed by his or her personal experiences and the ways he or she has been trained to visually interpret based upon particular communal teaching. Through an interdisciplinary analysis of photographic works of fine art by the Boston-based artist F. Holland Day (1864--1933), I endeavor to illustrate this correlation, highlight the potential of the visual arts for theological education, and present a practical example of how the theological significance of a visual art form can be interpreted and presented.
520 $a Visual art works have theological and ethical significance in that they play major roles in how ethics, cultures, normative social preferences and beliefs are transmitted. In the United States, on a daily basis we encounter numerous commercial and fine art representations through various visual media. These visual representations have direct influences on our worldviews, which are learned and reinforced through representations rooted in cultural norms. Our worldviews determine: our understandings of God and humanity; how we approach our roles within existing social and economic systems; and, our ideas of hierarchy and justice. For these reasons, although an often-neglected topic, the theological significance of the visual arts in cultural development is an important contemporary issue. The ethical and theological significances of the visual arts are also rooted in awareness that some artists define their vocations as prophetic callings or as capable of prompting spiritual awakenings in themselves and viewers. F. Holland Day was one such artist. Using a quotation from the artist and art theorist John Ruskin, in his 1900 opening address for the "New School of American Photography" exhibition in London, Day described the moment of artistic creation as the "Behold, it is I" moment or as a type of spiritual revelation for the artist.
520 $a Central to this study is my argument that in his triptych Armageddon , Day intended the central figure to be an "authentic" representation of Jesus Christ as the "King of Kings" within the Black Magus tradition in Western art. Attention is given to how Day's photographic approach both critiqued some of the normative political and theological beliefs of his time and reflected some of those beliefs.*
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