UMD Theses and Dissertations
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Item “GOD RATHER THAN MEN”: AUSTRIAN CATHOLIC THEOLOGY AND THE ORIGINS OF THE CHRISTIAN SOCIAL PARTY, 1848-1893(2024) Messersmith, Thomas Martin; Rozenblit, Marsha L; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation examines the changes in Austrian Catholic theology from 1848 to 1893 and the role these changes played in the foundation of the Christian Social Party. Due to a series of crises after 1848, the theology of the Austrian Catholic Church underwent several shifts, ultimately settling on the belief that, in a modern world, direct political action from the Church was not only permissible, but imperative to defend the Church against those who would destroy it. This shift in political theology, which allowed for informal and unofficial theological participation in the realm of politics, was necessary to allow for the development of the Christian Social Party. This dissertation focuses primarily on the German-speaking areas of the Habsburg Monarchy, drawing on a variety of sources, including letters, diaries, meeting notes, legal records, newspapers, theological treatises, and contemporary academic journals to track the theological and political discussions that took place in this portion of the monarchy. The first chapter defines “political theology” as it is used in this dissertation (i.e., as a broader concept, positioned in opposition to the more limited and problematic definition of Carl Schmitt) as “the study of the divine as it relates to politics,” and provides an overview of the state of political theology in both Austria and the Catholic Church as a whole before 1848. Chapter two focuses on the shifts in political theology that occurred as a result of the Revolutions of 1848, with the paradigm of political theology ultimately coalescing around the leadership of Joseph Othmar Rauscher and the notion of a negotiated legalistic political compromise. Chapter three examines the Habsburg Concordat with Rome of 1855 and its subsequent undoing through the May Laws of 1868, which tested the new paradigm of political theology. Chapter four follows the arrest, trial, and conviction of Bishop Rudigier of Linz for “disturbing the peace,” following his attempted publication of a pastoral letter that called for Catholics to disobey laws that went against the Concordat and Church teachings. This proved to be a pivot point in the development of political theology of the Habsburg Monarchy, leading now-Cardinal Rauscher to reassess the political theological paradigm. Chapter five follows the proceedings of the First Ecumenical Council of the Vatican and the Kulturkampf in Germany, both of which resulted in the development of a more aggressive political theological paradigm in Austria. Finally, chapter six examines the completion of the shift from the Vormärz political theological paradigm to the paradigm of popular public political theology employed by Karl von Vogelsang in the ideological creation of the Christian Social Party. Ultimately, this dissertation argues that while other factors, such as antisemitism and the dissatisfaction of the lower clergy, as argued by John Boyer, helped to create the Christian Social Party in Austria, a shift in political theology in the Austrian Church and in the Catholic Church as a whole was necessary before the various ideologies of the Christian Social Party could coalesce.Item UNA MODERNIDAD TENSIONADA: LA PRENSA CATÓLICA DE LOS AÑOS 20 EN BUENOS AIRES(2022) Maurette, Sofia; Demaria, Laura; Spanish Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Según la Pew Foundation, Latinoamérica es uno de los continentes más religiosos del mundo, con más del 90% de su población identificándose como parte de una religión organizada. Sin embargo, la religión latinoamericana no ha recibido una atención equivalente a sus números. Mi investigación analiza el campo poco estudiado de la religión latinoamericana a través de la lente de su producción cultural, combinando los campos de los estudios religiosos con los estudios literarios y culturales latinoamericanos. En mi trabajo afirmo que definiciones estrechas sobre la Modernidad e ideas normativas sobre el lugar de la religión en la esfera pública moderna, uno de los postulados de la "teoría de la secularización", han resultado en una lectura sesgada de los movimientos y textos religiosos latinoamericanos, generalmente considerados incompatibles con sus aspiraciones modernas.En mi tesis me centro específicamente en las revistas católicas argentinas y su compromiso con las consecuencias del proceso de modernización del país a principios del siglo XX. Para una de estas revistas, Criterio (1928-presente), esto significó elaborar un lenguaje que adoptó la retórica de los movimientos de vanguardia para atraer a la élite intelectual a la que deseaban convertir. La revista femenina Noel (1920-1939), por otro lado, al contrastar la construcción tradicional de género dentro del catolicismo con las nuevas definiciones de feminidad adoptadas por los movimientos feministas contemporáneos, se convirtió en un espacio seguro para sus autoras en el cual construir y realizar una comprensión del género que, si bien respaldaba explícitamente una cosmovisión patriarcal, reformulaba sutilmente el papel de la mujer dentro de ella.Item DEPARTURE, CONFLICT, AND REBIRTH IN THE MUSICAL LANGUAGE OF FRANZ LISZT(2023) Chen, Tzu-yi; Haggh-Huglo, Barbara H; Gowen, Bradford; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)“Departure” is a starting point to examine how Franz Liszt responded to and expressed his life away from his homeland through the musical language of selected piano works. After his initial departure from Hungary, Liszt’s relocations, changes of occupation, and artistic vocations led to conflict and disillusionment and at the same time reawaken his creative craft and religious calling to God to which his emotional experiences and spiritual calling give witness. While the idea of departure in Liszt’s case often signifies a geographical separation, it also reflects the resulting inner conflict, which fundamentally shaped his choices of compositional tools that he used to express conformity or deviation from musical traditions. This study examines five spiritually influenced programmatic piano works dating from 1839 to 1877 in light of Liszt’s physical and musical departures and demonstrates how he infused an evolving selection of extramusical inspirations into his program music, forms, and harmonic language. It provides a timeline connecting the events of his life and his artistic development. The tension and conflict of his inner life and creativity, after many twists and turns, will be shown to have led to his reconciliation with his Catholic faith, but first led him to compose program music. Liszt encountered a variety of extramusical inspirations around the mid-1830s. His reading of literature, ranging from epic poems to poetry collections influenced him heavily. As a result, he began to conceptualize program music. All five examples discussed here drew inspiration from literary texts, but his symphonic poems were inspired by poetry and painting. After arriving in Weimar in 1848, he developed his program-music concept in his symphonic poems and in important published piano works including revisions of earlier piano works. He learned to be more selective in quoting from a program in his compositions—he typically included poetry to introduce musical scores or as inserted texts in musical scores—and in the mid-1850s, he further defined his thoughts on musical forms and programs in his essay of 1855, On Berlioz’s Harold in Italy. During his subsequent prolonged sojourn in Rome, the unexpected failure of his marriage plan and the loss of his two children brought heightened awareness of destiny and death. These tragic events led him to reduce the numbers of themes expressing different moods. That allowed him to delve into his quoted program more deeply, which he accomplished by experimenting freely with various harmonizations. In his programmatic works that were spiritually influenced, Liszt responded to the tension he felt between his Christian ideals and his worldly desires by the divine and the diabolical in his music, by including quoted literary texts in the score that inspired him, and by using harmonies based on different scales. His musical conception of the divine was inspired by the musical heritage of the Church, which he evoked with pentatonic and hexatonic (whole-tone) scales, Gregorian chant-inspired themes and melodies, and harmonizations based on the Church modes. In his spiritually inspired compositions, Liszt also favored F-sharp major, representing heaven, as his key of choice, and he balanced a selection of consonant or perfect intervals versus dissonant harmonies and diminished intervals based on his readings of spiritually inspired literature. In contrast, his diabolical side is manifested in tritones, diminished seventh chords, chromatic scales, unexpected modulations, and his “diabolical” themes, which were part of his programmatic plan and represented by thematic transformations. This study describes his nuanced compositional progress in his conception and application of new forms—a modified one-movement sonata form, a freely structured passacaglia theme and variation form embedding a recitative and answered by a chorale, a three- act dramatic form—and in his use of increasingly sophisticated compositional techniques. He transformed themes to advance the plot of the quoted poetry, composed melodies to ‘sing’ the syllables of an absent but musically implied and thus quoted text, and even deliberately placed the texts of a Lutheran chorale or from the Latin Bible within his musical scores to make his piano compositions resemble vocal or liturgical choral music. These observations show how Liszt’s physical departures from Hungary, Paris, Weimar, and Rome fundamentally stimulated his artistic growth, in that his resulting life as sinner and saint, and his inner spiritual conflicts awakened both his diabolical nature and his ultimate search for the divine. Liszt succeeded in representing his strongly felt inner departures with deeply informed imagination in his piano music. I performed these five compositions on February 16, 2021, in Gildenhorn Recital Hall at the University of Maryland. Both live and studio recordings of this performance can be found in the Digital Repository at the University of Maryland.Item In the Habit of Resistance: Radical Peace Activism and the Maryland Sisters of Notre Dame de Namur, 1954-Present(2021) Ludewig, Sara; Muncy, Robyn; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Between 1968 and present, members of the Maryland Province of Sisters of Notre Dame de Namur (SNDN) participated in radical peace activity. These sisters cultivated a distinct religious identity and used the all-woman spaces of their order to define, support, and sustain their peace activism. The SNDN illuminate the vital role women religious played in shaping the form and longevity of the Catholic peace movement. Sisters were central to Catholic peace activity, drawing on their religious identity and linking their actions to work sanctioned by the Catholic Church. Between 1954 and 1970, the SNDN responded to changes in the Church and constructed a religious identity based in a Catholic feminist ideology. During the Vietnam War, sisters called upon this religious identity and their order’s support networks to motivate their activism. After the Vietnam War ended, the SNDN continued to cultivate their religious identity and maintained their peace activism within the Church.Item Picturing Devotion in Dutch Golden Age Huiskerken(2018) Harrington, Margaret; Wheelock, Arthur K; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Although the seventeenth-century Dutch Republic was officially Protestant, Catholics made up nearly one-third of the population. To circumvent laws prohibiting public worship, Dutch Catholics celebrated Mass in private homes converted into lavishly decorated huiskerken (house churches). Unfortunately, most huiskerken have been destroyed or poorly documented, and previous scholarship has examined altarpieces out of their historical contexts. This dissertation examines the decorative programs of two well-documented huiskerken: St. Bernardus in den Hoeck in Haarlem, rebuilt in 1638 and part of a large community of lay religious women (kloppen) in Haarlem, and ’t Hart, founded in 1663 in Amsterdam, and preserved today as the Museum Ons’ Lieve Heer op Solder (Our Lord in the Attic). This is the first English-language study of the complete decorative programs of these two huiskerken and their liturgical functions, and I argue that devotional paintings are best understood as pieces of these decorative programs, which included embroidered textiles, illustrated sermon manuscripts, and liturgical silver. I employ reception theory to show that the imagery in these two huiskerken aided the celebration of Mass and meditation of laypeople, especially lay religious women. The examples of St. Bernardus and ’t Hart demonstrate that the decorative programs of huiskerken are largely indebted to lay religious women, who acted as patrons and creators of devotional objects. I prove that crafts like embroidery and inexpensive engravings, commonly considered “low” art, in fact served as creative sources for “higher” art forms like paintings. Furthermore, I conclude that the use of imagery in huiskerken is more closely related to medieval devotional practices than has previously been assumed.Item Redefining Religion through Literature in Nineteenth Century France(2013) Cefalo, Erica Maria; Brami, Joseph; French Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)From the Enlightenment to the end of the nineteenth century, France experienced political change and literary innovation which resulted in new definitions of the relationship between mankind and God. Current research in nineteenth century French literature has discovered a wealth of diverse and provocative topics within this humanist tradition precisely because it was a time of experimentation and change which gave birth to new viewpoints on everything from gender roles and sexuality to socialism and human rights. This dissertation delves into the evolution of an often overlooked element of French life which went hand in hand with social and intellectual innovation: religion and spirituality. Under the Catholic monarchy, France had traditionally relied on religion as the foundation for a collective morality. Enlightenment philosophy challenged traditional religious concepts and France's post-Revolutionary break with the Catholic Church encouraged intellectuals to continue exploring new notions of the divine. This dissertation focuses on a number of spiritual ideas put forward by various writers. While some, such as Chateaubriand, Ballanche and Lamennais famously advocated a return to Catholicism, others like Mme de Staël and Lamartine used their writings as a means for devising a new spiritual direction that would rely less on institutionalized religion and more on the conscience. Advancements in science and in the study of history ushered in a new awareness of the relationship between the past and the future which inspired scientifically minded intellectuals, such as Auguste Comte and Emile Zola, to consider themselves as part of a progressive succession of human beings more dominated by time and society than by any god. By shedding what they saw as outmoded conceptions of the universe, philosophers, poets and novelists alike moved to embrace a more progressive spiritual direction incorporating compassion, empathy and justice as sources for moral truths. These are concepts that have carried over into secular France today as citizens continue to focus on ethical concerns in political debates that touch on topics such as welfare programs, immigration, and secularism.Item Erotic Transgression: Sexualities and Companionship in Graham Greene's Fiction(2011) McHale, Heather Moreland; Auchard, John; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation examines the role of sexuality in Graham Greene's fiction. Instead of compartmentalizing Greene's description of sex as an element of his Catholic perspective, this study reverses this view and argues that sexuality is at the center of Greene's spiritual and moral life. Greene examines facets of sexuality that are often considered perverse or aberrant; his encompassing view of sexual life informs the political, moral, and religious issues of his novels. Key texts include The Man Within (1929), The End of the Affair (1951), The Quiet American (1955), Travels with My Aunt (1969), The Human Factor (1978), and Monsignor Quixote (1982), as well as selected short stories. These texts, as well as Greene's autobiographies and travel writings, reveal a performative, polymorphous, and conflicted sexuality. The chapters of this project discuss sexuality of pain; scopophilia and exhibitionism; the role of fertility and sterility; confession and sexual talk; and the relationships between men. Ultimately, Greene's evolving depictions of sexuality assume a central role in his work and become the most important way that his characters make meaning in a postwar, post-Eliot world. Rather than accept the view of modern life as a wasteland, Greene reinvests it with drama, danger, and existential importance through his exploration of sexuality. His interest in pain, scopophilia, adulterous or triangular relationships, and other forms of unusual sexuality simultaneously normalize these forms by suggesting that they are functional parts of erotic life, and present a radical view of what normative life really is. Rather than arguing that there is no such thing as perversion or aberration, Greene suggests that even ordinary erotic life--inasmuch as there is such a thing--places us in touch with our most existential fears, carries the possibility of creation and the prospect of our own replacement and death, and challenges our metaphysical senses of selfhood and religious belief.Item The Intersection Between Nationalism and Religion: The Burghers of Calais of Auguste Rodin(2009) Lee, Jung-Sil; Hargrove, June Ellen; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)As a republican, Auguste Rodin (1840-1917) conveyed political ideology in his public sculpture, but due to his interest in religion and spirituality, his interpretations differed from contemporary artists. He grafted national myths and symbols onto Catholicism and its rituals to facilitate the sacralization of the Republic. Yet, the tension between Catholicism and republicanism in his work persisted because of his religiosity and his adherence to secularism. Rodin's conflict and compromise between the two fields were not only his personal dilemma, but also that of the Third Republic. This dissertation focuses on how Rodin internalized republican ideology in his public sculpture, and how he appropriated Catholic ritual to promote political messages. In spite of the republican government's constant struggle to separate from Catholic domination, Catholicism was so deeply imbedded in French culture, Rodin recognized this complex paradigm which he co-opted to construct an ideological matrix for his public work. Aware of the powerful social role of religion, the First Republic tried to create a new religion based on deistic tradition, The Cult of Supreme Being, to unite all French people who were severely divided by factions, languages, and regionalism. This precedent tradition further proved the importance of religion's social reach in constructing national sentiment. Based on research in Rodin museums in Paris and Meudon in 2004 and 2006, this study examines how Rodin merged Catholic practices and contemporary social ideologies into the fiber of nationalist identity that served to reconcile political oppositions in France and to heal wounded civic pride after the French defeat in the Franco-Prussian War. Similar to the public sphere proposed by Jürgen Habermas, Rodin's public sculpture suggests ideal democratic communicative field. The Burghers of Calais is a prime example of the republican ideal of heroic martyrdom. At the same time, its overall form, figural arrangement, and poignant expressions invoke the Catholic practice of pilgrimage, drawing the audience into the scene's emotional landscape. This interpretation of The Burghers of Calais as a religious and psychological catharsis paves the way for public sculpture to function as a healing tool to rebuild personal and national subjectivity.Item El Rocío: A Case Study of Music and Ritual in Andalucía(2007-04-26) Poole, W. Gerard; Robertson, Carolina; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Music is central to the processional pilgrimage of El Rocío, which attracts hundreds of thousands of pilgrims to Andalusia, Spain, late each spring. The pilgrimage affords a unique view, in microcosm, of the relationships between music and ritual from both ritual-studies and ethnomusicological perspectives. Based on extensive fieldwork and other research, this dissertation explores the nexus of the Catholic ritual system in Andalusia, flamenco, and the specific music of El Rocío: the Sevillanas Rocieras. That nexus becomes clear through exploration of three particular features of the pilgrimage: (1) the devotional processions that generate a single, focused, collective emotion; (2) the Andalusian musical form called the palo; and (3) the informal musical gatherings called juergas, which take place nightly along the route. Analysis of structural and morphological relationships between ritual, music, and emotion yields surprising realizations about how these three elements come together as embodied aesthetics within a communitas to generate popular culture. Another important finding of this work is the necessity of placing, at the center of the inquiry, the religious experience—including the curious Andalusian phenomenon of the “chaotic” emotional procession and its role within the overall pilgrimage and ritual system. The dissertation concludes with two theoretical positions. The first addresses the process of “emotional structuring” and its role within the musical rituals of El Rocío and, by extension, Andalusia. The second advances a theory of ritual relations with potential application to ritual systems beyond Andalusia. The author presents both positions within an evolutionary framework based on the tenets of biomusicology, neurophenomenology, and Peircean semiotics.Item Making God: Incarnation and Somatic Piety in the Art of Kiki Smith(2006-01-19) Wilkerson, Margaret Randolph; Withers, Josephine; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation examines the ways in which the art of Kiki Smith (b. 1954) implements traditional Catholic material culture and ritual through its propensity, in both subject and materiality, to incarnate spiritual ideas and encourage somatic responses to it. It also considers the ways in which Smith's ambivalent attitudes towards Catholicism inform her work. Born and raised a Catholic, but no longer practicing, Smith values the material imaging of spiritual conditions, and her myriad assessments of the human form affirm her commitment to expressing sacred experience through physical means. However, while embracing Catholicism's incarnational imagination, as particularly manifest in medieval art, Smith also disputes the present-day Church's marked opposition to art that mingles the sacred and profane. The majority of scholarship has positioned Smith's body-based art within the context of the heightening politicization of the American art scene during the late twentieth-century, when arguments over the body and its ideological boundaries dominated political, social, and cultural discourses. While critical to understanding Smith's work and its influences, viewing it from a vantage of body politics and/or feminism alone drastically limits the scope of her work, obscuring the nuanced findings that can be realized when viewing such issues and their dynamic intersections within a framework of spiritual inquiry. Furthermore, this examination of the spiritual significance of Smith's art addresses a significant lacuna in American art scholarship, as scholars recognize the need for further study in the field of the visual culture of American religions. While Smith's work has caught the attention of a wide and far-reaching audience of art critics and scholars, few have thoroughly examined its spiritual dimensions, nor does the literature seriously consider how Smith's work constitutes American religious practice and experience. In articulating the interrelations between a selection of works from Smith's oeuvre and a series of historical and ideological frames, all of which negotiate the recent burgeoning of interest in contemporary art and religion in America and the ensuing debate over art's ownership and public funding, this study develops a fuller, more critical, and more theoretically-driven account of Smith's art production than has previously been assessed.