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An Examination of How Classical Ball...

Paulus, Joel W.

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An Examination of How Classical Ballet as an Embodied Art Form Instantiates and Exemplifies Transcendent Truths Consistent with a Christian Vision of Reality.

Record Type:	Electronic resources : Monograph/item
Title/Author:	An Examination of How Classical Ballet as an Embodied Art Form Instantiates and Exemplifies Transcendent Truths Consistent with a Christian Vision of Reality./
Author:	Paulus, Joel W.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	263 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-11, Section: A.
Contained By:	Dissertations Abstracts International80-11A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13878145
ISBN:	9781392113165

An Examination of How Classical Ballet as an Embodied Art Form Instantiates and Exemplifies Transcendent Truths Consistent with a Christian Vision of Reality.
Paulus, Joel W.

An Examination of How Classical Ballet as an Embodied Art Form Instantiates and Exemplifies Transcendent Truths Consistent with a Christian Vision of Reality. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 263 p.

Source: Dissertations Abstracts International, Volume: 80-11, Section: A.

Thesis (Ph.D.)--Southeastern Baptist Theological Seminary, 2019.

This item must not be sold to any third party vendors.

In this dissertation the author examines how classical ballet, as an embodied art form, reflects and exemplifies transcendent truths consistent with a Christian vision of reality. Classical ballet embodies the transcendentals of goodness, truth, and beauty made manifest in three different ways: ontologically, epistemologically, and ethically (axiologically). Through these categories, the researcher will investigate how the art form of classical ballet participates in the transcendentals, gesturing beyond itself. The first chapter introduces a view of natural theology espoused by Alister McGrath and how from this position classical ballet will be studied through theological-philosophical categories. A historical survey of the development of classical ballet concludes chapter one with consideration of the historical relationship between Christianity and dance performance. Chapter two offers a brief overview of classical ballet concerning ontology, suggesting that metaphysical realism and a hylomorphic view of the human being is consistent with the Christian doctrine of creation and anthropology. Attention is given to the Aristotelian-Thomist notion of causality regarding the existence of classical ballet performance in the world. The third chapter treats classical ballet as embodied epistemology in two parts. The first part considers the roles of ritual and liturgy to an embodied knower based on the liturgical anthropology of James K. A. Smith. The second part explores how classical ballet operates as a liturgy as dancers train and rehearse for a performance. Chapter four examines ethical relationships classical ballet within the creation order from two perspectives. First, horizontal relationships will be examined between dancers in a company, focusing greatly on male and female relationships in classical dance. Second, vertical relationships will be examined in the hierarchy of a company and the governing principles of the art form in exploring an analogy offered by Helmut Thielicke. The fifth, and final, chapter recapitulates how goodness, truth, and beauty are recognizable in classical ballet through the categories of ontology, epistemology, and ethics. Christian doctrines of creation, sin, and redemption are considered in juxtaposition with the principles of classical ballet concluding in how classical ballet performance is indicative of a Christian vision of reality.

ISBN: 9781392113165Subjects--Topical Terms:

610547
Dance.

An Examination of How Classical Ballet as an Embodied Art Form Instantiates and Exemplifies Transcendent Truths Consistent with a Christian Vision of Reality.
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520 $a In this dissertation the author examines how classical ballet, as an embodied art form, reflects and exemplifies transcendent truths consistent with a Christian vision of reality. Classical ballet embodies the transcendentals of goodness, truth, and beauty made manifest in three different ways: ontologically, epistemologically, and ethically (axiologically). Through these categories, the researcher will investigate how the art form of classical ballet participates in the transcendentals, gesturing beyond itself. The first chapter introduces a view of natural theology espoused by Alister McGrath and how from this position classical ballet will be studied through theological-philosophical categories. A historical survey of the development of classical ballet concludes chapter one with consideration of the historical relationship between Christianity and dance performance. Chapter two offers a brief overview of classical ballet concerning ontology, suggesting that metaphysical realism and a hylomorphic view of the human being is consistent with the Christian doctrine of creation and anthropology. Attention is given to the Aristotelian-Thomist notion of causality regarding the existence of classical ballet performance in the world. The third chapter treats classical ballet as embodied epistemology in two parts. The first part considers the roles of ritual and liturgy to an embodied knower based on the liturgical anthropology of James K. A. Smith. The second part explores how classical ballet operates as a liturgy as dancers train and rehearse for a performance. Chapter four examines ethical relationships classical ballet within the creation order from two perspectives. First, horizontal relationships will be examined between dancers in a company, focusing greatly on male and female relationships in classical dance. Second, vertical relationships will be examined in the hierarchy of a company and the governing principles of the art form in exploring an analogy offered by Helmut Thielicke. The fifth, and final, chapter recapitulates how goodness, truth, and beauty are recognizable in classical ballet through the categories of ontology, epistemology, and ethics. Christian doctrines of creation, sin, and redemption are considered in juxtaposition with the principles of classical ballet concluding in how classical ballet performance is indicative of a Christian vision of reality.
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