Browsing by Subject "Church"
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Item A campus religious center for Texas Technological College(1963-05) Narmour, Forrest R.Item Branding church: The role of corporate branding imagery in mainline denominations(2012-05) Shirley, Trey; Fehr, Dennis; Chua, Kevin; Erler, Carolyn; Johnson, Stephen; Zugay, Brian C. R.This dissertation considers the role of branding imagery in framing contemporary Mainline Protestant religious practice and definitions of identity. Throughout, it analyzes the implications of what happens when a religious body reconfigures its identity, visually, as a corporate brand. To address this point, the study considers issues of: (1) the origins of religious branding imagery, (2) authorship and ownership of commercial imagery, (3) legal registration and management of image use, (4) image parodies, re-appropriations, commercial applications, and artistic creations based on denominational branding images, and (5) the merging of the sacred and secular spheres in America. To get at these issues more directly, this study utilizes a case study approach focusing on three Mainline Protestant denominational visual identities developed in the latter half of the twentieth century. The images that serve as the crux of this project are the Christian Church (Disciples of Christ) “Chalice” symbol, the Presbyterian Church (U.S.A.) Corporate Seal and the United Methodist Church “Cross and Flame” insigne.Item Heavy Metal Humor: Reconsidering Carnival in Heavy Metal Culture(2013-06-05) Powell, Gary BottsWhat can 15th century France and heavy metal have in common? In Heavy Metal Humor, Gary Powell explores metal culture through the work of Mikael Bakhtin?s ?carnivalesque theory.? Describing the practice of inverting commonly understood notions of respectability and the increasing attempts to normalize them, Bakhtin argues that carnivals in Francois Rabelais? work illustrate a sacrilegious uprising by the peasant classes during carnival days against dogmatic aristocrats. Powell asserts that Rabelais? work describes cartoonish carnivals that continue in as exaggerated themes and tropes into other literary styles, such as comedy and horror that ultimately inform modern-day metal culture. To highlight the similarities of Bakhtin?s interpretation of Rabelais? work to modern-day metal culture, Powell draw parallels to between Bakhtin?s carnivalesque theory and metal culture with two different, exemplary ?humorous? metal performances, GWAR and Anal Cunt. Powell chooses ?humorous? metal groups because, to achieve their humor, they exaggerate tropes, and behaviors in metal culture. To this end, Powell explores metal culture through GWAR, a costumed band who sprays their audience with fake body fluids as they decapitate effigies. He points out examples of Rabelais? work which Bakhtin uses to describe carnivalesque tropes, and threads them to modern-day metal culture. Powell then indicates how carnivalesque performances amplify with Anal Cunt, a ?satirical? hateful, grindcore group. In the band?s performance which is both serious and humorous at once, Anal Cunt draws on several carnivalesque behaviors. To dissect this band?s performance, Powell augments Bakhtin?s carnivalesque theory with Richard Schechner?s theory of ?dark play? and Johan Huizinga?s ?play communities? to more describe and illustrate why some aspects of modern-day metal culture do not match Bakhtin?s theory based on medieval French literature. However, carnivalesque humor becomes ambiguous and social and political problems arise as it escalates. As disrespectability is promoted, social and political tensions surface. Countering Bakhtin?s utopian notion of carnivalesque uprising, Powell highlights how socio-political turmoil presents itself in carnivalesque performance by referring to examples of confusion and concern regarding racism and sexism, something left unexplored in Bakhtin?s work. Powell suggests expanding and modernizing Bakhtin?s carnival could open pathways toward solutions to carnival culture?s socio-political ills.Item Hispanic churches in the Pecos Valley: History, architecture and recommendations(1988-12) Yrigoyen, Maria E.Item Re-creating the sacred: Romantic aesthetics in sacred contexts in the late 19th century(2006-05) Berry, James B.; Smith, Christopher; Dickson, John H.; Hobbs, Wayne C.The late nineteenth century saw a widening in the gap between the style of music written in a sacred context and that written in a secular context. While in previous time periods music written in a sacred context could be stylistically similar to that written in a secular context, the late nineteenth century saw the establishment of highly contrasting expectations, goals, and stylistic characteristics for sacred as opposed to secular idioms. Composers who desired to write in both sacred and secular idioms were thus forced to find a way to bridge this stylistic gap. The strategies which each composer chose to employ illuminate both specific characteristics of that composer’s music and also the overall contexts in which sacred music was written in the nineteenth century. This study attempts to explore this thesis through the sacred works of Franz Liszt, Johannes Brahms, and Anton Bruckner.