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Papers by Cynthia A Hogan

Routledge eBooks, Feb 23, 2023

Written during the interwar years in Europe, when such modernist authors as Joyce, Woolf, Eliot, ... more Written during the interwar years in Europe, when such modernist authors as Joyce, Woolf, Eliot, and Huxley were active, Charles Williams' Christian novels, with their unshakable faith in the power of Christian love, stand in sharp contrast to the disillusioned and disenchanted themes of literary modernism. In this thesis, I offer a close reading of three of Williams' early novels, War in Heaven (1930), Many Dimensions (1931), and The Greater Trumps (1932), and explicate the complex literary imagery Williams uses to convey his simple Christian maxim that Love (i.e., Christ) is the ultimate force at work within an enchanted and animistic universe. Ultimately, I argue that these three novels, known as the "talisman novels," form an intertextual trinity through which Williams evolves his three principles of Substitution, Exchange, and Coinherence into his mature doctrine of Romantic Theology.

This dissertation examines the ways in which new meanings and new categories of knowledge about r... more This dissertation examines the ways in which new meanings and new categories of knowledge about religious artifacts are produced and disseminated by public fine arts museums and academic art history. Through three case studies of artifacts originally produced for religious use, (1) a thirteenth-century medieval Spanish Crucifix in the Memorial Art Gallery at the University of Rochester, New York, (2) an early twentieth-century Iraqi Tik at the North Carolina Museum of Art, and (3) a fourteenth-century Iranian Mihrab at the Metropolitan Museum of Art, I trace the ways through which religious artifacts are reframed as objects of fine art that are collected and exhibited in fine arts museums. As religious artifacts are incorporated into the museum industry, they are encoded with new secularized meanings through the disciplinary lens of academic art history, altering their original religious value and replacing it with aesthetic value. Further, the narratives that fine arts museums tell about their own histories, which immortalize founders, donors, buildings, and collections, eclipse the religious significance of the particular religious artifacts contained within fine arts museums. As the fine arts museum itself comes to be memorialized and valued in religious ways, religious artifacts, in turn, are secularized through the twin processes of aestheticization and musealization. supported me. The patience, and commitment on the part of my dissertation advisor and committee chair, Randall Styers, has allowed me to flourish as a student and scholar. Randall is an incomparable mentor and teacher. I am also grateful to Jonathan Boyarin, John Coffey, David Morgan, and Todd Ochoa who graciously served on my doctoral dissertation committee and offered their time as well as their critical insights and advice as this project progressed. I'd like to thank Richard Viladesau for his insights on Christian art and culture and Carl Ernst for his insights on Islamic art and culture. I'm grateful as well to Gabriel Goldstein for his assistance and guidance related to Judaica in general and the Judaic Art collection at the North Carolina Museum of Art in particular. I'd also like to thank Myra Quick and Tracey Cave in the Department of Religious Studies at the University of North Carolina at Chapel Hill. I'm grateful for the kindness and assistance that I have received during my research from Kathleen NiCastro, Kerry Schauber, Lucy Harper, Nancy Norwood, and Grant Holcomb at the Memorial Art Gallery at the University of Rochester; Natalia Lochnya, Michael Klauke, and Connie Shertz at the North Carolina Museum of Art; and Maryam D. Ekhtiar and Ria Breed at the Metropolitan Museum of Art. I'd like to thank Carolyn Allmendinger and Caroline Wood of the Ackland Museum of Art at the University of North Carolina at Chapel Hill for their helpful insights at the start of this project. Many thanks also to Peter Rosenbaum for his editorial assistance at this project's close. Many hours of editing were graciously offered by Randall Styers, John Coffey, Jonathan Boyarin v and Peter Rosenbaum. Despite their best efforts, the mistakes that no doubt remain are entirely my own. I would not have completed this program or this project without the unwavering support of family and friends, who have so graciously and generously been there for me in countless ways. My deepest thanks to

This article focuses the epistemological processes through which a thirteenth-century Spanish Cru... more This article focuses the epistemological processes through which a thirteenth-century Spanish Crucifix in less than pristine condition transformed from an obscure rural Catholic devotional into an art commodity and celebrated work of medieval art now exhibited at the Memorial Art Gallery of the University of Rochester (MAG) in Rochester, New York. By situating the Spanish Crucifix within the nascent art historical epistemology and museum movement in the late eighteenth to early twentieth century, this article offers a case study in how religious material culture becomes embedded in capitalistic systems as products or commodities, yet suggests the ways that critical religious studies approaches might enhance our understanding of religious material culture in fine arts museums.

Death, Dying, and Mysticism, 2015

Routledge eBooks, Feb 23, 2023

Written during the interwar years in Europe, when such modernist authors as Joyce, Woolf, Eliot, ... more Written during the interwar years in Europe, when such modernist authors as Joyce, Woolf, Eliot, and Huxley were active, Charles Williams' Christian novels, with their unshakable faith in the power of Christian love, stand in sharp contrast to the disillusioned and disenchanted themes of literary modernism. In this thesis, I offer a close reading of three of Williams' early novels, War in Heaven (1930), Many Dimensions (1931), and The Greater Trumps (1932), and explicate the complex literary imagery Williams uses to convey his simple Christian maxim that Love (i.e., Christ) is the ultimate force at work within an enchanted and animistic universe. Ultimately, I argue that these three novels, known as the "talisman novels," form an intertextual trinity through which Williams evolves his three principles of Substitution, Exchange, and Coinherence into his mature doctrine of Romantic Theology.

This dissertation examines the ways in which new meanings and new categories of knowledge about r... more This dissertation examines the ways in which new meanings and new categories of knowledge about religious artifacts are produced and disseminated by public fine arts museums and academic art history. Through three case studies of artifacts originally produced for religious use, (1) a thirteenth-century medieval Spanish Crucifix in the Memorial Art Gallery at the University of Rochester, New York, (2) an early twentieth-century Iraqi Tik at the North Carolina Museum of Art, and (3) a fourteenth-century Iranian Mihrab at the Metropolitan Museum of Art, I trace the ways through which religious artifacts are reframed as objects of fine art that are collected and exhibited in fine arts museums. As religious artifacts are incorporated into the museum industry, they are encoded with new secularized meanings through the disciplinary lens of academic art history, altering their original religious value and replacing it with aesthetic value. Further, the narratives that fine arts museums tell about their own histories, which immortalize founders, donors, buildings, and collections, eclipse the religious significance of the particular religious artifacts contained within fine arts museums. As the fine arts museum itself comes to be memorialized and valued in religious ways, religious artifacts, in turn, are secularized through the twin processes of aestheticization and musealization. supported me. The patience, and commitment on the part of my dissertation advisor and committee chair, Randall Styers, has allowed me to flourish as a student and scholar. Randall is an incomparable mentor and teacher. I am also grateful to Jonathan Boyarin, John Coffey, David Morgan, and Todd Ochoa who graciously served on my doctoral dissertation committee and offered their time as well as their critical insights and advice as this project progressed. I'd like to thank Richard Viladesau for his insights on Christian art and culture and Carl Ernst for his insights on Islamic art and culture. I'm grateful as well to Gabriel Goldstein for his assistance and guidance related to Judaica in general and the Judaic Art collection at the North Carolina Museum of Art in particular. I'd also like to thank Myra Quick and Tracey Cave in the Department of Religious Studies at the University of North Carolina at Chapel Hill. I'm grateful for the kindness and assistance that I have received during my research from Kathleen NiCastro, Kerry Schauber, Lucy Harper, Nancy Norwood, and Grant Holcomb at the Memorial Art Gallery at the University of Rochester; Natalia Lochnya, Michael Klauke, and Connie Shertz at the North Carolina Museum of Art; and Maryam D. Ekhtiar and Ria Breed at the Metropolitan Museum of Art. I'd like to thank Carolyn Allmendinger and Caroline Wood of the Ackland Museum of Art at the University of North Carolina at Chapel Hill for their helpful insights at the start of this project. Many thanks also to Peter Rosenbaum for his editorial assistance at this project's close. Many hours of editing were graciously offered by Randall Styers, John Coffey, Jonathan Boyarin v and Peter Rosenbaum. Despite their best efforts, the mistakes that no doubt remain are entirely my own. I would not have completed this program or this project without the unwavering support of family and friends, who have so graciously and generously been there for me in countless ways. My deepest thanks to

This article focuses the epistemological processes through which a thirteenth-century Spanish Cru... more This article focuses the epistemological processes through which a thirteenth-century Spanish Crucifix in less than pristine condition transformed from an obscure rural Catholic devotional into an art commodity and celebrated work of medieval art now exhibited at the Memorial Art Gallery of the University of Rochester (MAG) in Rochester, New York. By situating the Spanish Crucifix within the nascent art historical epistemology and museum movement in the late eighteenth to early twentieth century, this article offers a case study in how religious material culture becomes embedded in capitalistic systems as products or commodities, yet suggests the ways that critical religious studies approaches might enhance our understanding of religious material culture in fine arts museums.

Death, Dying, and Mysticism, 2015