The history of art has always been the history of humanity; therefore when the nineteenth century spilled into the twentieth and vast tidal changes were occur[r]ing in the fields of science, politics, and religion, the arts both reflected and reinforced these alterations. The most significant result of the tides of change from a lingering pre-modern world to a thoroughly modern world was the solidification of an interior individual-centered world view. Abandoned was the traditional notion of such external polarities as Heaven and Hell, Malignant and Benign, Creation and Destruction, to be replaced by an ambivalent creature fostering dual extremes within one skin. Man became God and Devil both and, as such, was the master and victim of his own existence and absolutely accountable for his own redemption or fall. Art gave a face to this warring dualism of the spirit in the works of Sir Edward Burne-Jones and Edward Munch. The former exemplified chaste spiritual preoccupation, the latter the horrors of temporal existence, and both complimented and damned one another in the paradoxical play of opposites.
","abstract_html":"<p>The history of art has always been the history of humanity; therefore when the nineteenth century spilled into the twentieth and vast tidal changes were occur[r]ing in the fields of science, politics, and religion, the arts both reflected and reinforced these alterations. The most significant result of the tides of change from a lingering pre-modern world to a thoroughly modern world was the solidification of an interior individual-centered world view. Abandoned was the traditional notion of such external polarities as Heaven and Hell, Malignant and Benign, Creation and Destruction, to be replaced by an ambivalent creature fostering dual extremes within one skin. Man became God and Devil both and, as such, was the master and victim of his own existence and absolutely accountable for his own redemption or fall. Art gave a face to this warring dualism of the spirit in the works of Sir Edward Burne-Jones and Edward Munch. The former exemplified chaste spiritual preoccupation, the latter the horrors of temporal existence, and both complimented and damned one another in the paradoxical play of opposites.</p>","abstract_has_math":false,"creators":["Andres-Cunningham, Allie"],"institution":null,"degree_name":"Master of Arts (MA) in College Instruction","degree_level":"Thesis: EWU Only","degree_discipline":"Art","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1995,"date_issued":"1995-01-01T08:00:00Z","date_published":"1995-01-01T08:00:00Z","updated_at":"2026-07-24T02:12:46Z","subjects":["Modern Art and Architecture","Theory and Criticism"],"languages":[],"rights":["Access perpetually restricted to EWU users with an active EWU NetID"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://dc.ewu.edu/theses/812","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Andres-Cunningham, Allie"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["Art"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis: EWU Only"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA) in College Instruction"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Modern Art and Architecture","Theory and Criticism"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["Access perpetually restricted to EWU users with an active EWU NetID"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://dc.ewu.edu/theses/812"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The history of art has always been the history of humanity; therefore when the nineteenth century spilled into the twentieth and vast tidal changes were occur[r]ing in the fields of science, politics, and religion, the arts both reflected and reinforced these alterations. The most significant result of the tides of change from a lingering pre-modern world to a thoroughly modern world was the solidification of an interior individual-centered world view. Abandoned was the traditional notion of such external polarities as Heaven and Hell, Malignant and Benign, Creation and Destruction, to be replaced by an ambivalent creature fostering dual extremes within one skin. Man became God and Devil both and, as such, was the master and victim of his own existence and absolutely accountable for his own redemption or fall. Art gave a face to this warring dualism of the spirit in the works of Sir Edward Burne-Jones and Edward Munch. The former exemplified chaste spiritual preoccupation, the latter the horrors of temporal existence, and both complimented and damned one another in the paradoxical play of opposites.
"]},{"key":"dc:title","label":"Title","values":["Persephone in Erebus: a modern paradigm"]}]}],"canonical_facts":{"dc:creator":["Andres-Cunningham, Allie"],"dc:description.abstract":["The history of art has always been the history of humanity; therefore when the nineteenth century spilled into the twentieth and vast tidal changes were occur[r]ing in the fields of science, politics, and religion, the arts both reflected and reinforced these alterations. The most significant result of the tides of change from a lingering pre-modern world to a thoroughly modern world was the solidification of an interior individual-centered world view. Abandoned was the traditional notion of such external polarities as Heaven and Hell, Malignant and Benign, Creation and Destruction, to be replaced by an ambivalent creature fostering dual extremes within one skin. Man became God and Devil both and, as such, was the master and victim of his own existence and absolutely accountable for his own redemption or fall. Art gave a face to this warring dualism of the spirit in the works of Sir Edward Burne-Jones and Edward Munch. The former exemplified chaste spiritual preoccupation, the latter the horrors of temporal existence, and both complimented and damned one another in the paradoxical play of opposites.
"],"dc:identifier":["https://dc.ewu.edu/theses/812"],"dc:rights":["Access perpetually restricted to EWU users with an active EWU NetID"],"dc:subject":["Modern Art and Architecture","Theory and Criticism"],"dc:title":["Persephone in Erebus: a modern paradigm"],"thesis:degree_discipline":["Art"],"thesis:degree_level":["Thesis: EWU Only"],"thesis:degree_name":["Master of Arts (MA) in College Instruction"]},"updated_at":"2026-07-24T02:12:46Z"}