To see the other types of publications on this topic, follow the link: John Barth.
Dissertations / Theses on the topic 'John Barth'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 38 dissertations / theses for your research on the topic 'John Barth.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Vidal, Véronique. "John Barth : approche du personnage romanesque." Toulouse 2, 1987. http://www.theses.fr/1987TOU20085.
Full textAbstract:
Le personnage romanesque ne peut etre considere comme un a priori, il est le produit d'une construction textuelle. Dans les six premieres oeuvres de hohn barth, la construction du personnage s'effectue selon divers parametres: le nom propre, une classe d'objets a la fois propres et exterieurs au personnage: le masque, le role, l'autre qu'il s'agisse d'un autre personnage, contraire et complementaire, ou du personnage lui-meme considere comme un autre a atteindre au bout d'un voyage entrepris sur l'eau. Le nom propre, souvent objet d'une quete, est double ou multiple, dans tous les cas, fuyant. Destabilise, il est cependant le signe qui infere l'identite ontologique du personnage et qui permet aussi sa survie a la surface du texte. Le masque, unique, ou le role, singulier, est la condition d'existence du personnage: il n'y a rien derriere le masque, sans role, le personnage est frappe d'immobilisme. Cependant, le role demeure hors d'atteinte: lorsque confronte a la rupture de la symbiose gemellaire, c'est en vain que le personnage cherche par la fusion avec le role a retrouver l'unite perdue. L'autre, autre personnage, est inaccessible: leur relation se construit sur le modele de l'anneau de moebius, sur le paradoxe: leur point de coincidence est toujours differe. Enfin, le voyage sur l'eau au bout duquel le personnage tente de se recontrer, regenere, est une parodie: il ne debouche que sur l'echec. Le personnage se definit donc plus par le processus qui cherche a le construire que par l'aboutissement, sans cesse ajourne, de celui-ci. Son ultime recours d'existence est le langage, langage qui circonscrit un univers reflexif qui ne cesse de s'auto-parodier. Le personnage producteur de discours comble alors son propre vide par une proliferation verbaleThe character of fiction should not be considered as a given, rather it is a construction produced through the text. In john barth's first six works, the character is produced along the lines of several parameters: naming and attribution of features inherent to or exterior to the character: mask and role, the other , another character both contrary and complementary, or the character himself seen as other to be reached at the end of a sea-journey. The name, often sought after in a quest, is double or multiple, in any case unreachable. Though a shifting attribute, it nevertheless remains the sign through which the character's identity can be infered; the character's name insures his survival in the text. A single mask or role warrants the existence of the character: there is nothing behind the mask, without a role the character is struck motionless. However, the role remains out of reach. When suddenly parted from his twin, the character vainly seeks to recover the lost unity through a fusion with his role. The other as another character cannot be reached: they enter a relation modelled after the moebius strip; ironically the moment of their coincidence is forever delayed. Lastly, the sea-journey -the characters's attempt to find a regenerate selfis a parody: it is a failure. The character is defined through the building process more than through its final achievement. The character's last help is language which frames a solipsist universe in never-ending self-parody. The character as a speaker-writer fills up his own void by a proliferation of words
2
Vidal, Véronique. "John Barth approche du personnage romanesque /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610587v.
Full text
3
Cooke, Linda. "John Barth the humanising power of narrative." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5250.
Full text
4
Wilhelmy, Thorsten. "Legitimitätsstrategien der Mythosrezeption : Thomas Mann, Christa Wolf, John Barth, Christoph Ransmayr, John Banville /." Würzburg : Königshausen und Neumann, 2004. http://catalogue.bnf.fr/ark:/12148/cb41052186z.
Full text
5
Sammarcelli, Françoise. "La chambre aux échos : l'intertextualité dans l'œuvre de John Barth." Paris 8, 1989. http://www.theses.fr/1989PA080355.
Full textAbstract:
L'oeuvre du romancier postmoderne americain John Barth se situe dans cet espace central du langage qu'est l'intertextualite, rapport dialogique entre un texte et d'autres textes, des conventions d'ecriture, des contraintes generiques et logiques, etc, qui l'ont rendu possible. Barth, ancien musicien de jazz qui se decrit comme un reorchestrateur, s'est attache a mettre en valeur cette heterogeneite constitutive. Cette etude prend pour point de depart letters, fiction epistolaire renouant avec le "realisme", obsedee par le theme du recyclage et des revolutions, qui reprend ses textes anterieurs. On etudie d'abord l'intertextualite externe: comment le texte multiplie les citations, deconstruit le modele realiste et parodie le genre epistolaire, tout en transgressant la frontiere histoire fiction. La 2eme partie est consacree a l'intertextualite interne: rapport narcissique du texte avec lui-meme (puzzle, auto-generation), et place de letters recyclant tous les textes anterieurs de Barth (echos formels et thematiques, reprises). Une troisieme partie degage les principaux enjeux de cette ecriture: sa tension entre la quete de l'origine originalite et la copie, et sa manipulation du lecteur (intrigue instable, reflexivite). On montre ainsi comment le texte relativise les notions d'auteur et d'autorite, et se donne une liberte paradoxale niant le pouvoir des metalangagesThe work of the postmodern american novelist john barth is strongly connected with intertextuality, the dialogical relationship between a text and other texts, conventions of writing, generic and logical constraints, etc, which conditioned its existence. Barth, formerly a jazz musician, who describes himself as a reorchestrator, clearly emphasizes this constitutive heteterogeneity. This study takes letters as its starting-point: it is an epistolary fiction, described as "realistic" and obsessed by the themes of recycling and revolution. First i focus on external intertextuality: showing how the text accumulates quotations, deconstructs the realistic model and parodies the epistolary genre, while transgressing the history fiction limit. The 2nd part is devoted to inner intertextuality: the narcissistic relation of the text with itself (self-generation), and the way letters recycles all barth's previous texts. A third part stresses the main perspectives of the work: its tension between originality and repetition, and the way it "frames" its reader (unstable plot, reflexivity). I show how the text questions the notions of author and authority, and paradoxically escapes the power of metalanguages
6
Delanoë-Brun, Emmanuelle. "La passion du je : perception du sujet dans l'oeuvre de John Barth." Paris 3, 1997. http://www.theses.fr/1998PA030016.
Full textAbstract:
La perception et la representation du sujet sont au coeur de l'oeuvre du romancier americain john barth, a laquelle elles donnent une coherence au-dela de la diversite apparente des romans. Cette these se propose d'etudier le parcours d'un auteur qui, soulevant d'abord par l'entremise de narrateurs en quete d'eux-memes le probleme d'une conscience de soi ravagee, en vient a depasser paradoxalementla question du sujet dans une fiction plus ouvertement biographique, construite a deux voix. Une premiere partie etudie dans les deux premiers romans de barth les discours spectaculaires et fuyants de deux narrateurs incapables de se definir comme sujets, qui ecrivent pour palier a leur beance intime. La seconde partie met l'accent sur les romans de la demystification, dans lesquels barth s'attache a defaire par la parodie les mythes identitaires vehicules par la culture occidentale, ouvrant la voie a une litterature ludique, concue comme un jeu de construction et de deconstruction,discourant d'elle-meme en l'absence de point d'ancrage parfaitement fiable en amont comme en aval du texte. Mais ce jeu laisse progressivement transparaitre une confiance naissante dans l'autre, amante ou lecteucents ouvertements intimes et pourtant fictionnels, dans laquelle l'auteur met en scene les romans de son existence et chante le couple, garant d'une identite derobee dans le regard de l'autre. Conscient de la fictionnalite de toute representation de soi, barth invite son lecteur a le suivre dans le parcours rejouit des fictions, dans le deploiement d'une litterature fleuve. On. Mais cette double defaillance inscrite dans le discours laisse le champ libre a la creation fictive de soi dans une oeuvre aux accents ouvertements intimes et pourtant fictionnels, dans laquelle l'auteur met en scene les romans de son existence et chante le couple, garant d'une identite derobee dans le regard de l'autre. Conscient de la fictionnalite de toute representation de soi, barth invite son lecteur a le suivre dans le parcours rejouit des fictions, dans le deploiement d'une litterature fleuveThe perception and the representation of the self are major concerns in the works of the contemporary american novelist john barth, as these two issues provide his novels with a coherence that belie their apparent diversity. This dissertation aims at analyzing the evolution of a writer who first ponders on the difficulty for the individual to express his shattered and emptied out perception of himself, yet who eventually manages to subdue the question of the self in a fiction that tends paradoxically to get more and more autobiographical. The first part focuses on barth's first two novels, and on the spectacular yet slippery discourses of two narrators unable to define themselves as consistent subjects, who write to try and overcome their intimate void. The second part analyzes barth's subsequent attempts at demystifying a literature and culture intent on building up the myth of the independant self, first through parody then through deconstruction, in novels of a playful and disrespecful nature. However, beside the playfulness, there transpires in these novel be budding confidence in the other, reader or lover, towards whom barth's characters project their desire to be, although tey are well aware of their inner nothingness. Barth's latest novels, which are examined in the third part, ratify the impossibility to express the dislocated self and to evade the deceitful nature of representation. Yet this double failure liberates a tendency towards the fictive recreation of oneself in novels which paradoxically mix autobiographical yet openly fictionalized elements. The author stages the fictions of his own existence and promotes the image of the couple, which appears to him as the sole refuge of an identity that gets alienated yet inscribed in the eyes of the other. Aware of the fictive nature of self-representation, barth leads his reader into a delighted wandering through fiction, in the opening out of an ever expending literature
7
Ditterich, Enio Jose. "John Barth's The end of the road." [s.n.], 2010. http://hdl.handle.net/1884/24372.
Full text
8
Shin, Dong-Ook. "Wahrnehmung der Wirklichkeit und die vom Kommenden geöffnete Zukunft : Untersuchung der Gottesprädikate und der ekklesiologischen Schemata in der Apokalypse des Johannes mit Hilfe der Rezeption der Auslegung von M. Luther, J. Wesley und K. Barth /." Berlin : Lit, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3282652&prov=M&dok_var=1&dok_ext=htm.
Full text
9
Sirbu-Ghiram, Dolores Carmencita. "Le jeu des masques dans les romans de John Barth et de Kurt Vonnegut." Angers, 1999. http://www.theses.fr/1999ANGE0002.
Full textAbstract:
Le paradoxe des écrivains américains est qu'en établissant une identité pour le personnage, ils lui dessinent un contour qui est une limite à ses possibilités de comportement. Le personnage ne peut sortir de cet enfermement que par la fluidité de ses attitudes, ce qui entraine une perte de son moi réel. Cela se révèle particulièrement vrai chez John Barth et Kurt Vonnegut, dont l'oeuvre est analysée ici à travers deux de leurs romans. La structure décentrée postmoderniste qui les caractérise implique une acceptation de la fragmentation et de la dissolution des frontières du moi et impose aux personnages un effort permanent afin de trouver une solution de défense face aux agressions potentielles. Le pouvoir des masques leur permet de maitriser les comportements des autres et de les manipuler selon leurs intentions. L'étude présentée porte donc sur le jeu des masques et sur leur rôle dans les romans The floating opera et The end of the road de John Barth et Mother night et Deadeye dick de Kurt Vonnegut. Elle traite également des conséquences sur les protagonistes qui les adoptent et sur leurs relations avec les autres. Mais lorsqu'ils abandonnent leurs masques, apparait alors leur caractère vulnérable, leurs difficultés a s'intégrer dans la réalité concrète. Ces destins qui suivent des itinéraires sinusoïdaux déroutent le lecteur dans ses efforts pour démêler la part du moi et du masque dans l'action. Le jeu des personnages devient ainsi un jeu de l'auteur avec le lecteur et se reflète au niveau de la narration par une multitude de masques narratifs. . . Procédés qu'il s'agit justement de démasquerA paradox in contemporary american fiction is that writers, in trying to outline an identity for their characters, limit the possible developement of their behaviour. On the other hand, the way out of this enclosure means fluidity and thus, a loss of identity. This is true for the works of john barth and kurt vonnegut, analysed here through two of their novels. The decentered postmodern structure that characterizes them implies the acceptance of the fragmentation and dissolution of the frontiers of the self and requires a permanent effort from the protagonists to find a solution to defend themselves from potential aggressions. The power of masks enables them to control the others and to manipulate them as they like. This study deals with masks and role playing in the novels the floating opera and the end of the road by john barth and mother night and deadeye dick by kurt vonnegut. It also analyzes their consequences on the protagonists who wear them and on their relationships with those around them. When they abandon their masks, their vulnerable selves hinder them from a complete envolvement. Their destinies puzzle the reader in his efforts to understand the roles of the self and of the mask in action. Thus, the relationship between the characters becomes a game between the author and the reader, which mirrors itself at the level of the narration through a multitude of narrative masks
10
Lee, Sang Hwan. "The revelation of the Triune God in the theologies of John Calvin and Karl Barth." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/1027/.
Full text
11
Mazaki, Fatima Zahra. "Étude narrative de The Floating opera, Lost in the funhouse et Chimera de John Barth." Paris 4, 1995. http://www.theses.fr/1995PA040077.
Full textAbstract:
Cette recherche étudie la forme narrative dans The Floating opera, Lost in the funhouse et Chimera de John Barth. La première partie de cette étude traite du problème de la communication et du rôle du narrataire, adressé comme you, dans l'organisation du passe de Todd Andrews: narrateur à la première personne de The Floating opera. La deuxième partie est consacrée à l'analyse des labyrinthes dans Lost in the funhouse. Parmi les principaux éléments qui constituent les labyrinthes verbaux, nous avons discuté les "blancs" et les lacunes. Quant aux labyrinthes structuraux, ils sont créés par le point de vue, l'allusion et la ponctuation. La troisième partie traite des trois novellas de Chimera. Dans chaque novella, Barth, narrateur des histoires à la première personne, parodie les éléments traditionnels de la fiction et essaie de trouver de nouvelles formes du récitThis thesis studies the narrative form in John Barth's The Floating opera, Lost in the funhouse and Chimera. The first chapter examines the problem of communication and the role played by the narratee, addressed as "you", in the organization of the past of Todd Andrews: first person narrator of The Floating opera. The second chapter discusses Barth's use of labyrinths in Lost in the funhouse. Blanks and lacunae are the most two important verbal labyrinths. The other narrative devices to create structural labyrinths are point of view, punctuation and allusion. The third chapter studies the three novellas of Chimera. In each novella, Barth, speaking as first person narrator, parodies point of view, characterization, plot and setting, and tries to discover new forms of narrative
12
Prather, Scott Thomas. "The powers and the power of mammon : Karl Barth and John Howard Yoder in dialogue." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=211273.
Full textAbstract:
CHAPTER 1: This chapter sketches the major outlines of Karl Barth's theology of the powers. My account is structured by the three texts in which the powers are most explicitly discussed. Of particular importance here is the correspondence between God's justifying work and the powers' 'angelic' vocation of serving human history, and the ontologically impossible yet devastatingly real 'demonization' of the powers' own being-in-Christ. Finally, the key claim is developed that all earthly or human-historical power actively corresponds, for Barth, to either the 'heavenly-angelic' attestation of God's grace to humankind in Christ, or to the 'demonic', ontologically privative power of das Nichtige, which opposes God and creature. CHAPTER 2: Chapter two describes what I come to call Yoder's 'structural exousiology'. The primary aim of this chapter is to demonstrate that there is a theological rationale behind Yoder's adoption of the modern language of 'power-structures' to describe the being and work of the powers in human history. I do this by detailing, first, Yoder's (negative) response to Niebuhrian 'political realism', and secondly his (positive) theological appropriation and development of Hendrik Berkhof's exegesis of the Pauline powers. Importantly, this allows us to see how and why Yoder's exousiology is set against the theological division of socio-political life from the sustaining grace and judgment of God. Part 2.B develops this claim further, showing that God constitutes and sustains creaturely power not just through any form of divine sovereignty, but as the rule of Jesus Christ. CHAPTER 3: Chapter three first brings Barth and Yoder into dialogue, initially by examining the eschatological tenor of our thinkers' respective exousiologies. Their eschatologies confirm that creaturely history itself is the context in and for which Christ prophetically confronts the powers, and thus in which all persons are called (and the church is required) to have faith in and bear witness to God's victory. This conviction is seen to be bound to a shared way of thinking the grounds of the powers' historical corruption in terms of idolatry and injustice. Yet I argue that the crucial differences in their understandings of the powers also emerge here, in the way in which the 'grounds' of their idolatry and injustice is conceived. A critical interpretive line is opened here with respect to Barth's intra-personal metaphysic, in light of which Yoder's emphasis on the historical-structural constitution of specific forms of idolatry and injustice offers a necessary supplement and critique. The final section argues that the discursive or rhetorical tension emerging here also informs our thinkers' different ways of naming the church's confessional distinction from the stillrebellious 'world'. CHAPTER 4: The final chapter brings the critical line opened up in chapter three to bear on two specific forms of creaturely power - namely, those operative within political and economic life. Barth's ontological identification of the institution of 'the state' with the divinely ordained task of political service is shown to have problematic implications both for the relative (in)significance of human-historical injustice, and for the 'concentric' political analogy between Christian and civil communities. Yoder is again shown to have a more nuanced exousiological position, because of the christological clarity with which he is wont to distinguish between contingent forms, rather than a priori distinct realms, of political 'witness' to God's rule. The goal of part 4.B is to demonstrate not 'what' Barth and Yoder think about humane economy or its inversion by Mammon, but how they relate the orderingfunction of political power(s) to the economic question of Mammon. The concluding section glimpses at two other thinkers' (Ellul and Stringfellow) way of describing how Mammon operates idolatrously and unjustly in human social life.
13
Viazovski, Yaroslav. "A comparison of the doctrine of assurance in theology of John Calvin and Karl Barth." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
Full text
14
Reed, Mark Dobson. "The Role of Popular Mythology and Popular Culture in Post-war America, as represented by four novels - The Floating Opera and The End of the Road, by John Barth, White Noise, by Don DeLillo, and Vineland, by Thomas Pynchon." University of Sydney. English, 2004. http://hdl.handle.net/2123/627.
Full textAbstract:
The four novels - The Floating Opera, The End of the Road, White Noise, and Vineland - are representative of the cultural shift away from traditional moral concepts after World War II. Popular culture has increasingly become the guiding force for the continuation of American society, and in Don DeLillo�s White Noise, popular culture and its creation of myth (according to the author�s representation of America) has become embedded in the system and life of contemporary America. John Barth�s novel The End of the Road and its predecessor The Floating Opera are important in any discussion of the role of popular culture and popular mythology in post-war America. They both appear to signal an end to sincere intellectual thought or debate, and the notion of imposing a rational moral world upon the social landscape surrounding the individual. The Floating Opera explores the common tendency of society to avoid difficult intellectual struggles, and the central character and first-person narrator ultimately realises that questions about the nature of existence are of no objective value. In The End of the Road the character Jacob Horner adopts a superficial reflection of pre-existing rules and social conventions. Together these novels reflect much of what is at present understood as the postmodern aesthetic, and are indicative of many of the changes in America that were about to occur. The Floating Opera was published in 1956 and The End of the Road was published in 1958, but they are still highly relevant beyond the period in which they were written. White Noise (1984) portrays a system founded on the Hollywood mythology, and the superficial reflection of pre-existing rules and social conventions found in The End of the Road. The novel revolves around the experiences of the narrator, Jack Gladney, a university lecturer who teaches Hitler studies at Blacksmith College, and his wife Babette. The course which he teaches on Hitler is influenced by Hollywood myth, and the novel portrays a consumer-based society that has lost much of the firm moral basis which traditional religious concepts formerly supplied. The role of television, Hollywood, and the idea of simulation are all explored throughout the novel and are important forces in any examination of post-war American society. Finally, in Vineland (1990) the social upheavals which occurred during the late �60s and early �70s are explored from the perspective of the 1980s. The novel refers to a vast array of images and icons from popular culture, and the brief youth rebellion, in the late �60s, which failed to inspire any final social revolution. The result of this failed social revolution is a landscape of popular culture in modern America, where Godzilla leaves footprints in Japan and popular mythology from television or pulp novels coincides with everyday life. There are references in typical Pynchonesque fashion to those who must necessarily be orchestrating these social and cultural alterations, but they, as specific individuals, remain anonymous or hidden from the scope of the author (although, as in White Noise, there are deliberate references to the CIA and other agencies or departments within the U.S. Federal Government). Vineland is important, therefore, both as an account of the social changes which occurred in America between the late �60s and �80s, and the increasing role of popular culture in America. These four novels form the basis of an exploration of the role of popular mythology and popular culture in post-war America. They form a clear progression, and allow a detailed analysis of the social and cultural changes which contemporary America has undergone since the end of World War II.
15
Stundytė, Simona. "The Moral Values in Novels by Francis Scott Fitzgerald, Vladimir Nabokov, John Barth: The Comparative Aspect." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_092323-46286.
Full textAbstract:
The object of the research is the theme of moral values in the novels by Francis Scott Fitzgerald, John Barth and Vladimir Nabokov. The moral values as a phenomenon are shown very variously in the mentioned works. In one book it is easy to identify moral, its values and its problems and in other it is difficult to identify the moral values. The aim of the research is to analyze the theme of moral values in the novels of Francis Scott Fitzgerald The Great Gatsby, John Barth The End of the Road and Vladimir Nabokov Lolita. The comparative aspect is used while analysing the novels.Darbo tyrimo objektas – moralinių vertybių tema Francio Scotto Fitzgeraldo, Vladimiro Nabokovo, Johno Bartho romanuose. Moralinės vertybės romanuose gali būti autoriaus vaizduojamos ir skaitytojo suvokiamos labai įvairiai. Vienoje knygoje gali būti lengva įžvelgti moralę, jos vertybes ar problemas, o kitame kūrinyje jas identifikuoti sudėtingiau.Darbo tikslas yra išanalizuoti moralinių vertybių temą Francio Scotto Fitzgeraldo, Johno Bartho ir Vladimiro Nabokovo romanuose.
16
Reed, Mark Dobson. "The Role of Popular Mythology and Popular Culture in Post-war America, as represented by four novels - The Floating Opera and The End of the Road, by John Barth, White Noise, by Don DeLillo, and Vineland, by Thomas Pynchon." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/627.
Full textAbstract:
The four novels - The Floating Opera, The End of the Road, White Noise, and Vineland - are representative of the cultural shift away from traditional moral concepts after World War II. Popular culture has increasingly become the guiding force for the continuation of American society, and in Don DeLillo�s White Noise, popular culture and its creation of myth (according to the author�s representation of America) has become embedded in the system and life of contemporary America. John Barth�s novel The End of the Road and its predecessor The Floating Opera are important in any discussion of the role of popular culture and popular mythology in post-war America. They both appear to signal an end to sincere intellectual thought or debate, and the notion of imposing a rational moral world upon the social landscape surrounding the individual. The Floating Opera explores the common tendency of society to avoid difficult intellectual struggles, and the central character and first-person narrator ultimately realises that questions about the nature of existence are of no objective value. In The End of the Road the character Jacob Horner adopts a superficial reflection of pre-existing rules and social conventions. Together these novels reflect much of what is at present understood as the postmodern aesthetic, and are indicative of many of the changes in America that were about to occur. The Floating Opera was published in 1956 and The End of the Road was published in 1958, but they are still highly relevant beyond the period in which they were written. White Noise (1984) portrays a system founded on the Hollywood mythology, and the superficial reflection of pre-existing rules and social conventions found in The End of the Road. The novel revolves around the experiences of the narrator, Jack Gladney, a university lecturer who teaches Hitler studies at Blacksmith College, and his wife Babette. The course which he teaches on Hitler is influenced by Hollywood myth, and the novel portrays a consumer-based society that has lost much of the firm moral basis which traditional religious concepts formerly supplied. The role of television, Hollywood, and the idea of simulation are all explored throughout the novel and are important forces in any examination of post-war American society. Finally, in Vineland (1990) the social upheavals which occurred during the late �60s and early �70s are explored from the perspective of the 1980s. The novel refers to a vast array of images and icons from popular culture, and the brief youth rebellion, in the late �60s, which failed to inspire any final social revolution. The result of this failed social revolution is a landscape of popular culture in modern America, where Godzilla leaves footprints in Japan and popular mythology from television or pulp novels coincides with everyday life. There are references in typical Pynchonesque fashion to those who must necessarily be orchestrating these social and cultural alterations, but they, as specific individuals, remain anonymous or hidden from the scope of the author (although, as in White Noise, there are deliberate references to the CIA and other agencies or departments within the U.S. Federal Government). Vineland is important, therefore, both as an account of the social changes which occurred in America between the late �60s and �80s, and the increasing role of popular culture in America. These four novels form the basis of an exploration of the role of popular mythology and popular culture in post-war America. They form a clear progression, and allow a detailed analysis of the social and cultural changes which contemporary America has undergone since the end of World War II.
17
Shin, Dong-Ook. "Wahrnehmung der Wirklichkeit und die vom Kommenden geöffnete Zukunft Untersuchung der Gottesprädikate und der ekklesiologischen Schemata in der Apokalypse des Johannes mit Hilfe der Rezeption der Auslegung von M. Luther, J. Wesley und K. Barth." Berlin Münster Lit, 2008. http://d-nb.info/993679137/04.
Full text
18
Clark, Samuel Moreton. "The nature of justification in the theologies of John Calvin and Karl Barth : a comparative and critical study." Thesis, University of Aberdeen, 1992. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=128394.
Full textAbstract:
This thesis is a comparative investigation into the nature of justification according to John Calvin and Karl Barth. It traces the conceptual roots of both systems respectively, and follows their ramifications as well. Calvin's system seems to stem primarily from: 1) an administration of justice and atonement derived from his understanding of the Hebrew cult with its various rituals and customs, and 2) the motif of spiritual union with the risen Christ. Justification addresses human guilt as it has its universally objective basis in the atonement itself, while its actuality is fulfilled in one's exercise of faith and in one's spiritual union with Christ. Justification is thus an acquittal of human guilt based upon the reality of atonement and one's spiritual union with Christ through faith. Barth's view, on the other hand, plays down the importance of Old Testament administration of atonement (for specific reasons) and focuses upon the being and history of Jesus Christ (Heilsgeschichte), the God-man who is divinely with us (without reservation) in his humanity. Christ's unique property of being with us, thus takes on ontological qualities on account of his divinity, and consequently his justifying history (i.e. his life, death and resurrection) is supremely vicarious, such that his life, death and resurrection incorporates our being into it. Justification therefore is seen not only as an acquittal but also a reconstitution of our being. Barth places uncompromising emphasis on the sovereign objectivity of our justification in Christ's history. He thus emphasises, perhaps disproportionately, the emptiness of our disposition before the atoning Christ, a concept which Calvin also employs. This has significant implications for the problem of simul iustus et peccator.
19
Viazovski, Yaroslav. "A quest for wholeness and hope : a comparative study of the ontological anthropology of John Calvin and Karl Barth." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=218286.
Full textAbstract:
Developments in biblical studies, neurosciences, and Christian philosophy of mind force theologians reconsider the traditional concept of the immortal soul. At the same time the concept itself tends to create axiological dualism between the body and the soul that in turn may lead to insufficient appreciation of the physical life in this world. A more holistic approach to the ontology of the human beings is required. The aim of this study is to analyse the function of the concept of the soul in the dualistic anthropology of John Calvin and to compare it to the holistic anthropology of Karl Barth in order to answer the question whether the transition from one to the other is possible without the loss of the functions fulfilled by the soul. The thesis thus comprises four sections. The first explores the ontological anthropology of John Calvin focusing (1) on the soul as the bearer of the image of God, (2) on the body as an important epistemological instrument, (3) on the immortality as a natural human attribute and as a result of union with Christ, (4) on the resurrection as the ultimate hope. The second section identifies the shift of the philosophical presuppositions which occurred between Calvin and Barth. The third section looks closely at Karl Barth's anthropology as it is presented in the Church Dogmatics III/2 giving attention (1) to the new anthropological method of Karl Barth, and, following from that, to his understanding of (2) the image of God, (3) body/soul relationship, (4) death. Finally, the fourth section compares the views of John Calvin and Karl Barth. The study concludes that Karl Barth provides theological concepts which help to move theological discourse from a dualistic to a holistic view of man.
20
Tallon, Luke Ben. "Our being is in becoming : the nature of human transformation in the theology of Karl Barth, Joseph Ratzinger, and John Zizioulas." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2572.
Full textAbstract:
This study offers an ecumenical exploration of human transformation through the examination of this topic in the thought of Karl Barth (1888-1968), a Swiss Reformed theologian; Joseph Ratzinger (b. 1927), a Roman Catholic theologian; and John Zizioulas (b. 1931), a Greek Orthodox theologian. Describing and understanding human transformation stands as a crucial task for theology because no one is simply born a Christian—in order to be a Christian one must become a Christian. The first chapter introduces this topic, the three theologians (highlighting their commonalities), and the three questions that guide the analysis of each theologian and the thesis as a whole: What is the goal of human transformation? What is the basis of human transformation? How are humans transformed? Chapters 2, 3, and 4 treat the topic of human transformation in the theology of Barth, Ratzinger, and Zizioulas, respectively. All three understand the goal of human transformation to be the prayer of the children of God, and locate its basis in God’s reconciling act in Jesus Christ—an act itself based in the primordial divine decision to be God pro nobis. Even within this broad agreement, however, differences are evident, especially with regard to eschatology. Consideration of how this transformation occurs reveals significant differences concerning the agency of Jesus Christ in relation to the Holy Spirit and the church. The final chapter explores 1) the convergences and divergences between Barth, Ratzinger, and Zizioulas regarding human transformation; 2) the contributions of this study to the interpretation of Barth, Ratzinger, and Zizioulas; and 3) the relationship between human transformation and participation in God. Throughout, attention is given to the relationship between Jesus Christ, the Holy Spirit, the church, the eschaton, and the triunity of God and human transformation. All three accounts of human transformation point beyond the transition between sinful and redeemed humanity to a dynamic anthropology in which the constant asking, receiving, thanking, and asking again is the very “ontological location” of the eschatological life of humanity: our being is in becoming.
21
Cooke, Stewart J. "Received melodies : the new, old novel." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75693.
Full textAbstract:
New, old novels, contemporary fictions that parody the forms, conventions, and devices of eighteenth- and nineteenth-century novels, form a significant and increasingly popular subclass of postmodernist fiction. Paradoxically combining realistic and metafictional conventions, these works establish an ironic dialogue with the past, employing yet simultaneously subverting traditional fictional techniques.In this dissertation, I subject five new, old novels--John Barth's The Sot-Weed Factor and LETTERS, Erica Jong's Fanny, T. Coraghessan Boyle's Water Music, and John Fowles's The French Lieutenant's Woman--to a detailed analysis, which compares the parodic role of archaic devices in each contemporary novel to the serious use made of such devices in the past. I argue that new, old novels, by juxtaposing old and new world views, foreground the ontological concerns of fiction and suggest that literary representation is constitutive rather than imitative of reality. Their examination of the relationship between fiction and reality places them at the centre of contemporary concern.
22
Graham, Jeannine Michele. "Christ for us : a comparative study of the themes of representation and substitution in the theologies of Dorothee Sole, John Macquarrie and Karl Barth." Thesis, University of Aberdeen, 1993. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU482039.
Full textAbstract:
Christ for us describes the essence of the reconciling act initiated and brought to fruition by the Triune God towards God's errant creation. The themes of representation and substitution have figured prominently in attempts to articulate the nature of this divine act of reconciliation in Christ. The intent of this study is not to present a plethora of viewpoints on these themes, arriving at a general survey of the subject, but rather to focus on the theologies of three contemporary theologians---Dorothee Sole, John Macquarrie and Karl Barth---drawing from this select purview a portrait of key issues arising from these themes and the relative adequacy of their particular attempts to address them. Such a study aims to substantiate the following premises: 1. Representation and substitution, far from being mutually exclusive, are complementary concepts which must be held together, each illuminating the other. As such, they express a view of reconciliation which is both cognizant of sin's radically incapacitating effect---necessitating a Substitute who acts in our place apart from human cooperation---and consonant with the inner logic of the incarnation, wherein such substitution ontologically implicates us as those included in Christ's representative existence as Elect Head of humanity. 2. The marriage of representation and substitution presumes a trinitarian view of grace, interpreted not primarily in legal terms but relationally , in the covenantal context of the Triune God's elective resolve to draw humankind within the faithful embrace of His dynamic, self-giving love through becoming the God of, for and with humankind in Christ. 3. The hypostatic union is vital, not only to an understanding of Jesus' Person as both in continuity with humankind and utterly unique, but also in providing the essential bilateral dynamic by which to interpret his atoning mission, i.e., fulfilling the covenant not only from the divine side qua God, but simultaneously embodying the necessary human response---God as man---on our behalf and in our place.
23
Vuckovic, Irma. "Modes de représentation dans les ouvrages littéraires postmodernes et les textes de vulgarisation scientifique contemporaine : exemples de John Barth, William Gass et des articles de "Scientific American"." Nancy 2, 2001. http://www.theses.fr/2001NAN21025.
Full text
24
Simes, Peter A. "Literature in the Age of Science: Technology and Scientists in the Mid-Twentieth Century Works of Isaac Asimov, John Barth, Arthur C. Clarke, Thomas Pynchon, and Kurt Vonnegut." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30511/.
Full textAbstract:
This study explores the depictions of technology and scientists in the literature of five writers during the 1960s. Scientists and technology associated with nuclear, computer, and space science are examined, focusing on their respective treatments by the following writers: John Barth, Kurt Vonnegut, Thomas Pynchon, Isaac Asimov, and Arthur C. Clarke. Despite the close connections between the abovementioned sciences, space science is largely spared from negative critiques during the sixties. Through an analysis of Barth's Giles Goat-boy, Vonnegut's Cat's Cradle, Pynchon's The Crying of Lot 49, Asimov's short stories "Key Item," "The Last Question," "The Machine That Won the War," "My Son, the Physicist," and Clarke's 2001: A Space Odyssey, it is argued that altruistic goals of space science during the 1960s protect it from the satirical treatments that surround the other sciences.
25
Danuser, Jason Daniel. "Using a Wesleyan approach to help integrate the sermon into the life of the congregation at Jones Chapel United Methodist Church." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
Full text
26
Kohn-Pireaux, Laurence. "Etude de phénomènes de brouillage narratif : du "Don Quichotte" de Cervantès aux récits du XXè siècle (J.L. Borgès, I. Calvino, J. Barth, T. Ben Jelloun)." Nancy 2, 1994. http://www.theses.fr/1994NAN21022.
Full textAbstract:
Don Quichotte de Cervantès (1605-1615) est le premier roman associant un système narratif hérité du roman de chevalerie, et des phénomènes de brouillage qui rendent incertaine la source de l'énonciation. Des auteurs du vingtième siècle que l'on croit trop fréquemment engagés dans le processus d'une "littérature de l'épuisement", réutilisent ces techniques dans des œuvres autoréflexives qui mettent en question le rôle de l'écrivain comme créateur à part entière d'un monde fictionnel. Mais on ne peut parler de jeu d'influences entre des œuvres éloignées par leur époque, leur forme et leurs thèmes. Dans certaines nouvelles borgésiennes choisies sur une période qui s'étend de 1930 à 1975, des chaines, suggérées ou développées, renvoient souvent à un avant du texte vertigineux : l'auteur se définit plutôt comme un artisan tentant de trouver sa place dans un univers ou l'essentiel a déjà été écrit. Tahar Ben Jelloun, dans l'enfant de sable (1985) et la nuit sacrée (1987) fait raconter une même histoire par huit conteurs marocains. Se una notte d'inverno un viaggiatore (1979) d'Italo Calvino met en place une chaine brisée d'auteurs fictifs et de narrateurs dont les œuvres sont toujours interrompues en leur commencement. Un roman américain de John Barth, sabbatical (1982) brouille savamment la source de l'émission. Ces techniques narratives ont plusieurs fonctions. Elles rappellent d'abord que la littérature se situe dans un rapport constitutif à l'antécédence; elles apportent aussi la preuve qu'elles sont capables d'assumer cet héritage. Les chaines narratives miment une quête de l'écrivain; les effets de brouillage mettent en scène des narrateurs perturbes, éprouvant des difficultés a écrire. Mais le maitre de l'illusion romanesque moderne, réapparaissant derrière ces narrateurs, montre qu'il a trouve le sens de sa tache dans la conscience qu'il a de travailler a partir d'une matière diégétique peut-être restreinte dans la littérature moderne, mais susceptible d'être organisée selon des combinaisons illimitéesDon Quixote by Cervantes (1605-1615) is the first novel linking together a narrative pattern inherited from the tales of chivalry and narrative interferences making the narrator hard to discover. Some twentieth century authors who are often said to be involved into a "literature of exhaustion", use these techniques in self-reflexive works which question the role of the writer as the full creator of a fictional world. The play of influences cannot be taken into account between works which are radically different as far as their period, their form and their themes are concerned. In some short stories by Borges which are chosen between 1930 and 1975, suggested or developed narrative chains often refer to a pre-text : the author defines himself as a craftsman who tries to find a place in a world where the essential points have already been written. In L’Enfant de sable (1985) and la nuit sacrée (1987) by Tahar. Ben Jelloun, a single story is narrated eight times by different Moroccan storytellers. In Se una notte d'inverno un viaggiatore (1979) by Italo Calvino, a chain of fictional authors and narrators is organized but their narrative is always interrupted at the beginning. In an American novel by John Barth's, sabbatical, the origin of the narrative is skillfully confusing. These modern narrative techniques show several functions. First, they reveal that modern literature is linked to the literature of the past. Narrative chains symbolize a quest for the author. The effects of narrative interferences show upset narrators who have difficulties to write. But the master of illusion in modern novels who is identified behind the narrators, found the meaning of his task in his awareness to work on a digenetic matter, somewhat restricted in modern literature, but which can be organized according to unlimited combinations
27
Yamine, Lyamani. "La narration de la déconstruction entre la sémiotique interprétative et une lecture déconstructive." Paris 3, 2005. http://www.theses.fr/2005PA030097.
Full textAbstract:
Cette recherche porte sur une analyse bidimensionnelle du roman de la déconstruction. Nous tentons de lire des récits déconstruits par le biais de deux lectures : la première est la sémiotique interprétative de U. Eco, la seconde est la déconstruction de J. Derrida. Le but de cette approche est de mieux approcher les différents mécanismes qui caractérisent cette forme narrative. Des romans de la déconstruction, nous avons choisi Si par une nuit d'hiver un voyageur d'I. Calvino, Perdu dans le labyrinthe de J. Barth et Marelle de J. Cortazàr. Ces œuvres se distinguent par un fonctionnement particulier dont le leurre et un objectif majeur de l'intitulation principale et secondaire. Le titre n'est plus le miroir de l'œuvre mais un premier piège de lecture. Parallèlement, les incipit ne représentent plus la détermination de l'espace, temps et personnages, mais ils se veulent le concentré du roman à venir, l'incipit se transforme en un présentoir de l'univers fictionnel de l'œuvre introduite. Au-delà de l'incipit, le roman de la déconstruction chante l'éloge de l'inachèvement du récit, la narration est délibérément inachevée pour donner forme à une œuvre ouverte et non close par le mot de la fin. Entre l'incipit et l'inachèvement narratifs, le mécanisme du récit dans la déconstruction narrative est basée sur une fragmentation et une dépragmatisation de ses composantes avec le recours à une digression massive ou l'autoréflexion pour briser la prétention de la continuité homogène du narré. Enfin parmi les caractéristiques du roman de la déconstruction, nous relevons la présence des structures ludiques, le jeu narratif se traduit par une forte participation du lecteur et non un délassement. Le jeu appliqué reflète l'espace d'expérimentation de nouvelles formes narratives tissées entre les structures ludiques. En somme, le roman de la déconstruction nécessite une forte participation du lecteur, un rôle qui lui permet d'accéder à la co-création de l'œuvre puisque le roman de la déconstruction ne prétend pas présenter une œuvre achevée mais une œuvre ouverte qui attend davantage et son lecteur, une œuvre en cours : ‘Work in progress'This research proposes a bidimentional analysis of the deconstructive novel. We attempt to read déconstructive narratives via two interpretations : the first one is the semiotic interpretation of U. Eco, the second is déconstruction of J. Derrida. The goal of this approach is to better understand the different mechanisms that characterize this narrative form. I have chosen two novels of this kind: Si par une nuit d'hiver un voyageur by I. Calvino, Perdu dans le labyrinthe by J. Barth and Marelle by J. Cortazàr. These works are unique in that they include a special functioning of which deception is a major objective, of both the principal and secondary intitulation. The title no longer reflects the work but a first reading trap. In parallel to this, the prologues no longer represent space, time and characters. The introduction becomes a representation of the fictional universe of the work introduced. In opposition to the introduction, the novel advocates the incompletion of the essay; the narration is deliberately incomplete in order to frame the work as an open one and not as a closed one. Between the prologues and the incomplete narration, the mechanism of the essay of deconstructive narrative, is based on a fragmentation and depragmatisation of the components with a massive digression in which the auto-reflection breaks the continuous homogeneity of the narration. Finally, among the traits of the novel, in this type of writing, we extract the presence of playful structures; the narrative game translated by a strong participation of the reader and not a withdrawal. This applied game reflects the space of the experimentation of new narrative forms knitted between the playful structures. On the whole, the novel of deconstruction allows the reader to contribute to the creation of the work. This kind of novel does not pretend to present a complete work but an open one which is subject to different epilogues
28
Smith, Stephanie. "Prolegomena to a theological theory of justice : a comparative study of Catholic and Protestant anthropological foundations for political-economic justice with special reference to Karol Wojtyla." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/13540.
Full textAbstract:
This work proposes that the foundation for justice in society begins with an understanding of personhood that begins with Christian theology. While ethical stances such as the United Nations Declaration of Human Rights are helpful in articulating the bounds of justice in society, such humanistic declarations and programs may reach an impasse if they do not incorporate the depth and complexity of human personhood revealed in Jesus Christ. I will make this argument by comparing the Christian anthropologies of two prominent advocates for social justice in the Catholic and Protestant traditions: Karol Wojytla/Pope John Paul II and Karl Barth. Parts One and Two of this thesis will examine the strong critique which both of these men offered within their own historical context toward systems which denied the vital connection between Christian theology and persons in society. These parts will outline the distinctly Christian anthropologies that each theologian proposed as a basis for social justice. The final part of this thesis will set these two anthropologies in critical interaction with one another in the key area of divergence: the ontology of human personhood and the methodological issues integral to it. While John Paul has raised critical issues which are central to social ethics and has articulated many of the complexities of human action, Karl Barth's Christological anthropology proposes an ontological construct of being which critically critiques human motivation and behaviour while also providing a social starting point for personal ethics.
29
Pak, Inchan. "Historical Reconstruction and Self-Search: A Study of Thomas Pynchon's V.. John Barth's The Sot-Weed Factor. Norman Mailer's The Armies of the Nicrht. Robert Coover's The Public Burning, and E.L. Doctorow's The Book of Daniel." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277638/.
Full textAbstract:
A search for self through historical reconstruction constitutes a crucial concern of the American postmodern historical novels of Pynchon, Barth, Mailer, Coover, and Doctorow. This concern consists of a self-conscious dramatization, paralleled by contemporary theorists' arguments, of the constructedness of history and individual subject. A historian-character's process of historical inquiry and narrative-making foregrounded in these novels represents the efforts by the postmodern self to (re)construct identity (or identities) in a constructing context of discourse and ideology.
30
Bouraoui, Jihene. "The power of negativity and its functioning in the metafictional text through five works : vladimir Nabokov’s Pale Fire, John Barth’s Coming Soon!!!, Graham Swift’s Waterland, Robert Coover’s Gerald’s Party and Don DeLillo’s White Noise." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100139.
Full textAbstract:
La thèse se donne comme objectif l’appréhension des catégories de la négativité dans le texte métafictionnel en tant qu’une force libératrice et transformatrice qui, à la fois, assure la survie du texte malgré son aspect fragmentaire et multidirectionnel, et pousse le lecteur à s’engager dans une quête de l’insensé et du paradoxal qui n’embarque pas sur le nihilisme ‘négatif’, mais aboutit plutôt à la découverte de la face cachée constructive de la négativité, qu’est l’autocréation. Pour mener un tel projet, un assemblage littéraire de cinq œuvres disparates- Pale Fire par Vladimir Nabokov, Coming Soon!!! par John Barth, Waterland par Graham Swift , Gerald’s Party par Robert Coover et White Noise par Don Delillo- sert de terrain propice au travail de la négativité qui consiste essentiellement à démystifier et détruire des systèmes clos d’origine métaphysique et construire de nouveaux systèmes de valeurs, sans aucune prétention ou aspiration à la transcendance et la suprématie. Pour comprendre l’économie d’un tel texte, on va suivre trois étapes dont chacune correspond à une partie de la thèse : « L’éthique du texte métafictionnel », « L’esthétique du texte métafictionnel » et « La politique du texte métafictionnel ». La première partie s’engage à dégager l’ensemble d’impératifs éthiques qui mettent en œuvre la force de négativité. La deuxième partie s’engage à étudier les techniques de narration et d’écriture mises en œuvre pour activer les impératifs éthiques. La troisième partie s’engage à explorer la faisabilité et les limites des principes que l’on peut se construire en s’appropriant la négativité du texte. Le processus mis en œuvre dans les trois parties de la thèse est marqué par un combat perpetuel qui démontre l’aspect fallacieux et artificiel des construits et prouve, paradoxalement, notre incapacité de s’en passer pour existerThe dissertation addresses the challenge to think the power of negativity and its ultimate constructive objective. It launches an enterprise, both at the textual and extratexual levels, that requires the individual to destroy and create at once, without any pretention to establish an everlasting system that dictates the encoding and decoding of thoughts and perception and management of cognitive, bodily and everyday life needs. Such an enterprise is based on the consideration of a literary assemblage of five novels: Vladimir Nabokov’s Pale Fire, John Barth’s Coming Soon!!!, Graham Swift’s Waterland, Robert Coover’s Gerald’s Party and Don Delillo’s White Noise. It demonstrates that the text is governed by an economy that does not embark on « negative » nihilism; it is rather an economy that transforms the unproductive forms (abyss, loss, spectre, madness, excess, death) into a capacity for resistance and a creative departure. It is an economy that sustains the text and prevents it from collapsing, through a set of ethical imperatives, a poetics of self-creation and a politics whose objective is not to resolve the paradoxes underlying the text. Throughout the three part of the dissertation, there is a continuous struggle to unveil the constructs and to explain the rationale behind our unavoidable need for them to keep going
31
Waddell, Stephen Blair. "William Jay of Bath (1769-1853)." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/11927.
Full textAbstract:
William Jay (1769-1853) was an Independent minister of the Argyle Chapel in Bath for sixty-two years. His career bridged the time between the Evangelical Revival of the eighteenth century and the formal Congregational denominationalism of the nineteenth century. Jay’s autobiography is used among historians for its first-hand accounts of other notable evangelical figures such as William Wilberforce (1759-1833), Hannah More (1745-1833) and John Newton (1725-1807). Too often his own influence has been overlooked, but at the time he was regarded as one of the foremost Dissenting preachers of his era. His ministry within a fashionable spa city increased the respectability of evangelical religion among the growing middle classes in Bath. This thesis examines the evangelicalism of William Jay in the context of his times. The scope of Jay’s life and popularity will be examined in six chapters. Following the introduction, chapter two will examine his direct impact through the Argyle Chapel upon Bath. Chapter three will review the early life of William Jay that was much neglected by his biographers. It will demonstrate the formation of his evangelicalism first introduced to him by Joanna Turner (1732-1784) and instilled in his training by Cornelius Winter (1742-1807). The social composition of the Argyle Chapel will be evaluated in the fourth chapter. Those that Jay attracted to the chapel not only promoted his cause to advance the gospel, but also increased the prestige of the minister and his place of worship. In chapter five, Jay’s preaching, which attracted celebrity and commoner alike, will be analyzed for form, style, content, delivery and the receptivity of his audience. Likewise, the spirituality of the man, which will be reviewed in chapter six, induced similar qualities to stimulate evangelical religion. Finally, the polity and ecclesiology of William Jay will be examined in the seventh chapter. The Argyle Chapel was under strong pastoral guidance for the vast majority of the minister’s service until Jay lost that influence shortly before his retirement in 1852. The biography will conclude with an appraisal of R.W. Dale’s (1829-1895) categorization of Jay and his chapel as representative of older evangelical religion and criticism of the early participants of the revival found in Dale’s sermon The Old Evangelicalism and the New (1889). William Jay promoted a religious perspective that exhorted the individual to dwell on the self yet sought to do so through a united Christian movement that crossed denominational barriers.
32
Collins, Dane Andrew. "The Christian theology of religions reconsidered : Alan Race's theology of religions, Hans Frei's theological typology and 20th century ecumenical movements on Christian engagement with other faiths." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278698.
Full textAbstract:
The contemporary debate concerning the Christian theology of religions has been profoundly shaped by Alan Race’s three-fold typology of exclusivism, inclusivism and pluralism. Although the insufficiency of this typology’s descriptive and critical capacity has become increasingly acknowledged within the field, widespread agreement about its replacement remains elusive. This thesis argues that a replacement can be found in Hans Frei’s five-fold typology of Christian theology, which differentiates between a range of approaches to theology, from theology as philosophical discourse (Type 1) to theology as quarantined, Christian self-description (Type 5). It is suggested that the more basic question posed by Frei’s typology of how Christian theology is understood in relation to philosophy and other external discourses, provides a better means of accounting for the different positions in the Christian theology of religions within 20th century ecumenical movements. It is shown how Frei’s typology emerges from his emphasis on both the limitations and the significance of external discourses for Christian theology, an emphasis which results from his construal of the mystery of Christ’s universal presence as a function of the particular incarnation in Jesus of Nazareth. Chapter one considers the philosophical foundations upon which Race’s typology is constructed, with particular emphasis on Troeltsch’s historicism, Hick’s epistemology of religious experience and WC Smith’s phenomenological hermeneutic, concluding that they determine the typology’s apologetic approach. It is shown how these commitments lead Race’s typology to differentiate between types of Christian theology primarily in relation to the philosophical viability, as Race understands it, of their Christology. Chapter two focuses first on the theology of Hans Frei and his analysis of the relationship between Christology and historicism, epistemology, and hermeneutics. It is suggested that Frei’s focus on the ordering of the relationship between Christian theology and external discourses, while undermining Race’s approach, affirms the possibility of a theologically valuable relationship between Christian theology and external discourses. Moreover, unlike Race, Frei’s emphasis on the significance of external discourses for Christian theology is derived in light of, and not in spite of, a faith in the incarnation and resurrection of Jesus Christ. Chapter three looks at Frei’s fivefold typology as a better means of accounting for the differences Race posits between exclusivists, inclusivists and pluralists. It is argued that in following Frei’s typological logic and the historical, epistemological and hermeneutical considerations characteristic of a Christian theology between types three and four, an approach to the theology of religions emerges which addresses the question of the universality of divine revelation – the central concern of Race’s typology – while also showing the inadequacy of Race’s typology and its prioritisation of philosophy. This will be shown by applying Frei’s typology to 20th century ecumenical movements and the positions on the theological significance of non-Christian religions that have emerged therein. Though Frei did not directly take up the issue of the Christian theology of religions, chapter three will demonstrate how his typology of Christian theology is of particular importance for this discussion. For his typology highlights the central question driving the theology of religions – how the ‘internal’ discourse of Christian self-description in reference to the gospels’ history-like witness to the life, death and resurrection of Jesus Christ relates to the historically contingent, public world outside the church. The conclusion will point toward a constructive proposal for a theology of evangelism and interfaith dialogue in pluralist societies of the 21st century, drawing on the ecumenical discussion viewed in relation to the theological and typological insights of Hans Frei.
33
Bradbury, Rosalene Clare. "Identifying the Classical Theologia Crucis and in this Light Karl Barth's Modern Theology of the Cross." Thesis, University of Auckland, 2009. http://hdl.handle.net/2292/4261.
Full textAbstract:
This dissertation is presented in two parts. It first identifies the shape and content of an ancient system of Christian thought predicated on the theology of the cross of Jesus Christ, and proposes the marks typifying its theologians. Over against the ensuing hermeneutic it next finds the project of twentieth century Swiss theologian Karl Barth to exhibit many of the defining characteristics of this system, and Barth himself to be fairly deemed a modern theologian of the cross. He crucially recovers, reshapes and reasserts the classical theologia crucis as a modern theological instrument, one answering enlightened theology’s self-glorifying accommodation to modernity with the living Word of the cross. The crucicentric system itself is found to comprise two major theological dimensions, epistemological and soteriological. Each of these comprises dialectically corresponding aspects connected with false and true creaturely glory. The cruciform Word (or theology) speaking through this system likewise moves in two directions. It declares negatively that any attempt by the creature to circumvent the cross so as to know about God directly, or to condition God's electing decision, is necessarily the attempt to know and act as God alone may know and act - an attempt therefore on the glory of God. It declares positively that in the crucified Christ God formally discloses the knowledge of God, and determines the creature for God. This knowledge and election are appropriated to the creature as, drawn into the cruciform environment, its attempt to glorify itself is negated and Christ's exalted humanity received in exchange. Thence it is lifted to participate in Christ's mind and in his glory, a process guided by the Holy Spirit and completed eschatologically. The database for this research includes selected primary materials in the Apostle Paul, Athanasius, a group of medieval mystical theologians, the reformer Martin Luther - particularly here his Heidelberg Disputation, and Karl Barth. It also pays attention to the recent secondary literature peripherally or more concertedly connecting itself to the theology of the cross, of whatever period. In this literature numerous suggestions for the content of the theology of the cross exist, a major methodological task in the current research being to bring these together systematically. To the extent that the inner structure of the system carrying the cruciform Word has not previously been made explicit, and Barth's crucicentric status not finally determined, in moving towards these achievements this dissertation breaks fresh ground. In the process a new test by which to decide the crucicentric status of any theological project is developed, and a further and crucicentric way of reading Barth proposed.This dissertation identifies the shape, content, and marks of the theology of the cross, an ancient and still extant epistemological and soteriological system of Christian thought. Applying the resulting hermeneutic it then shows this system to be present with renewed vitality and future significance in the modern project of seminal Swiss theologian Karl Barth (1886-1968).
34
Kofman, Gustavo E. "Parodic metafiction : an approach to self-reflexive fiction in two works by John Barth." Master's thesis, 2015. http://hdl.handle.net/11086/4191.
Full textAbstract:
The present study aims at elaborating on the connection between two concepts in
the field of literary studies, namely metafiction and parody, alongside other related
notions, such as the function of irony as a rhetorical mechanism and the use of myths as
intertexts. Among the several scholars who address these topics, Rose (1979 and 1993),
Hutcheon (1980 and 1985), and Waugh (1984) specifically deal with how these
concepts relate to one another. The texts proposed for this study –Perseid and
Bellerophoniad, in Chimera (1972) by American author John Barth– share specific
rhetorical and narrative elements that allow us to frame this analysis within the
theoretical notions referred to before. It has been noted that those theoretical works that
address these concepts, as well as the more specific critical studies reviewed, do not
deal with precise analytical categories which can embrace the conceptual network that
these texts present. An extensive inquiry conducted in the main academic research
databases reveals that the problem as stated in this proposal has not yet been
investigated and no papers that analyse Barth’s texts from the theoretical perspective
outlined here have been found. By constructing a model of textual analysis, this
proposal aims at contributing to the study of metafiction and parody and to the critical
analysis of metafictional narratives in general. In so doing, this proposal can provide
working analytical tools that are likely to be applied to other research studies that
incorporate a wider or different variety of literary texts.
35
Buller, Cornelius A. "Suffering and faith : their meaning and relationship in the thought of Karl Barth, Dietrich Bonhoeffer, Paul Tillich, Reinhold Niebuhr, Harold S. Bender and John H. Yoder." 1989. http://hdl.handle.net/1993/16890.
Full text
36
Cruddas, Leora Anne. "Labyrinths, legends, legions: an allergory of reading." Thesis, 1996. https://hdl.handle.net/10539/24311.
Full textAbstract:
A dissertation submitted to the Faculty of Arts, University of the
Witwatersrand, Johannesburg, in fulfilment of the requirements for the
degree of Master of Arts in Engiish.This dissertation grapples With the activity of critical production. It answers not to an interpretation which would constitute the writer within the institutionalised category of effect and object of knowledge, but rather to an explosion, a proliferation of critical paths at the limit of the doxa: a veritable labyrinth. The terms of my title open up a methodological field within which I enact the play of associations, contiguities, relations among four texts: The Name of the Rose, lost. in the Funhouse, The Naked Lunch and 'The library of Babel'. The terms themselves disseminate across the text argument in citations, references, echoes. The labyrinth is used throughout as a trope which deconstructs its own performance within the text. Legends are myths, inscriptions on maps, legenda or "things for reading" (through an etymological supplement), "lesser libraries." Barthes cites the biblical words of the man possessed by demons: "My name is Legion for we are many" and demonstrates how the demonlacal plural brings with it fundamental changes in reading strategies. The notion of the demoniacal plural is used to problernatlse the debates around subjectivity. The belief in unitary, rational selfhood is debunked and the subject is Seen to be plural, irreducible, heterogenous. Subjectivity is further problernatlsed by demonstrating the slippage among the labyrinthine multiplicity of discursive positions occupied by readers: the monoloqlcal models of meaning developed from each reading position constantly shift. The discursive position recuperated and sanctioned by the Law or the institution is impossible to maintain as Subjects are seduced by language into confrontation with other positions through their continuous renarnings of each other. Subjectivity and discursive positioning form .their own labyrinthine intentionality. The argument then moves towards an exploration of the current calculation of the subject for the writer. (Distinctions between author and critic begin to collapse here since meaning is shown to be governed by neither). The reading\writing subject strolls in a vast labyrinth of text - a postmodern flaneur who frustrates the work of exegesis by enacting the play of the signifier. The line traced by this hypothetical traveller does not engender a definitive theoretical or discursive map of the domain but rather a contingent and highly provisional, backward turning path. The demoniacal plural is also used to problematise notions of an original and innovative critical voice which "speaks" the dissertation. The logic regulating the argument is the already-written, The dissertation plavs with each text (both critical texts and fictions) looking for a practice which reproduces them but in another place. My imagined (ideal?) reader wmtreat the argument as that Which. lt was not simply meant to be,will. follow.the argument and be seduced by it: an echoing. structure with dead ends, wrong turns, false entrances fictitious exits; misleading threads and deceptive lines,
AC 2018
37
Smit, Susanna Margrietha. "Instabilities of visual perception in the 'Bath Series' of Jasper Johns (1983-1988)." Thesis, 2012. http://hdl.handle.net/10539/12049.
Full textAbstract:
M.A.University of the Witwatersrand, Faculty of Humanities (Fine Arts), 2012The ‘Bath Series’ (1983-1988) of Jasper Johns shows the artist’s meditation on his oeuvre of the past thirty years, and the examples of his previous works demonstrate his interest in instabilities of visual perception. The latter are activated when the viewer’s expectation to see conventional representational strategies are destabilized, and figure/ground pictorial space, particularly, becomes ambiguous. This first recorded academic study focusing exclusively on the series as a unit, discovers that figure/ground switching, an ‘Ur-Gestalt’ (Gandelman 1989: 209), appears to be a core energy motivating ambiguous pictorial space in Johns’ art, and constitutes the theoretical component of the research. The practical component is a site specific installation which shows some visual and verbal processes and meditates on the perpetual interaction between the eye and the mind, which is a fundamental concern of Johns (Varnedoe 1996b: 245, 257), as well as of myself. The work invites viewers to experience destabilized conventional visual perceptions and to explore, as Johns said, ‘something new’ (Varnedoe 1996a: 17).
38
Andrews, Chad Michael. ""Minds will grow perplexed": The Labyrinthine Short Fiction of Steven Millhauser." Thesis, 2014. http://hdl.handle.net/1805/4023.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.