Tesis sobre el tema "Process exegesis"

An exegesis of the creative process involved in writing the novel Electricity. This comprises: a preface; an analysis of the novel’s genesis; details of an interview with neuropsychologist Dr Alarcon; an examination of how the protagonist’s character was formed; the link between epilepsy and creativity; a brief analysis of how epilepsy is used in Dostoyevsky’s The Idiot', epilepsy as a structural device; memory and the novel as consciousness; the language of the epileptic body; the interpreter and qualia; reader criticism and writer response; an overview of the editorial process; a dialogue discussing the illusion of the female voice; and finally a conclusion.

This study presents a work of theatre art in the form of an autobiographical monodrama, supported by three exegeses: a review of informing literature, one of the writing process, the third of the critical reactions to the play at different stages of its development by readers and audiences. The thesis considers the two questions, How can theatre depict my autobiography? and How can monodrama be used to express this autobiography? The first question implies an examination of the process of writing and producing an autobiography for the theatre. The second question is answered through the process that developed in this study towards the choice of the form of a monodrama. The methodology emerged as the play was written and a journal recorded. At times the approach, particularly as it affected the writing of the play, was more like action research in which the play was reacted to and then amended in a cyclical manner, the writer also developing new understandings in the process. The reflective process was used to help in understanding the development that was taking place. A survey, and interviews with audience members were conducted as part of the investigation once the artwork was presented. In addition, after the piece had been developed to the point of presentation, it was subjected to critical evaluation, The data from the audience assisted in the development of the artwork as well as developing an understanding of the research question and the possible answers or further questions. The Generic Exegesis arose out of the reading, and developed as an exegesis accompanying the writing of the play once the form of the play had clearly become a monodrama. The Generic Exegesis is designed to show background reading that has informed directly the writing and performing of the play, 'The Changeling'. A principal objective for writing the play developed from a desire to help others to understand something of the conflicts and dilemmas facing adoptees towards the search for self identity and its relationship to acting. Part of the conflict for an adopted person was crystallised in Derridas concept of erasure and the use of the trace to recognise the coexistence of both sides of a binary, which rationalised the splitting of the central character into the two traces, Dominic and Frank. My need for control of the outcome affected the selection from the autobiography, the development of some scenes, and was one of the reasons for the use of fiction. The data for the Process Exegesis came from the journal that was kept during the writing, production, performance and rewrites of the play. The role of the audience had emerged in the interview data and one of the interview questions asked what kind of audience the respondent thought the play suitable for. The Process Exegesis shows that part of the answer to the research question is arrived at through the systematic recording and analysis of the processes that were involved in the writing of the autobiographical play. These have shown that artistic worth was increased as a factor of the distance achieved. The Critical Exegesis showsthat the issues that the play addressed such as adoption and a search for identity were also perceived as important by the readers and the audience. Significant contributions to the development of the play were made by the Dramaturg (Dl) and some cogent points were made by a second dramaturg. The respondents who were interviewed reacted to the content of the play, namely adoption, identity and the issues associated with them, as well as the performance. This study investigates the processes of the development of an autobiographical performance from the generation of the script to the public presentation. It shows that theatre can artistically depict an autobiography and that the perceived appropriate contemporary theatre formis the monodrama. The main issue to be recognised as arising out of the play and the process is that the whole project has been a search for identity. That identity is defined in the range of characters portrayed in the play as well as the process of writing it. The outcome of the investigation was a piece of dramatic performance text that I had written and performed, accompanied by a critical commentary on the creation, production and reception processes.

This study presents a work of theatre art in the form of an autobiographical monodrama, supported by three exegeses: a review of informing literature, one of the writing process, the third of the critical reactions to the play at different stages of its development by readers and audiences. The thesis considers the two questions, How can theatre depict my autobiography? and How can monodrama be used to express this autobiography? The first question implies an examination of the process of writing and producing an autobiography for the theatre. The second question is answered through the process that developed in this study towards the choice of the form of a monodrama. The methodology emerged as the play was written and a journal recorded. At times the approach, particularly as it affected the writing of the play, was more like action research in which the play was reacted to and then amended in a cyclical manner, the writer also developing new understandings in the process. The reflective process was used to help in understanding the development that was taking place. A survey, and interviews with audience members were conducted as part of the investigation once the artwork was presented. In addition, after the piece had been developed to the point of presentation, it was subjected to critical evaluation, The data from the audience assisted in the development of the artwork as well as developing an understanding of the research question and the possible answers or further questions. The Generic Exegesis arose out of the reading, and developed as an exegesis accompanying the writing of the play once the form of the play had clearly become a monodrama. The Generic Exegesis is designed to show background reading that has informed directly the writing and performing of the play, 'The Changeling'. A principal objective for writing the play developed from a desire to help others to understand something of the conflicts and dilemmas facing adoptees towards the search for self identity and its relationship to acting. Part of the conflict for an adopted person was crystallised in Derridas concept of erasure and the use of the trace to recognise the coexistence of both sides of a binary, which rationalised the splitting of the central character into the two traces, Dominic and Frank. My need for control of the outcome affected the selection from the autobiography, the development of some scenes, and was one of the reasons for the use of fiction. The data for the Process Exegesis came from the journal that was kept during the writing, production, performance and rewrites of the play. The role of the audience had emerged in the interview data and one of the interview questions asked what kind of audience the respondent thought the play suitable for. The Process Exegesis shows that part of the answer to the research question is arrived at through the systematic recording and analysis of the processes that were involved in the writing of the autobiographical play. These have shown that artistic worth was increased as a factor of the distance achieved. The Critical Exegesis showsthat the issues that the play addressed such as adoption and a search for identity were also perceived as important by the readers and the audience. Significant contributions to the development of the play were made by the Dramaturg (Dl) and some cogent points were made by a second dramaturg. The respondents who were interviewed reacted to the content of the play, namely adoption, identity and the issues associated with them, as well as the performance. This study investigates the processes of the development of an autobiographical performance from the generation of the script to the public presentation. It shows that theatre can artistically depict an autobiography and that the perceived appropriate contemporary theatre formis the monodrama. The main issue to be recognised as arising out of the play and the process is that the whole project has been a search for identity. That identity is defined in the range of characters portrayed in the play as well as the process of writing it. The outcome of the investigation was a piece of dramatic performance text that I had written and performed, accompanied by a critical commentary on the creation, production and reception processes.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Arts, Education and Law
Full Text

This studio-based project explores a method of working that assigns agency to paint and process within the medium of painting. Underpinning this exploration is the notion that process driven making could potentially pose as a per formative event. Choreographed yet contingent, the practice investigates the relationship between the potentiality inherent within media and the extent to which this is affected by temporal/ external factors in the determining of outcome. A dialogue between the intentional and the contingent is initiated through a systematic approach that involves manipulation of the constituent elements of paint and the implementation of procedure and protocols as a means to activate conditions of possibility. Central to the research concerns are issues surrounding the ability of media to articulate itself, determine its own temporality and of process and content to operate conterminously. The images produced evidence this investigation as both enquiry and consequence.

There is almost universal concern for the current state of the environment and how it will degrade further if there are not global changes to how people live day to day. Australia lags behind other developed countries in the realm of sustainable development. One of the most widely used frameworks in designing for sustainability is the triple bottom line (TBL) defined by economist John Elkington. This perspective affords equal importance to the environment, economics and society. However, very little design research has a TBL focus and even less has focused on the role of interior designers. In industry, the rating tools, and resources used to assist interior designers in making their practice more sustainable are complicated, require specialised training, and have an emphasis on environmental sustainability with little consideration of social or economic concerns. This study aims to close the above-mentioned research gap by concentrating on sustainability issues with a TBL focus for interior design. The focus is on small, local retail businesses where financial concerns and social implications are of the utmost importance to business owners, and environmental impacts are particularly negative because of the high frequency of renovations. Additionally, aesthetics plays an important role in the success of the shop interior which is explored in the context of sustainability. This project uses case studies, through creative practice, to explore the application and practicality of TBL in retail design. All three case studies were women’s clothes shops close to central Perth in Western Australia. The focus of the research is on small practitioners, without the resources to improve the sustainability of their businesses through the use of complex rating systems. The fitouts of each shop were updated from a TBL perspective. The design process of each case study was visually recorded, as well as observations, interviews and customer feedback, as a way of gauging the success of the TBL approach.

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A presente dissertação versa sobre o princípio da correlação no processo penal brasileiro, também conhecido como princípio da congruência entre acusação e sentença ou princípio da vinculação temática do juiz. Tal princípio determina que os fatos imputados no momento inicial e final do processo guardem absoluta correspondência, constituindo-se em importante instrumento do poder-dever de punir do Estado. Em outras palavras, constitui-se em garantia ao acusado de que somente poderá ser processado e julgado pelos os acontecimentos acusados, comprovados e acerca dos quais foi exercida a ampla defesa. A mutação do objeto do processo é tema bastante complexo no âmbito do processo penal, mormente pela dificuldade de se apontar com precisão quais são as modificações do fato processual que ensejam violação à regra da correlação. Não há unanimidade na doutrina acerca do assunto, não havendo, por via de conseqüência, solução abstrata e genérica que possa ser utilizada como parâmetro para resolução de casos.E não é por outra razão que a questão deve ser analisada no âmbito da casuística, sempre com os olhos voltados à conformidade constitucional das normas processuais. O Código de Processo Penal foi bastante lacônico ao pretender em apenas dois artigos disciplinar o conteúdo da regra em comento. Os institutos da emendatio (art. 383) e mutatio libelli (art. 384) são analisados com muito zelo, examinando-se, pormenorizadamente, as hipóteses de cabimento que, por sua vez, não refogem às divergências doutrinárias e jurisprudenciais. Nesse contexto, a vinculação do tema ao sistema acusatório resulta por demais evidente, sendo necessário permanente atenção aos corolários da ampla defesa e do contraditório.

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A presente disserta??o versa sobre o princ?pio da correla??o no processo penal brasileiro, tamb?m conhecido como princ?pio da congru?ncia entre acusa??o e senten?a ou princ?pio da vincula??o tem?tica do juiz. Tal princ?pio determina que os fatos imputados no momento inicial e final do processo guardem absoluta correspond?ncia, constituindo-se em importante instrumento do poder-dever de punir do Estado. Em outras palavras, constitui-se em garantia ao acusado de que somente poder? ser processado e julgado pelos os acontecimentos acusados, comprovados e acerca dos quais foi exercida a ampla defesa. A muta??o do objeto do processo ? tema bastante complexo no ?mbito do processo penal, mormente pela dificuldade de se apontar com precis?o quais s?o as modifica??es do fato processual que ensejam viola??o ? regra da correla??o. N?o h? unanimidade na doutrina acerca do assunto, n?o havendo, por via de conseq??ncia, solu??o abstrata e gen?rica que possa ser utilizada como par?metro para resolu??o de casos. E n?o ? por outra raz?o que a quest?o deve ser analisada no ?mbito da casu?stica, sempre com os olhos voltados ? conformidade constitucional das normas processuais. O C?digo de Processo Penal foi bastante lac?nico ao pretender em apenas dois artigos disciplinar o conte?do da regra em comento. Os institutos da emendatio (art. 383) e mutatio libelli (art. 384) s?o analisados com muito zelo, examinando-se, pormenorizadamente, as hip?teses de cabimento que, por sua vez, n?o refogem ?s diverg?ncias doutrin?rias e jurisprudenciais. Nesse contexto, a vincula??o do tema ao sistema acusat?rio resulta por demais evidente, sendo necess?rio permanente aten??o aos corol?rios da ampla defesa e do contradit?rio

The scope of the thesis is a reflection on the present marriage process within the church, focusing particularly on the U.P.C.S.A. This reflection is done through exegesis of Mark 10:2-12, using Professor J. Draper's tri-polar exegetical model. The aim is to broaden the church's understanding of the marriage process, thus making this key transition in peoples' lives more profound. This Thesis endeavours to bring together doctrine and praxis, through both textual and contextual analysis. Using Narrative and Ritual Theory at both the textual and contextual level, this thesis seeks to examine both the text and context in a new and innovative way. The use of anthropological ritual models allows one not only to step back from the text, but also initiates doctrinal discussion at a practical level. Further both the text and context are examined through historical reflection, placing both the book of Mark and present the marriage doctrines in their broad social, political and economic circumstance. Is the church's doctrine with regard to marriage adequately represented in praxis through the present wedding ceremony or have other forces lead to a misappropriation of Mark 10:2-12? The nature of the tri-polar exegetical model is that it is both dependent on the context for input and acknowledges that any exegesis must have an impact upon the lived-experience of the community of believers. Both present doctrine and praxis of marriage, I believe, are challenged in this thesis through a careful analysis of Mark 10:2-12, in the context of Mark through the use of both, ritual analysis and narrative criticism. In 2003, the church not only is faced with a crisis in respect of marriage and its decline, but it is also faced with an opportunity - the present increase in the interest in ritual. This thesis gives some insights into how the church can take up the challenge and use ritual as a tool of liberation. This thesis is thus by nature complex as it seeks to bring together doctrine and praxis, through ritual theory and analysis.
Thesis (M.A)-University of KwaZulu-Natal, Pietermaritzburg, 2003.

This study is a practice-led research project in the field of studio ceramics. It focuses on the materials and processes of making vessels and hollow sculptural forms by Kim Bagley, in partial fulfilment of the MAFA degree. The study is an examination of an intuitive approach to ceramic production expressing the chosen theme: clay-earth-skin. This theme is metaphorically linked to the physical origin (the earth) and skin-like quality of plastic clay and some hollow ceramic forms. The theme is also linked to the concept of materiality and the ideas of Claude Lévi-Strauss, concerning nature and culture, and Philip Rawson’s ‘potter’s space’. These theoretical ideas are explored in terms of an intuitive, empirical approach to ceramic materials. The working process and finished works are contextualised in terms of the historical production of Peter Voulkos and the contemporary practice of Gareth Mason and Yo Akiyama whose work can be read as related to the researcher’s through a common use of the clay-earth-skin theme in some form. This dissertation posits and elucidates the relationship between theory and studio practice. It takes the form of an exegesis, that is, a contextual translation, which seeks to both record and reflect on the making process, and what it reveals, using digital photographs and reflective writings. These tools facilitated the recognition that conceptual, theoretical ideas reoccur in the moments of making, within the studio context, which results in an integrated relationship between theory and practice.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

[Pt. 1][Exegesis]: The process and importance of writing Aboriginal fiction for young adult readers -- [Pt. 2][Novel]: Calypso Summers
The novel “Calypso Summers” explores issues associated with being an Aboriginal youth including complexities surrounding identity formation and the role and impact of engagement with Aboriginal culture on the well-being of contemporary Aboriginal youth. The story follows twenty-year-old “Calypso Summers” who adopts Rastafarianism to gain social status in the absence of employment and strong cultural links. Finding work in a health food store provides impetus for Calypso to discover traditional Aboriginal medicinal uses of native plants. Calypso's quest brings him into contact with his family and cultural principles of the Nukunu people, assisting him to develop meaning in his life. The novel can be read as affirmation of the strength and importance of Aboriginal cultures and promotion of engagement with culture as way to negotiate circumstances often deemed insurmountable. The exegetical essay “The process and importance of writing Aboriginal fiction for young adult readers” is divided into three parts. Part A examines the impact of Indigenous protocols upon the process of writing that includes Aboriginal people, issues and culture. Part B explores the social realities of Aboriginal Australia and the role young adult fiction can play in addressing Indigenous illiteracy and disadvantage. Part C discusses the benefit of mentorship with renowned Jamaican writer Olive Senior when constructing the fictional work “Calypso Summers”.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2011

This essay documents a year of exploring how to continue to be creative, experimental and intuitive within an art institution. It provides a context and thus academic shelter for a non-linear, experimental process of making drawings, sculpture and site-specific work. The essay has three layers; the contextual document, images which show the process of making, as well as a narrative written in experimental poetry which describes the embodied process of making through collaged journal writing. The images are interspersed through the essay, while the poetry provides an alternative narrative and is printed on the back pages of the essay. ‘Building’ is used as an active metaphor for the creative process, as well as buildings as sites for research and installation of adaptive sculptures. Building as a metaphor for unchanging narratives will be contrasted with artists whose work challenges the unitary nature of a functional building through their interventions. Using the body to make meaning is discussed in a feminist context, as an alternative this model to linear, rational thinking. This also questions and problematizes the heroic male artist body. Performing the making through a female body will be discussed and issues of privacy and proximity covered. A potential solution to these issues will be explored in using abstraction to create active meaning, thus implicating the body of the audience as well as the artist.

Dans un monde devenu séculier et où la tradition chrétienne est en recul, on est en droit de se poser la question de la pertinence des textes bibliques. En lien avec cette situation, on peut aussi se demander quelle représentation de Dieu émerge de la façon dont on accueille ces textes. Ce type de questionnement sous-tend l’intérêt que peut représenter une approche processuelle des textes bibliques, approche encore peu connue dans le monde francophone. Celle-ci est-elle en mesure d’apporter une certaine nouveauté dans la vision de Dieu généralement proposée en milieu chrétien ? Pour répondre à cela, il a semblé pertinent de tenter l’exercice à partir d’un texte englobant et fondateur. Genèse 2, connu pour raconter la création d’Adam et Ève, est porteur d’images presque stéréotypées à force d’avoir été lu et remâché. À ce titre, il a paru particulièrement approprié. Mais, avant même d’explorer le texte sous un angle processuel, il s’est avéré indispensable de commencer cette démarche par une traduction personnelle du texte hébreu, à partir et avec l’aide d’une analyse syntaxique et textuelle, dont on verra qu’elles ont ouvert le texte à de nouvelles hypothèses de traduction, de nouvelles nuances, comme autant de pistes à confronter à une théologie processuelle. Enfin, cette analyse ne peut se faire sans être en dialogue avec différents commentaires, exégétiques ou non, afin de souligner les convergences comme les divergences rencontrées au fil de la recherche et de la réflexion.
In the world that has become secular and where the Christian tradition is declining, we are entitled to question the pertinence of the biblical texts. In link with this situation, one can also wonder which representation of God arises depending how one receives these texts. This type of questioning underlies the interest that a Process approach of biblical texts can represent, even though the approach is still not much known in the French-speaking world. Does this approach possesses the ability of bringing some novelty to the vision of God generally offered in the Christian world ? To answer this, it seemed preferable to try the experience from a founding and forerunner text. Genesis 2, known to tell the creation of Adam and Eve, is bearing most stereotypic images by having been read and read, and chewed again. Therefore, seemed to be particularly accurate. But even before exploring the text from a Process angle, it has been proved essential to begin this with a personal translation of the Hebrew text, from and with the help of a syntactic and textual analysis, which as it will be shown, has conducted to open the text to new assumptions of translations and nuances, as so many tracks to be confronted to a Process theology. Finally, this analysis cannot be made without engaging in a dialogue with different commentaries, exegetical or not, in order to underline the convergences as well as the divergences met in the course of the research and of the reflexion.

La Ruah YHWH joue un rôle important dans la transformation créative de l’univers et des entités actuelles; cependant, une réflexion concernant les modalités de ce rôle reste à développer. La théologie processuelle offre une plateforme à partir de laquelle sont examinées diverses facettes des rôles que peut jouer la Ruah YHWH dans un monde où le chaos semble dominer. L’objectif de ce mémoire est justement d’explorer la Ruah YHWH dans son rôle de transformation créative au service, ultimement de l’ordre, de la paix et de l’harmonie dans le monde, les communautés, la vie des entités actuelles, etc. Le Chapitre 1 passe en revue des notions clés de la théologie processuelle. Le concept des “entités actuelles” est d’abord défini. Sont ensuite examinées les différentes phases du devenir d’une entité actuelle. Finalement, les concepts de “créativité” et de “transformation”, dans une perspective de la Ruah YHWH font l’objet d’observations attentives avant d’aborder « trois natures » de Dieu, à savoir primordiale, conséquente, et superjective. Le Chapitre 2 s’intéresse à la péricope centrale de ce mémoire : Juges 13:24-14:20. Le découpage de la structure de cette péricope est basé sur des critères de critique textuelle et d’analyse syntaxique. La première analyse s’attarde aux difficultés que le texte hébreu présente, alors que la deuxième met l’accent sur l’organisation structurelle des propositions grammaticales des versets. Les deux analyses me permettent ensuite de proposer une traduction du péricope. Le Chapitre 3 se veut une application de ce qui a été élaboré au Chapitre 1 sur la péricope analysée au Chapitre 2. Ce troisième chapitre permet de mettre en pratique une approche processuelle originale développée par Robert David dans son livre Déli_l’ ÉCRITURE. Dans la foulée des chapitres qui le précèdent, le Chapitre 4 propose quelques principes herméneutiques contemporains pouvant éclairer le rôle de la Ruah YHWH dans l’avancée créative du monde : vie, amour, et paix.
The Ruah YHWH plays a key role in the creative transformation of both the universe and actual entities; however, that role has still to be developed. Process theology, of which I shall endeavour to define some important notions in Chapter 1, offers a platform I shall attempt to build upon in order to examine such an important role in a chaotic world. The aim of this dissertation is to explore the Ruah YHWH in Her role of creative transformation, which I argue to ultimately be that of bringing order, peace, and harmony in the world, communities, the life of actual entities, etc. Chapter 1 is an overview of some key notions of process theology: first, the concept of “actual entities” is defined. Secondly, I examine the phases of concrescence in the becoming of an actual entity. And finally, I look at the concepts of creativity and transformation in the perspective of the Ruah YHWH prior to examining the “three natures” of God, primordial, consequent, and superjective. Chapter 2 defines the pericope of this dissertation: Judges 13:24-14:20. The structure of the pericope is based upon the methods of textual criticism and syntactical analysis. While the first examination deals with some difficulties the original Hebrew text presents, the second deals with the structural organization of the verses grammatical propositions. The two examinations allow me to propose a translation of the pericope. Chapter 3 is an application of what was laid out in Chapter 1 on the pericope established in Chapter 2. In the course of the third chapter, I employ an innovative (original) processual approach developed by Robert David in his recent book Déli_ l’ÉCRITURE. Then, Chapter 4 proposes, out of the preceding chapters, some contemporary hermeneutical principles which enlighten the role of the Ruah YHWH in the creative transformation of the world: life, love, and peace.

La Ruah YHWH joue un rôle important dans la transformation créative de l’univers et des entités actuelles; cependant, une réflexion concernant les modalités de ce rôle reste à développer. La théologie processuelle offre une plateforme à partir de laquelle sont examinées diverses facettes des rôles que peut jouer la Ruah YHWH dans un monde où le chaos semble dominer. L’objectif de ce mémoire est justement d’explorer la Ruah YHWH dans son rôle de transformation créative au service, ultimement de l’ordre, de la paix et de l’harmonie dans le monde, les communautés, la vie des entités actuelles, etc. Le Chapitre 1 passe en revue des notions clés de la théologie processuelle. Le concept des “entités actuelles” est d’abord défini. Sont ensuite examinées les différentes phases du devenir d’une entité actuelle. Finalement, les concepts de “créativité” et de “transformation”, dans une perspective de la Ruah YHWH font l’objet d’observations attentives avant d’aborder « trois natures » de Dieu, à savoir primordiale, conséquente, et superjective. Le Chapitre 2 s’intéresse à la péricope centrale de ce mémoire : Juges 13:24-14:20. Le découpage de la structure de cette péricope est basé sur des critères de critique textuelle et d’analyse syntaxique. La première analyse s’attarde aux difficultés que le texte hébreu présente, alors que la deuxième met l’accent sur l’organisation structurelle des propositions grammaticales des versets. Les deux analyses me permettent ensuite de proposer une traduction du péricope. Le Chapitre 3 se veut une application de ce qui a été élaboré au Chapitre 1 sur la péricope analysée au Chapitre 2. Ce troisième chapitre permet de mettre en pratique une approche processuelle originale développée par Robert David dans son livre Déli_l’ ÉCRITURE. Dans la foulée des chapitres qui le précèdent, le Chapitre 4 propose quelques principes herméneutiques contemporains pouvant éclairer le rôle de la Ruah YHWH dans l’avancée créative du monde : vie, amour, et paix.
The Ruah YHWH plays a key role in the creative transformation of both the universe and actual entities; however, that role has still to be developed. Process theology, of which I shall endeavour to define some important notions in Chapter 1, offers a platform I shall attempt to build upon in order to examine such an important role in a chaotic world. The aim of this dissertation is to explore the Ruah YHWH in Her role of creative transformation, which I argue to ultimately be that of bringing order, peace, and harmony in the world, communities, the life of actual entities, etc. Chapter 1 is an overview of some key notions of process theology: first, the concept of “actual entities” is defined. Secondly, I examine the phases of concrescence in the becoming of an actual entity. And finally, I look at the concepts of creativity and transformation in the perspective of the Ruah YHWH prior to examining the “three natures” of God, primordial, consequent, and superjective. Chapter 2 defines the pericope of this dissertation: Judges 13:24-14:20. The structure of the pericope is based upon the methods of textual criticism and syntactical analysis. While the first examination deals with some difficulties the original Hebrew text presents, the second deals with the structural organization of the verses grammatical propositions. The two examinations allow me to propose a translation of the pericope. Chapter 3 is an application of what was laid out in Chapter 1 on the pericope established in Chapter 2. In the course of the third chapter, I employ an innovative (original) processual approach developed by Robert David in his recent book Déli_ l’ÉCRITURE. Then, Chapter 4 proposes, out of the preceding chapters, some contemporary hermeneutical principles which enlighten the role of the Ruah YHWH in the creative transformation of the world: life, love, and peace.

Les penseurs de l’herméneutique du XXe siècle ont redéfini essentiellement l’humain comme un être en quête de sens, interprétant sans cesse le ‘monde’ à travers ‘son propre monde’, cette compréhension transformante contribuant à son devenir. Serait-il pertinent dans une recherche de sens qui caractérise une démarche de foi, d’utiliser des outils herméneutiques ouvrant les Écritures sur d’autres possibles que ce que la Tradition chrétienne propose aujourd’hui ? Le présent mémoire veut répondre par l’affirmative à ce défi, en appliquant une approche processuelle sur le chapitre 16 du livre d’Ézéchiel, un prophète avec lequel la tradition juive a gardé une certaine prudence et un texte particulièrement osé que la pastorale chrétienne a ignoré. Après une mise en situation qui trace les paramètres fondamentaux de la démarche entreprise dans ce mémoire (chapitre 1), une traduction littérale du texte hébreu est proposée, faisant ressortir les nuances que suggèrent les formes verbales et les éléments particuliers que révèle une analyse macro-syntaxique (chapitre 2); la méthode d’analyse processuelle choisie pour interpréter le texte est inédite dans le monde francophone, tout comme la perspective processuelle de l’étude telle qu’elle se déploie dans les chapitres 3 et 4 du mémoire. L’analyse débouche sur des propositions théologiques originales, redéfinissant notamment la Toute-Puissance divine comme un entêtement qui cherche à convaincre, et inscrivant le pardon divin au creux de la liberté et de la responsabilité humaines.
Hermeneutic thinkers of the twentieth century have essentially redefined man as a being who is in search of meaning, constantly interpreting the 'world' through 'his own world', with this transformative understanding contributing to his future. Is it therefore relevant, in the search for meaning that characterizes a journey of faith, to read the Scriptures in ways that open new possibilities other than those currently offered by the Christian tradition? This essay proposes an affirmative answer to this challenge by applying a Process Approach to the text of Chapter 16 of the Book of Ezekiel, a prophet whom Jewish tradition has historically treated with suspicion and a particularly bold text that the Christians disregarded. After setting the parameters of the study (Chapter 1), a literal translation of the Hebrew text is presented, highlighting the nuances suggested by language choice as well as particular elements revealed by macro-syntax analysis (Chapter 2). The process analysis method chosen to interpret the text is unprecedented in the Francophone world, as is the process context of the study outlined in Chapters 3 and 4. The conclusions identify original theological concepts, most notably redefining God as a stubborn will that seeks to convince, and inscribing his forgiveness deeply in human liberty and responsibility.