Thèses : « Historicity of Form »

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Sourgen, Gavin Oliver. « 'Artlessness and artifice' : Byron and the historicity of poetic form ». Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c5487012-3205-483f-9a98-4e679662a74d.

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This thesis examines the conscious amalgamation of conflicting forms in Byron’s verse, and how these forms strain to create meaning in the processes of his poetry. Through a series of close readings and critical engagements with other Romantic poets, I endeavour to show how Byron’s poetry is often a rich site of contention between revolutionary and conservative impulses; both in its style and subject matter, and more often than not, in the complicated relationship between them. Beginning with Byron’s problematic place in the English Romantic canon, I attempt to lay a foundation for my claims that for all his mistrust of closed systems and predetermined positions there remained an urging desire to reconcile definitive artistic contour with internal form-developing process in many of his most intense poetic engagements. In his efforts at reconciling an awareness of the ever-moving provisional nature of subjectivity with a deep-rooted demand for evaluative permanence, Byron habitually employs a hybrid poetic idiom which seeks to be both timeless and time specific. In many of his most distinctive compositions, Byron holds a so-called ‘High Romantic’ lyrical mode, in which meaning is immersed in a persistent flowing rhythm, in tension with an eighteenth-century rhetorical style in which the careful placement of weighty words offsets its continuity to striking effect. By bookending my enquiry with Byron’s penetrating discursive conflicts with the naïve lyrical impulses of Wordsworth’s blank verse and what he perceived as the rhetorical appropriations of Keats’s poetry, I wish to demonstrate that Byron’s poetry enacts a curious meeting of nature and culture by a refusal to cleave them.

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Mack, Ruth. « Literary historicity literary form and historical thinking in mid-eighteenth-century England / ». Available to US Hopkins community, 2003. http://wwwlib.umi.com/dissertations/dlnow/3080723.

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Alexander, Sandra Kaye. « Form, flesh and art's historicity : the themes of human embodiment and visual art in the work of Merleau-Ponty ». Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288906.

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BARBAGLIA, LUCA. « RECEPTION AND LEGACY OF ERNST CASSIRER'S THEORY OF SYMBOLIC FORMS IN THE PHILOSOPHY OF WALTER BENJAMIN ». Doctoral thesis, Università degli Studi di Milano, 2021. http://hdl.handle.net/2434/869966.

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This work reconstructs biographical, bibliographical and theoretical aspects of Walter Benjamin’s ideas in comparison to those of Ernst Cassirer. Its primary question asks: was Cassirer’s notion of symbol, as embedded in the philosophical context of his milieu, a primary element of Benjamin’s peculiar and lifelong investigation of the cultural and the perceptive, and of their mutual contamination? In answer, it constructs a historiographical survey of Benjamin’s Weltanschauung prior to encountering Professor Cassirer at the University of Berlin in the early 1910s. It investigates the impact and influence of Cassirer’s work on Benjamin, from his time as Cassirer’s student until the last years of Benjamin’s life. The form, role and development of the concept of symbol in Benjamin’s research is analysed from the early project of an epistemology to the academic failure of the Trauerspielbuch. It pays particular attention to the dimensions of the linguistic and the mythical, two main areas to which Cassirerian analysis was also addressed at the same time. In the last section, some key concepts of Benjamin’s philosophy are examined. Of particular interest is the relation between “choc”, the “medium of perception”. These are viewed through a theoretical analysis and comparison of several sources, and in the context of the configurative possibilities that Cassirer had previously ascribed to symbolization.

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Myers, Tony. « Postmodernism and historicity : narrative forms in the contemporary novel ». Thesis, University of Stirling, 1998. http://hdl.handle.net/1893/1809.

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This study proposes that modernity is constitutively based upon a synchronic temporality which perpetuates the present of the ego. Within this matrix, history is subject to the processes of subjectivization and the 'otherness' of the past disappears. Postmodernism, it is argued, designates the attempt to disinter a properly historical thinking, or historicity, from the recursive temporality of the modern. This attempt is predicated upon the retroactive temporality of the future perfect which, whilst also a synchrony, arises from a productive tension between the past, the present and the future. The self-divisive time of the future perfect expedites the discomfiture of the ego and its concomitant subjectivization of the past and, by so doing, registers the historicity of that past. The relation between the modern and the postmodern forms of temporality is expressed by the Lacanian distinction between the imaginary and symbolic orders. It is argued, moreover, that this distinction is manifest in the narrative forms of the contemporary novel. Whilst the modern form of the contemporary novel replicates the structures of an egocentric repletion of synchrony, the postmodern novel displaces this imaginary problematic to the symbolic. By employing a variety of techniques founded upon retroactivity, postmodern novels are thereby shown to foster a disclosure of the structure of historicity. Within this rubric five novels are given extended consideration: William Gibson's Neuromancer, Bret Easton Ellis's American Psycho, Thomas Pynchon's The Crying of Lot 49, Kurt Vonnegut's Slaughterhouse-Five and John Banville's Doctor Copernicus.

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Folliot, Laurent. « Des paysages impossibles : nature, forme et historicité chez W. Wordsworth et S.T. Coleridge ». Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00881236.

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Souvent perçu comme le poète de la " nature " par excellence, William Wordsworth serait bien plutôt celui qui a donné définitivement congé à une riche tradition descriptive, puisque les évocations du paysage sont chez lui bien plus rares que chez tous ses prédécesseurs du XVIIIe siècle. Le présent travail se propose de prêter attention à cette raréfaction, qu'on peut également voir, sur le plan de l'histoire esthétique, comme le moment d'émergence d 'une modernité abstraite. La poésie wordsworthienne, qui a pour ambition de refonder le langage et les formes poétiques par un retour à l'authenticité de la nature, apparaît indissociablement comme une rupture avec un mode essentiel de la première modernité anglaise, celui des Géorgiques. Elle prend ainsi acte de la crise de la représentation qui affecte l'optimisme du XVIIIe siècle et qui empêche désormais de voir dans le paysage la manifestation d' un ordre providentiel. Le " romantisme " anglais est ce qui surgit au défaut de la cosmologie, pour témoigner d'une fondamentale absence au monde. Cette évolution est ici étudiée en deux temps. On s'attachera d'abord à retracer, dans son détail, la trajectoire de la poésie de jeunesse de Wordsworth et de Coleridge, pour montrer que le moment refondateur de Lyrical Ballads intervient au terme d'un épuisement des formes et de la topique qui garantissaient traditionnellement l'intelligibilité du cosmos. Et l'on abordera ensuite trois moments distincts de la maturité poétique de Wordsworth [1798, 1802, 1807], qui suggèrent que le retour de l'idéologie dans son œuvre répond intimement à l'ébranlement radical dans lequel elle trouve son inspiration.

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Privalov, Roman. « Storytelling for the social media age : A study of mediated historicity and political narratives in “1917. Free history” ». Thesis, Stockholms universitet, JMK, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144028.

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Scholarship on politics and popular culture is constantly evolving in the field of media and communications. Analyzing diverse types of mediated texts, especially the ones that are structured as narratives, such works aim to show how the cultural evolves from the political and vice versa. While storytelling in social media has attracted many scholars, it is mostly neglected from the perspective of politics and popular culture. The probable reason for this is that social media for long time have not introduced any new types of popular culture mediated texts, which would be impossible to imagine without the opportunities of Web 2.0. Through examining “1917. Free history” – a project dedicated to the anniversary of the Russian revolution – this study aims to fill the research gap and expand the scholarship on politics and popular culture to the storytelling in social media. It examines the theoretical paradigm of mediated historicity with the help of content analysis, and the concepts of narrative, myth and ideology with the help of narrative analysis. For the former, the results show how remediation in pursuit of immediacy, expressed in implicitly hiding the initial contexts of production of the texts, constructs the mediated historicity of the project. For the latter, the results show that the political narratives of “1917” are constructed as agoras holding different competing myths which make equipollent ideologies appear natural. These practices are mutually beneficial and their interconnections are understood by applying a theory of the Russian identity which corresponds to the notion of identity as a national mythscape. This work could have a potential impact on narrative and discourse methodologies for the popular culture mediated texts in social media. It could also contribute to the theoretical debates on mediated historicity and research on national identity, cosmopolitan identity and nationalism in social media.

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Stutesman, Drake. « Do you see what I mean ? : an 'inner law of form' in Susan Howe's historicism ». Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343376.

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Sebbowa, Dorothy. « Towards a pedagogical framework for construction of historicity : a case of using Wikis among pre-service teachers at Makerere University ». Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/23049.

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This thesis originates from the realization that the pedagogy of history is becoming dangerously obsolete, as it does not always relate to the contemporary needs of 21st century learners, who often find learning history irrelevant to their present situation. This challenge is attributed to, among other reasons, the way history is taught employing largely behaviorist pedagogies with significantly reduced active learner engagement and little alignment to the way today's students learn. Gadamer's historical hermeneutic theory was employed to advocate for a dialogical approach between the past (part) and the present (whole) mediated by Emerging Technologies, specifically Wikis. Thus, the study is guided by three research questions: firstly, how is historicity constructed on the Wiki platform among pre-service teachers at Makerere University? Secondly, how is authenticity of history meanings constructed among pre-service teachers? Thirdly, what design principles guide a pedagogical framework for construction of historicity? A Design Based Research Methodology (DBR), with theoretically informed solutions aligned to the study problem, was used among pre-service teachers enrolled at Makerere University, Uganda, for the period 2013-2016. Consequently, four phases of DBR were employed: identification of the problem by the researcher in collaboration with practitioners; development of solutions informed by existing design principles and technological innovation; iterative cycles of testing and refinement of solutions and finally, reflection to produce design principles and enhance solutions (Reeves, 2006). Data from questionnaires, interviews and observations on the Wiki was gathered and analyzed through a hermeneutic cycle-driven analysis during DBR phase three. Key findings demonstrated that historicity is constructed through dialogical engagements between educator/researcher and students mediated on the Wiki. Authenticity of history meanings is achieved through collaborative editing, reviewing and sharing understandings on a Wiki. The practical contribution of this research lies in the creation of design principles (i.e. connecting with the present, appreciating heritage, dialogue in history, doing history, validating history and applying history) and a pedagogical framework to be used for the construction of historicity mediated by Wikis, while the theoretical contribution lies in the methodological approach of using DBR to systematically implement and operationalize historical hermeneutics theoretical constructs in History Education in the Ugandan context.

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Stanford, Jennifer Renee. « Leo Strauss and the Problem of Sein : The Search for a "Universal Structure Common to All Historical Worlds" ». PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/91.

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Leo Strauss resurrected a life-approach of the ancient Greeks and reformulated it as an alternative to the existentialism of his age that grew out of a radicalized historicism. He attempted to resuscitate the tenability of a universal grounded in nature (nature understood in a comprehensive experiential sense not delimited to the physical, sensibly-perceived world alone) that was historically malleable. Through reengagement with Plato and Socrates and by addressing the basic premises built into the thought of Friedrich Nietzsche and Martin Heidegger, Strauss resurrected poetry (art, or the mythos) that Enlightenment thinkers had discarded, and displayed its reasonableness on a par with the modern scientific approach as an animating informer of life. He thereby placed philosophy in a place subservient to poetry/the mythos, as had the ancients.

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Jin, Kwang Hyun. « A Reading of Shakespeare's Problem Plays into History : A New Historicist Interpretation of Social Crisis and Sexual Politics in Troilus and Cressida and Measure for Measure ». Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279130/.

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This study is aimed to read Shakespeare's problem comedies, Troilus and Cressida and Measure for Measure into the historical and cultural context of dynamically-changing English Renaissance society at the turn of the sixteenth century. In the historical context of emerging capitalism, growing economic crisis, reformed theology, changing social hierarchy, and increasing sexual control, this study investigates the nature of complicated moral problems that the plays consistently present. The primary argument is that the serious and dark picture of human dilemma is attributed not to Shakespeare's private imagination, but to social, political, economic, and religious crises in early modern England.

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Strayer, Susan Marie. « Highlights in History : The Intersection of Childhood and Children’s Literature in Highlights for Children Magazine ». The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525739600491858.

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Van, Pelt Deborah. « “I Stand for Sovereignty” : Reading Portia in Shakespeare’s The Merchant of Venice ». Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/65.

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Portia serves as a complex and often underestimated character in William Shakespeare's controversial comedy The Merchant of Venice. Using the critical methodologies of New Historicism and feminism, this thesis explores Portia's representation of Elizabeth Tudor, Queen of England from 1558 to 1603. Striking similarities exist between character and Queen, including physical description, suitors, marriage issues, and rhetoric. In addition, the tripartite marriage at the play's conclusion among Portia, Bassanio, and Antonio represents the relationship Elizabeth Tudor formed between her merchant class and her aristocracy. Shylock serves as a representation of a generic or perhaps Catholic threat to England during the early modern era. Moreover, by examining Portia's language in the trial scene, the play invites audiences to read her as a representative of the learned Renaissance woman, placing special emphasis on the dialectical and rhetorical elements of the language trivium in classical studies. Finally, through a close reading of the mercantile language in the text, Portia can be interpreted as the merchant of the play's title.

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Benin, Gilles. « La représentation du religieux comme champ contextuel et vocation de la symphonie germanique autour de Mendelssohn et Schumann (1800-1850) ». Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040176.

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La première moitié du XIXe siècle germanique voit le sacré se déplacer de façon massive et multiple vers la sphère profane. Le vocabulaire, les schémas et les idéaux religieux se refondent dans le prisme historique pour pénétrer philosophie, littérature, arts visuels et musique. Dans un climat esthétique, politique et social tendu vers la Bildung, l’édification morale mais aussi religieuse de la société, la représentation communautaire devient l’objet privilégié de l’art. En témoignent le ressourcement architectural gothique, les tableaux d’activisme nazaréen, ainsi que des modalités de représentation grandioses dans l’opéra et l’oratorio. L’insertion plus insolite du religieux dans la symphonie trouve ici un champ de contextualisation qui permet d’élucider les mutations contradictoires du genre en plein essor. Engagée depuis le classicisme dans une vocation spirituelle récusant l’intelligible, la symphonie ne s’en trouve pas moins investie de représentations religieuses se focalisant sur l’image communautaire. Dans l’attraction de l’œuvre beethovénien, Mendelssohn et Schumann, parallèlement à Spohr, font dans leurs symphonies une place décisive aux topoï connotant ou dénotant le religieux, à commencer par les cantiques et les styles anciens. Leurs corpus symphoniques respectifs apparaissent singulièrement homogènes, non moins qu’en correspondance. Par l’amplification des représentations spirituelles via la technique cyclique, ils s’appréhendent dès lors dans une vocation religieuse d’accomplissement, en probable résonance avec les conceptions historicistes d’immanence ou de transcendance
The first half of the Germanic Nineteenth Century saw the shift of the religious expression in a massive and multiple way towards the profane sphere. Vocabulary, patterns and religious ideals are recast in the historical prism to enter philosophy, literature, visual arts and music. In a tense aesthetic, political and social climate to « Bildung », the moral and religious edification of society, the community representation becomes the privileged aim of art. Evidence of this is found in the Gothic architectural renewal, the activism of Nazarene paintings and grandiose representation arrangements in historical-religious opera and oratorio. The more unusual religious penetration into the symphony finds a significant field of contextualization that allows to elucidate the contradictory mutations of the booming genre. Committed since classicism to a spiritual vocation rejecting the intelligible, it is nonetheless true that the symphony is invested with religious representations focusing on community image. In the attraction of the work of Beethoven, symphonies by Mendelssohn and Schumann, along with those of Spohr, give emphasis to topoï connoting or indicating the religious, starting with hymns and old styles. Their respective symphonic corpus appear remarkably homogeneous, no less than in retrospect correspondence. By amplifying the spiritual representations via the cyclic technique, they are subsequently grasped in a religious vocation of accomplishment, likely in resonance with the historicist conceptions of immanence and transcendence

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Steinbach, Brian Patrick. « EMPIRE IN THE AMERICAN WEST : A NEW HISTORICIST INTERROGATION OF NARRATIVE IN OWEN WISTER'S THE VIRGINIAN, WILLA CATHER'S DEATH COMES FOR THE ARCHBISHOP, AND CORMAC MCCARTHY'S ALL THE PRETTY HORSES ». OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1471.

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This thesis explores the evolution of American Western narrative after the 1893 closing of the Western Frontier. Formerly representing a seemingly limitless fuel of symbolic growth, the frontier's closing threatened further national prosperity. Without new Western lands to conquer, narratives about the West began to be romanticized in a new way, selectively omitting non-Anglo narrative elements and presenting a more palatable West in the form of celebratory conquest. Ignoring its imperial roots, this new twentieth-century mythologization of the West became an increasingly ubiquitous narrative of America's honorable origins. Despite its ties to the perpetuation of empire, the pervasiveness of contemporary Western narratives remains largely benign in resonance, resulting in a past that is wholly severed from the present. Using a New Historicist approach, this study pairs literary works with cultural artifacts, tracking the role of Western narrative in the furtherance of empire. The first chapter examines Frederick J. Turner's "The Significance of the Frontier in American History" and Owen Wister's The Virginian (1902) as representatives of the new romanticization of the West. Chapter two looks at how Willa Cather's anti-spectacle novel, Death Comes for the Archbishop (1927), responds to the spectacle of Empire at early twentieth-century World's Fairs. The final chapter pairs Japanese-American Internment during World War II with Cormac McCarthy's All the Pretty Horses (1992), as a commentary on the oppressive rhetoric of western space.

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Windsor, Jeffrey Wayne. « "Th' offense pardons itself" : sex and the church in Othello and Measure for measure / ». Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1466.pdf.

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Magro, Tamires Dal. « CRITÉRIOS DE DECISÃO ENTRE HIPÓTESES RIVAIS NAS TEORIAS HISTORICISTAS DA RACIONALIDADE CIENTÍFICA ». Universidade Federal de Santa Maria, 2014. http://repositorio.ufsm.br/handle/1/9126.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The publication of Thomas Kuhn s The structure of scientific revolutions is considered a watershed in the philosophy of science for having presented scientific knowledge as produced by a dynamic and historically situated process. Many of the concepts introduced by the author sparked controversy in the initial reception of this work. We highlight in this dissertation Kuhn s theses on scientific revolutions, incommensurability, and scientific choice between rival hypothesis, which were interpreted by authors such as Popper, Lakatos, Laudan and Putnam as introducing elements of irrationality and relativism into Kuhn s analysis of scientific practice. In the first paper of this dissertation, we investigate passages from Structure that led to those interpretations, and track down Kuhn s later reformulations of the three controversial theses, which attempted to avoid or respond the criticisms of irrationality and relativism. We highlight the linguistic emphasis given by Kuhn in his later works to the concepts of incommensurability and scientific revolution, and show that his thesis about scientific choices remained nearly unchanged. We claim that in Kuhn s later works his theses became more precisely formulated and narrower in scope, and that they manifest a realist inclination by the author. The second paper of this dissertation develops in more detail the issue of the rationality of scientific choice. It presents briefly three theories of scientific rationality due to Kuhn, Lakatos and Laudan, and then shows some of the problems that Lakatos and Laudan s theories face due to focusing their notion of rationality on univocal rules of choice. We then indicate that there are advantages in understanding as Kuhn did the notion of rationality in terms of values that influence objectively the choices to be made without determining them univocally.
A publicação de A estrutura das revoluções científicas, de Thomas Kuhn, é considerada um divisor de águas na filosofia da ciência por apresentar o conhecimento científico como sendo gerado por um processo dinâmico e historicamente situado. Muitos dos conceitos introduzidos pelo autor foram motivos de controvérsia na recepção inicial da obra. Destacamos na presente dissertação as teses de Kuhn sobre revoluções científicas, incomensurabilidade e escolhas científicas entre hipóteses rivais, que foram interpretadas por autores como Popper, Lakatos, Laudan e Putnam, como introduzindo elementos de irracionalidade e relativismo na análise kuhniana da atividade científica. No primeiro artigo desta dissertação, investigamos as passagens na Estrutura que levaram a essas interpretações, e rastreamos as reformulações kuhnianas posteriores para as três teses controversas com vistas a evitar ou responder as críticas de irracionalidade e relativismo. Destacamos a ênfase linguística dada por Kuhn aos conceitos de incomensurabilidade e revolução científica, e mostramos que a tese acerca das escolhas científicas permanece quase inalterada nos textos tardios. Defendemos que na obra tardia de Kuhn suas teses tornaram-se mais precisas e menos abrangentes e evidenciam uma inclinação realista do autor. O segundo artigo desta dissertação desenvolve de maneira mais detalhada a questão da racionalidade das escolhas científicas, apresentando as propostas de três teorias historicistas da racionalidade científica, devidas a Kuhn, Lakatos e Laudan. Apresentamos alguns dos problemas que as teorias de Lakatos e Laudan enfrentam ao concentrar a noção de racionalidade em regras unívocas de escolha e indicamos que há vantagens em se compreender a noção de racionalidade em termos de valores que influenciam objetivamente as escolhas sem determiná-las univocamente, como propôs Kuhn.

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Blom, Elin. « Contrasting Attitudes Toward Marriage in Pride and Prejudice : Elizabeth Bennet's Disregard for the Contemporary Marital Conventions ». Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-15275.

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Through a liberal feminist perspective, this essay investigates the unconventional marital views of the fictional character Elizabeth Bennet. These are analyzed and compared to the traditional marital opinions of the novel's social environment. Moreover, the historical context is important in understanding the marital views in Pride and Prejudice, because the novel was written at a time when the views toward marriage changed significantly. This paper argues that Elizabeth's behavior, expressed opinions and rejections of Mr. Collins's and Mr. Darcy's proposals depict liberal feminist ideas of marriage. The literary review supports the notion that there are two contrasting attitudes toward marriage in Pride and Prejudice: the traditional view and the liberal feminist view. The thorough examination of Elizabeth Bennet's character strongly suggests that she represents the unconventional view of marriage, while characters such as Mr. Collins, Mrs. Bennet, and Charlotte Lucas voice the traditional view of marriage. Furthermore, an analysis of Mr. Darcy's attraction toward Elizabeth indicates that it was Elizabeth's very unconventionality that made Mr. Darcy fall in love with her.

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Jones, Keith Robert. « Postmarked Constellations : Historicity and Paraliterary Form in Late American Fictions ». Diss., 2012. http://hdl.handle.net/10161/6125.

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"Postmarked Constellations" examines how three late-twentieth century American writers bring long historical processes into view through their use of paraliterary forms. The term paraliterary is used in this study to refer to a set of popular cultural forms that overlap the field of the "literary," thereby complicating the latter's assumed autonomy from the impurities of everyday life. Focusing upon the historical fictions of Gayl Jones's blues novel Corregidora (1975), Samuel R. Delany's sword and sorcery series Return to Nevèrÿon (1979-1987), Cormac McCarthy's Western novel Blood Meridian, or the Evening Redness in the West (1985), this dissertation argues that these writers strategically turn to the paraliterary in order to engage their own moment's historical crisis within a larger trajectory of Anglo-European Western expansionism within the Americas. In adopting the blues (Gayl Jones), sword and sorcery (Delany), and the Western (McCarthy), these writers do not merely incorporate elements of these cultural forms, but rather transform their codes and conventions in order to bring past historical experiences into contact with the present. In so doing these writers draw out the historical dimensions internal to each of these generic forms. They show the degree to which genres are embedded within a larger world system, one that cannot be reduced to a national cultural imaginary, but must be placed within a longer-unfolding geopolitical context of colonial modernity, the Atlantic slave trade, the dispossession of indigenous peoples, and the emergence of a world market.

While written between the years 1975-1987, the texts of this study explore the deeper historical traumas specific to nineteenth-century U.S. expansionism. In turning to these specific histories--either in directly formal ways, as in McCarthy's Western or in the much broader terms of their legacies, as in Jones's blues novel or Delany's sword and sorcery series--these texts reveal the often obscured continuities between nineteenth-century and late-twentieth century forms of American empire. The chapters of this dissertation underscore how the blues, sword and sorcery, and the Western are tied to popular cultural forms that emerge, if not directly out of a nineteenth-century U.S. imperial literary and mass entertainment culture, then out of the historical experiences upon which such mass cultural phenomena was based. But these texts also complicate such ties to an imperial cultural imaginary by actively transforming the narrative logic of their generic forms. Tracing out the paraliterary dimensions of these texts thus allows us to constellate the historical past that their narratives examine with the late-twentieth century historical present in which they appear. In a period characterized by liberation movements and large-scale revolts both at home and abroad, these texts respond both to specifically national situations as well as to unfinished world historical processes. In this respect, these are American fictions concerned less with their quintessential Americanness--a preoccupation of both nineteenth- and early-twentieth century writers and critics--than with their peculiar relation to the world as Americans. "Postmarked Constellations" therefore proposes a method for tracking, not just a new engagement with the historicity of cultural forms within late-American fictions, but also for understanding the response of American writers to a radically new experience of globalization.

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Perron-Nault, Sonny. « Éclairage théologique et historique du credo corinthien : critique de la forme et histoire de la tradition de 1 Corinthiens 15:1-11 ». Thèse, 2016. http://hdl.handle.net/1866/18722.

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Ce mémoire de maîtrise a comme sujet la constitution du credo présent en 1 Corinthiens 15:1-11, son origine, son contexte littéraire et historique en 1 Corinthiens, ainsi que la théologie et l’historicité des éléments le constituant. Il se penche premièrement sur la question de la délimitation du credo présent dans cette péricope. Suite à une analyse basée sur la critique des formes, une version longue du credo incluant les v. 3b-7 (excepté le v. 6b) est défendue. Deuxièmement, la question de la réception de la tradition par Paul est abordée ainsi que son utilisation contextuelle en 1 Co 15. D’un côté, il est soutenu que Paul a probablement reçu le credo de l’apôtre Pierre et Jacques, le frère de Jésus, à Jérusalem vers l’an 36 et que la formation du credo est antérieure à cela. De l’autre côté, Paul s’en sert en 1 Co 15 pour contrer une perspective grecque de la vie après la mort qui considérait la résurrection corporelle comme absurde puisque cette notion était perçue comme un retour dans des corps identiques aux corps présents, c’est-à-dire mortel (corruptible) et caractérisé par le vice (péché). Troisièmement, le credo est systématiquement analysé sur le plan théologique et historique. Sur le plan théologique, il est démontré que l’union mystique des chrétiens avec le Christ est présupposée et que cette idée remonte probablement à la tradition présente en 1 Co 11:23-25. De plus, És 53, Os 6:2 et Gn 22:4 sont présentés comme les principaux textes ayant servi à l’élaboration de cette tradition ancienne. Enfin, il est argumenté que les trois événements fondateurs, à savoir la mort, l’ensevelissement et les apparitions du Christ, sont d’ordre historique. L’auteur ne se prononce pas sur l’historicité de la résurrection, considérant qu’il s’agit d’un « fait-explication » ce qui diffère d’un « fait- observation » ce qui nécessiterait une autre méthodologie qui dépasse le cadre de ce mémoire.
This Master’s thesis deals with the creed found in 1 Corinthians 15:1-11: its origin, literary and historical contexts in I Corinthians as well as the theology and historical significance of its parts. It is focused primarily on identifying the boundaries of the creed in the pericope. A form criticism analysis leads to an argument for a long version of the creed which includes verses 3b-7 (but excluding v. 6b). Secondly, the question of Paul’s use of tradition is addressed as well as its contextualization in I Corinthians 15. On the one hand, it is argued that Paul received the creed from the Apostle Peter and James, the brother of Jesus, in Jerusalem around the year AD 36, and that the creed had been formed before that time. On the other hand, Paul uses it in 1 Corinthians 15 to oppose a Greek perspective on life after death, which viewed physical resurrection as absurd. In this perspective, resurrection meant a return to a body identical to the present body, which is mortal/corruptible and characterized by vice/sin. Thirdly, the creed is systematically analyzed on both the theological and historical levels. On the theological level, it will be demonstrated that the mystical union of Christians with Christ is presupposed and that the notion probably goes back to the tradition present in 1 Corinthians 11:23-25. Furthermore, Isaiah 53, Hosea 6:2 and Genesis 22:4 are presented as the primary texts used to develop this ancient tradition. Finally, it is argued that three founding events, namely, the death, the burial and the appearances of Christ, are to be considered historical. The author does not take a position on the historicity of the resurrection, considering that it is an explanatory fact and not an observed fact. This question would require another methodology which goes beyond the scope of this thesis.

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Patterson, Brett Chandler. « Narrative war and narrative peace : a theological, ethical, and historicist vision for multicultural America / ». 2003. http://wwwlib.umi.com/dissertations/fullcit/3083066.

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Bacchioni, Philip Louis. « The Jesus mystery : a biblical, historical and Christological study of Jesus ». Diss., 1998. http://hdl.handle.net/10500/18026.

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The Jesus of history and the Christ of faith are two different figures. Two centuries of search for the historical Jesus has led to greater awareness and better use of New Testament criticism, had salutary effects on proper historical biblical research and the desire to look beyond the paucity of material about Jesus in the canonical gospels. Despite proven difficulties the historical Jesus is an endless enterprise eliciting an equally endless fascination. The solution to the Jesus mystery appears better linked to Paul who has never been subjected to the same degree of historical research as Jesus. The figure, character, preaching, and teaching of Jesus was fashioned by the gospel authors not just to fit in. with the primitive church but to provide a natural linkage with Pauline Christianity. Christian faith is only loosely intertwined with Jesus of Nazareth and has everything to do with the Christ de"-ised by Paul.
Philosophy, Practical and Systematic Theology
M. Th. (Systematic Theology)

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Oosthuizen, Susan. « The third quest for the historical Jesus and its relevance for popular religion : Marcus J Borg as a test case ». 2000. http://hdl.handle.net/10500/15715.

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The most popular paradigm for Jesus is 'Jesus as the Divine Saviour'. This image is inadequate for understanding the historical Jesus, because it is also inaccurate as an image for the Christian life. Marcus J Borg claims that the Christian life is about a relationship with God that involves us in a journey of transformation. In advocating the 'Third Quest', Borg develops an alternative image of 'Jesus as Jewish mystic ', contrary to the idea of 'Jesus as Jewish/Christian Messiah '. The image of Borg involves five universal religious personality types. The paradigm shift from 'Jesus as the Divine Saviour' to that of 'Jesus as Jewish mystic' is investigated as well as the relevance and consequences of this, for everyday religion and the conventional church. A plea for a positive assessment of the issue of the historical Jesus is presented. This could have existential implications for South African society as a whole.
Biblical and Ancient Studies
M.Th. (New Testament)

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Veress, Dániel. « Searching for Styles of National Architecture in Habsburg Central Europe1890-1920. Art Nouveau and Turn-of-the-Century Architecture as Nation-Building ». Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329371.

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1 English Abstract Searching for Styles of National Architecture in Habsburg Central Europe 1890-1920 Art Nouveau and Turn-of-the-Century Architecture as Nation-Building This thesis examines aspirations of Central European nations to create architectural style, which would be particular to the given nation and would convey national spirit and character through architectural form. Inspired by social and cultural history, historians of architecture have recently begun to study conscious efforts of national elites to use architecture for nationalistic ends. Considerable attention has been paid to the interplay between national movements emerging in Europe before the World War I, and the concurrent developments in the field of architecture as signified by introduction of the Art Nouveau. However, most of these works focus on individual national building movement. Building on the existing set of studies developed in different national contexts, this thesis takes a step further and approaches the issue from the transnational perspective Applying the comparative history methodology to the three cases studies - Hungarian, Czech and Polish, all non-German ethnic groups in the Austro- Hungarian Monarchy - enables close examination of the intertwined development of modern nations and architecture. By the turn of the...

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Thèses sur le sujet « Historicity of Form »

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