<p> Paul, the author of Gal 3:23-4:7 and Rom 8:14-25, demonstrates in these two passages a new thing for all believers in Christ-a clear movement from slavery to adoption as sons to the status of heirs. This movement occurs through the process of adoption into God's family and is characterized by inclusiveness regardless of race, socioeconomic status, or gender. This study will explore the promise that the marginalized can participate in a full, new creation inheritance. According to the promise of Rom 4:13, the dispossessed will "inherit the world." This concept of the new creation so clearly seen in Rom 8-expressed also as inheriting the world in Rom 4:13-is critical for correctly interpreting Gal 3:28, framed as it is in a discussion of inheritance and adoption. For this reason, it is of great benefit to study Gal 3:23-4:7 and Rom 8:14-25 together.</p> / Thesis / Master of Theological Studies (MTS)

<p> Romans 9-11 has been investigated through varied methods during the past two decades. One of the most prominent approaches is an intertextual reading of Rom 9-11. However, most discussions of intertextual studies do not adequately treat the discourse in Rom 9-11 by closely investigating Paul's discourse patterns and that of his Jewish contemporaries regarding God, Israel, and the Gentiles due to lack of an appropriate intertextual methodological control. Therefore, this study adapts Lemke's linguistic intertextual thematic theory as a methodological control to analyze Paul's intertextual discourse patterns in Rom 9-11. Paul's unique way of using Scripture as one part of his discourse pattern will be investigated as well. Through the intertextual thematic study of Paul's discourse in Rom 9-11, we demonstrate the divergence of Paul's viewpoints on some typical Jewish issues, which suggests that the discontinuities between Paul and his Jewish contemporaries are obvious and-sometimes-radical.</p> <p> We conclude the findings of our investigation of Rom 9-11 as follows: First, we have adjusted Lemke's intertextual thematic analysis, as an indispensable tool, to analyze Paul's viewpoints of the relationships of God, Israel and the Gentiles in Rom 9-11 within the backdrop of Second Temple Literature. Second, Paul re-contextualizes the Jewish discourse patterns regarding the topics of intercession, Israel, God's promise, God's people, righteousness and law. It can be seen that Paul's discourse patterns share some continuity with his Jewish contemporaries, but the core of his value regarding how to include the Gentiles as God's people stands in a discontinuous relationship with contemporary Judaism(s). Third, this study has demonstrated that although Paul uses Jewish styles of scriptural hermeneutics, and though his discourse patterns resemble some Jewish literature in important aspects, Paul's viewpoint on the relationship of God, Israel and the Gentiles in Rom 9-11 is dissociated from his Jewish contemporaries in key ways. In other words, the core value of early Christian discourse has been embedded in Rom 9- 11. Paul's viewpoint on the relationship of God, Israel and the Gentiles takes a divergent stance away from his Jewish contemporaries since Gentile inclusion is rooted in the Gospel of Christ. Finally, Rom 9-11 not only provides Paul's self-presentation as a Mosaic prophet figure, but also its overall discourse patterns appears as a prophetic discourse: In each section (Rom 9:1-29; 9:30-10:4; 11:1-36) Paul designates his identity or his concerns of lsrael (Rom 9:1-3, 10:1; 11:1-2) before he enters into the argumentation, which demonstrates the relation between Paul's self-understanding and his message in these three chapters; also, the overall discourse pattern in Rom 9-11 resembles a prophetic discourse pattern, which expresses the idea that Paul's self-understanding as a prophetic figure serves to confirm that his word comes from divine authority.</p> / Thesis / Doctor of Philosophy (PhD)

No description available.

<p>This thesis proposes a new reading of Romans 9:1–18. The history of biblical interpretation of the passage is explored with the purpose of mapping out the diversity of interpretations and noting points of agreement between these interpretations and that which is proposed. The main objective is the proposed reading of Rom 9:1–18. It is argued that when full weight is given to Rom 9:1–5 as Paul's fleshly desire, what follows in 9:6–18 is correctly understood as Paul's appropriation of Israel's Scripture to address his own desire and grief. This brings to the fore a recurrent theme in the pentateuchal passages that Paul evokes: the conflicting desire of significant figures in Israel's history – Abraham, Isaac, and Moses – with God's will. As Paul applies Scripture to his own situation, Paul's desire for the salvation of his fellow Israelites based on ethnic descent conflicts with God's will to harden Israel and call Gentiles. But in the end Paul's desire for Israel's salvation is granted (11:26).</p> / Master of Arts (MA)

I denna uppsats kommer författaren redogöra för en undersökning kring akustik ur sångarens perspektiv. Uppsatsen är uppdelad i två delar; en skriftlig del, som kan läsas nedan, och en klingande del som finns som bilaga i slutet av uppsatsen. Samma röst kan upplevas olika beroende på i vilken lokal man befinner sig i, detta gäller sångaren själv men även publiken. Det är uppenbart att sångprocessen inte är oberoende av den akustiska miljön där den äger rum. Olika rum leder till olika uppfattningar av röstklangen och det musikaliska uttrycket. Syftet med undersökningen är att ta reda på vilka effekter akustiken har på sångaren, samt hur den bättre kan anpassa sin röst och sitt konstnärliga uttryck. Författaren har i undersökningen spelat in två sånger i tre olika akustiska rum: en studio, en körsal och en kyrksal. Hon har med hjälp av loggbok och inspelningarna jämfört och analyserat både inspelningsprocessen och de klingande resultaten. Sammanfattningsvis påverkas både det sångtekniska och det konstnärliga uttrycket i stor utsträckning av olika akustiska situationer. Bland de sångtekniska aspekterna bör nämnas framförallt klangfärg, andning och stöd.

Les pages qui suivent comprennent les deux volets requis dans le cadre de ma maîtrise en études littéraires à l'Université Laval de Québec (Canada) en recherche-création, soit le volet création et le volet essai. Le roman autofictif *Douée pour la fête* consiste en une suite fragmentaire qui alterne entre deux temporalités : la relation amoureuse entre Lou et Zed dans une banlieue de la Rive-Sud de Québec, et les contrecoups de la rupture, au présent, quand Lou étudie à Paris pour une année d'échange international. Le second volet, *Elles voyagent dans leur tête : lettres à Joyce Johnson*, est un essai biocritique autoréflexif construit sous une forme épistolaire. Il regroupe quatre lettres dédiées à l'autrice américaine Joyce Johnson, romancière, mémoiriste, essayiste et biographe de Jack Kerouac. Dans la première lettre, je présente et clarifie ses associations avec la Beat Generation; dans la deuxième, j'insiste sur la façon dont le désir d'appartenir à un groupe oblige parfois à adopter des codes sociaux qui peuvent s'avérer risqués dans le monde réel, particulièrement d'un point de vue genré normatif; dans la troisième missive, j'aborde la complexité de la prise de parole dans l'espace public, les contradictions rencontrées lors de la recherche d'indépendance en plus d'une piste de solution, enfin, dans la quatrième et ultime lettre, je déconstruis le mythe *beat* du voyage et me pose la question : arrivons-nous vraiment un jour à destination? / This thesis includes the two mandatory parts that, together, fulfil the requirements of the Master's degree in of Literary Studies at University Laval, Québec (Canada): the creative section and the self-reflexive essay, which, in the case of this thesis, come in the form of a novel and letters. My autofictional novel, *Douée pour la fête*, consists in fragmented and factified slices of life that alternate between two periods: the romantic relationship between Lou and Zed in the suburbs of the South shore of Quebec City, and the aftermath of their break-up, written in the present tense, when Lou studies abroad for a year. The second part, *Travels Through Her Mind: Letters to Joyce Johnson*, is a series of letters addressed to American author Joyce Johnson; more precisely, the letters are addressed to the novelist, the memoirist, the essayist, the correspondent, and the biographer. In the first letter, I present and clarify Johnson's associations with the Beat Generation; in the second, I explore compromising social codes that sometimes one can force upon themselves in order to be accepted in a group, especially in a gender normative perspective; in the third letter, I explain the difficulties of raising one's voice in the public space and the contradictions encountered in the search for independence and I propose that reconciliation between individuals could come through the lenses of interdependence as initiated by the ethics of care; and lastly, in my fourth and ultimate letter, I deconstruct the Beat's myth of travelling and try to answer the question : can one ever reach their destination?

Ce mémoire en recherche-création se décline en deux parties; un roman et un essai. Le roman et l'essai se répondent, en traitant tous les deux de la période des années 50, qui représente le contexte du roman On the Road qui sera analysé dans l'essai, mais aussi le moteur créatif qui a inspiré le roman Cuvée 44. Le roman, Cuvée 44, s'inspire de la filiation des romans de route et de quête personnelle dont On the Road est un des précurseurs. Il relate la vie mouvementée de Francine Boudreau, une jeune femme de quinze ans qui quitte son Québec natal en 1959 pour un monde de possibilités qui s'offrent à elle aux États-Unis, durant les années 50 et 60. Le lecteur est transporté un peu partout au pays, alors que la jeune femme tente de se poser quelque part. L'essai, quant à lui, traite de la réception de l'œuvre phare de Kerouac, On the Road, afin d'observer comment elle a évolué selon les décennies. En faisant ressortir les diverses critiques du roman de l'écrivain de la Beat Generation, on peut ainsi ressortir les différentes postures qui lui sont accordées au travers des époques, pour en voir les constantes et les disparités.

This is a thesis centering around the importance of humility in Martin Luther's Lectures on Romans, written in 1515-1516. Included are a word study of humility and its derivatives in Luther's original Latin text, an exposition of each usage, and a thematic exegesis of Luther's theology of humility in his Lectures on Romans.

In this dissertation, I explore to address the problem of the identity of Paul’s interlocutor(s) in Rom 1–3 and the subsequent issue of whether Paul only includes non-Jewish Gentiles as recipients of his gospel teaching. In order to deal with the research question in a linguistically informed manner, I draw from Systemic Functional Linguistics and use two related notions of cohesive chains and grammatical metaphor (nominalization). By applying both methods to the text, I identify twenty-three active cohesive chains and five most important instances of nominalization in the text. Based on the linguistic data elicited solely by examining the interaction patterns among the chains and by explicating the various textual effects that nominalization brings about, I conclude that the linguistic evidence points to the possibility that the interlocutor is an ethnically Jewish man and Paul thus does not exclude his fellow Jews from his presentation of the gospel in Rom 1–3.

Dans le roman Bar Italia 90, Giulia se sépare de son mari Neri, quitte ses enfants et ses parents, part de la campagne d'Alessandria et déménage à Turin, ville de l'Italie du nord. Elle rencontre sa voisine Mara, pour laquelle elle développe une grande fascination. Giulia raconte les aventures nocturnes qu'elle vit avec d'autres trentenaires déraciné⸳e⸳s, fuyant leur famille, pour certain⸳e⸳s d'origine étrangère. Iels passent leurs journées au bar Italia 90, géré par Meddur. Au centre de ce microcosme, Mara joue le rôle de coryphée, organise les sorties et capte l'attention des client⸳e⸳s du bar grâce à ses récits fantastiques. Après avoir entamé une histoire d'amour avec Mara, Giulia perd sa trace. Dix ans après, une femme à l'identité changeante, s'appelant Giulia ou Mara selon les occasions, vit à Montréal. De l'époque du bar Italia 90, elle garde une amitié avec Meddur, lequel habite aussi au Québec et entretient avec elle un rituel de rencontres imaginaires avec leurs ancien⸳ne⸳s ami⸳e⸳s italien⸳ne⸳s. L'expérience de l'amitié se déploie dans l'alternance de chapitres se déroulant à Turin dans les années 2000 et à Montréal en 2018. Progressivement, on découvre un drame qui a marqué à jamais l'existence des personnages. La seconde partie de la thèse est un essai questionnant un processus de création littéraire nourri par des exercices issus de l'éducation somatique. Ce processus a permis l'écriture du roman. Nous enseignons notre méthode dans des ateliers somatiques d'écriture. Dans Du corps à l'écriture. L'apport des pratiques somatiques à la création littéraire, nous documentons l'origine de notre travail pédagogique en lien avec nos expériences de chercheur en études en danse. Nous soulevons un questionnement éthique autour de l'acte de création de l'écrivain⸳e et de sa relation au milieu littéraire. D'un chapitre à l'autre, nous présentons l'éducation somatique et deux cycles d'ateliers, organisés en 2018 (Italie) et en 2019 (Québec), durant lesquels des auteurices exécutent des exercices de yoga, de Feldenkrais et des automassages Do-In, et écrivent des œuvres littéraires. Ces deux expériences nous ont permis de concevoir le terrain de recherche conclusif de notre doctorat, organisé à l'été 2020, où nous avons convié cinq auteurices professionnel⸳le⸳s pour avoir leur avis critique. Dans l'essai, nous analysons les créations et les documents réflexifs produits par les participant⸳e⸳s. Nous définissons un « paradigme somatique » en littérature, entendu comme un questionnement et un point de vue sur l'écrivain⸳e par un dispositif mouvement+écriture. Notre thèse se clôt avec des suggestions d'introduction de l'éducation somatique dans des cours théoriques et pratiques en études littéraires. / In the novel Bar Italia 90, Giulia separates from her husband Neri, leaves her children and parents, moves from the countryside of Alessandria to Turin, a city in northern Italy. She meets her neighbour Mara, for whom she develops a great fascination. Giulia, the narrator of the novel, recounts the nightly adventures she has with other rootless thirty-somethings, fleeing their families, some of them of foreign origin. They spend their days in the Italia 90 bar, managed by Meddur. At the center of this microcosm, Mara plays the role of coryphée, organizing the outings and capturing the attention of the bar's customers with her fantastic stories. After having started a love story with Mara, Giulia loses track of her. Ten years later, a woman with a shifting identity, calling herself Giulia or Mara depending on the occasion, lives in Montreal. From the time of the Italia 90 bar, she keeps a friendship with Meddur, who also lives in Quebec and maintains with her a ritual of imaginary meetings with their old Italian friends. The experience of friendship unfolds in alternating chapters taking place in Turin in the 2000s and in Montreal in 2018. Gradually, we discover a drama that has forever marked the existence of the characters. The second part of the thesis is an essay questioning a creative writing process enhanced by exercises from somatic education. This process allowed the writing of the novel. We teach our method in somatic writing workshops. In Du corps à l'écriture. L'apport des pratiques somatiques à la création littéraire, we document the origin of our pedagogical work in relation to our experiences as researcher in dance studies. We also raise an ethical questioning around the writer's act of creation and his relationship to the literary milieu. From one chapter to the next, we present somatic education and two cycles of workshops, organized in 2018 (Italy) and 2019 (Quebec), during which authors perform yoga, Feldenkrais, and Do-In self-massage exercises, and write literary works. These two experiences allowed us to design the concluding research field of our PhD, organized in the summer of 2020, where we invited five professional authors to get their critical opinions. In the essay, we analyze the creations and reflective documents produced by the participants. We define a "somatic paradigm" in literature, understood as a questioning and view of the writer through a movement+writing device. Our thesis closes with suggestions for introducing somatic education into theoretical and practical courses in literary studies.