This thesis deals with an examination of influence of the Parables of Enoch on the oldest Jesus traditions. The presupposition of this examination is chronological setting of these traditions. The core of this thesis is an analysis of a selected motive in the Parables of Enoch and also in Jesus traditions. This motive is a figure of the Son of Man, which is important for both of compared materials. Then we will try to propose a possible influence of some eschatological ideas from the Parables on Jesus himself. Powered by TCPDF (www.tcpdf.org)

This dissertation evaluates the historiography, methodology, exegesis, and theological conclusions of pneumatological inclusivists and their doctrine of salvation, and then offers a biblical and theological defense of soteriological exclusivism based on the relationship between the Son and the Spirit. Chapter 1 defines the categories of exclusivism, inclusivism, and pluralism. Attention is given to those inclusivists who ground their inclusivist proposals in a work of the Holy Spirit in world religions apart from Gospel proclamation. Chapter 2 summarizes the work of non-evangelical inclusivists in the area of theology of religions, with particular attention given to those theologians who focus their work on the person and ministry of the Holy Spirit. Chapter 3 summarizes the work of evangelical pneumatological inclusivists, focusing on the efforts of Clark Pinnock and Amos Yong. Chapter 4 evaluates the historiography of pneumatological inclusivists. The chapter contends that any appeals to the theology of Irenaeus or a rejection of the Fifoque clause to bolster support for pneumatological inclusivism are tendentious. Chapter 5 evaluates the theological method of pneumatological inclusivists. The chapter argues that systematic theological conclusions must be based upon solid exegesis and biblical theology. The Bible presents the Spirit as working to glorify the Son. Theological method ought to reflect this priority, that is, it must be Christocentric. Chapter 6 presents a theology of the Son and the Spirit. It is demonstrated that from the beginning of redemptive history, prior to and during the incarnation, the Spirit worked toward and for the glorification of the Son. During the present church age, the Spirit works to glorify Christ. Chapter 7 summarizes the dissertation and highlights areas of contribution and significance. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

A travers Fils de S. Doubrovsky, Le Miroir qui revient d’A. Robbe-Grillet et A l’ami qui ne m’a pas sauvé la vie d’H. Guibert, notre étude abordera par une approche psychanalytique le fantasme à l’oeuvre dans l’autofiction. Reprenant la formule d’A. Robbe-Grillet sans toutefois nous imputer le propos, notre réflexion s’articulera autour de deux axes rendant compte du discours autofictionnel. Dans un premier temps, l’autobiographe est appréhendé dans cette pente à « faire sa propre statue ». Dans un second temps, l’autofictionnaliste y oppose cette volonté à « se projeter hors de soi ». Peu à peu se construit face au père-analyste ou au père-médecin l’imaginaire adolescent d’un fils en proie à ses apories : l’un devient une figure rivale et gémellaire de l’autre autour de cette parole-pulsion et de son économie. Dans ce rapport d’addiction à la Loi qui est autant de désintrication et d’ironie que de nostalgie et d’adhésion, le gynogenre autofictionnel ne semble exister qu’en miroir du phallogenre autobiographique. L’autofictionnaliste ne cesse d’évoquer par une ironie tenant lieu d’exorcisme cet autobiographe qui sommeille en lui. Par une rhétorique psychanalytique volontairement simple, il se présente sous l’image d’un fils soumis à une structure hystérique face à un père dont il déjoue la censure et les pudeurs. Cette figure d’ultra-autobiographe, plus intègre que le père lui-même, ferait de ses voeux autobiographiques une promesse donjuanesque à seule fin de susciter le désir de l’auteur. L’autofictionnaliste jouant à être cet autobiographe plus « ultra » que le père essaimerait quelques leurres se révélant être des figures gratuites, abandonnerait çà et là quelques aveux véridiques mais insignifiants, tendrait à séduire le lecteur et à le faire entrer dans une mécanique du désir dont la fin serait de dominer sa victime par l’indécidable. Il tiendrait le jeu de l’énigme autant qu’il écrirait. Il soutiendrait le désir du lecteur plus qu’il ne dévoilerait. Ainsi, se construirait un texte blanc qui serait ce secret d’un texte à venir sans cesse promis mais qui neviendrait pas, tout le jeu consistant à le faire oublier. / This thesis will study the construction of fantasy in autofictional writing from a psychoanalytical perspective, focusing on Serge Doubrovsky’s Fils, Alain Robbe-Grillet’s Le Miroir qui revient and Hervé Guibert’s A l’ami qui ne m’a pas sauvé la vie. Taking up a phrase by Alain Robbe-Grillet’s, this study will rely on two different axes to inform autofictional discourse: firstly, the autobiography writer is bent on “creating an own statue of himself” while, on the other hand, the autofiction writer sets out to “project an image out of himself”, as it were. Gradually, there emerges the teenage imaginary construction of a son caught up in his aporias when faced with the analyst-father of the doctor-father — one becomes the rival and twin figure of the other as constructed around this drive-discourse. Through its addiction to the Law, which is distanciation and irony as much as nostalgia and allegiance, the autofictional gynogenre seems to exist only as a mirror image of the autobiographical phallogenre. Through irony that is meant as liberation, the autofiction writer keeps referring to the autobiographer in him. Using a deliberately simple psychoanalytical rhetoric, he portrays himself as a son with a hysterical structure having to sidestep his father’s censorship and restraint. This figure of an ultra-autobiographer — which is more reliable than the father — gestures towards autobiography as a Don Juan-like promise with a view to arousing the author’s desire. The autofiction writer who plays at being a more ultra autobiographer than the father, creates luring but gratuitous figures and gives away true but insignificant confessions, as a way of trying to seduce the reader into participating in a mechanism of desire whose purpose is to dominate his victim through ontological undecidability. He is both the one who masters the enigma and the one who writes it. He does not so much reveal the reader’s desire as sustains it. Therefore, a blank text is being built which is that element of secrecy of a text that has yet to come, the whole game consisting in letting it slip from memory.

Thesis advisor: Kevin Newmark / This dissertation constitutes a systematic literary study of the image of the mother in Camus’s works. The study is twofold: it represents 1) a reconstruction of the story of the image of the mother through the analysis of the image’s manifestations and meanings and 2) a reading of Camus’s oeuvre through the lens of this image. In this dissertation, the image of the mother is approached as a unique entity that 1) has its distinctive parameters, inner logic, language, manifestations, and levels of meaning, 2) manifests a tendency to remain central, and 3) leads an uninterrupted existence throughout the entire oeuvre. The narrative unfolding of the image of the mother repeats Camus's progression through his project and shows an intimate connection to the problematics of the self and the expression of emotion. Paralleling the twists and turns of Camusian creation, the existence of the image of the mother in the texts remains dual: embodied and hidden. Hence, the analysis of the sequence of the image’s perceptible forms – i.e., the mothers who appear in different works, in particular the mother of “Entre oui et non” (L’Envers et L’Endroit), Mme Meursault (L’Etranger), the mother of Jan (Le Malentendu), Mme Rieux (La Peste), and Catherine Cormery (Le Premier Homme) – is supplemented by an account of the image’s less perceptible forms – i.e., veiled presences, echoes, traces, and avatars. The narrative is not only cumulative, it has a specific direction. As the story of the image of the mother unfolds, moving from text to text, from one manifestation to another, the image of the mother is gradually unveiled as a living symbol, the Mother-Christ – a figure of conciliation of the living and the symbolic and a point of convergence of the vertical and the horizontal. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Análise dos dois primeiros capítulos que integram o livro de 1 Samuel da Bíblia Hebraica, com ênfase nos aspectos históricos, lingüísticos e literários. Neles encontra-se registrada a história de Ana, uma mulher que sofria muito por não ter filhos, uma vez que a outra esposa de seu marido os tinha. A esterilidade de Ana é revertida após ela orar a Deus, e prometer-lhe entregar o filho que viesse a ter ao serviço religioso. Uma comparação com outros personagens da Bíblia Hebraica é feita, para demonstrar quais atitudes de Ana fazem dela uma das personagens femininas mais notáveis do Antigo Israel. Ao final, verifica-se também como o poema inserido nessa narrativa influenciou a literatura cristã. / Analyses of two first chapters that integrate the 1 Samuel book of Hebrew Bible, with emphasis in historical, liguistics and literary aspects. In these chapters we find the history of Hannah, a woman that suffered very much because she hasn\'t childrens and because the other wife of her husband has got them. The Hannah\'s sterility changed after she prays to God, and promisses to give the son that wasborn to the religious service. A comparision with others Hebrew Bibles characters is done to demonstrate which actitudes of Hannah make of her one of the most notable females characters of Ancient Israel. At the end we notice too how the poetry inserted into this narrative has influenced the christian literature.

Ce rapport présente les différentes étapes suivies afin de développer une méthode logicielle pour l'apprentissage de chants polyphoniques basée sur l'utilisation de capteurs sans fil. Cette étude réalisée au sein de l'UMR SPE de l'Université de Corse, en collaboration avec l'association E Voce di U Cumune et l'IRCAM, s'inscrit dans un projet universitaire de valorisation et de caractérisation du patrimoine culturel corse.L'objectif de cette thèse est de proposer un outil d'aide à l'apprentissage de polyphonies. Pour cela nous avons utilisé un langage gestuel décrivant l'échelle musicale corse. Le but de nos travaux a été de capter ces gestes afin d'y associer, à chacun d'entre eux, une voix chantée. Ce processus qui va du langage gestuel au son fait appel à plusieurs notions qui sont :- le contrôleur gestuel, qui regroupe un ensemble de capteurs au sein d'une même unité pour constituer le premier bloc fonctionnel du modèle d'instrument virtuel.- la captation de gestes, qui permet l'acquisition, c'est-à-dire qui traduit en signaux électrique puis numériques, des gestes effectués.- la reconnaissance, qui identifie les gestes captés et permet de différencier les postures de la main.- la production sonore est la dernière étape du système et associe à chacun des gestes effectués une voix chantée à la hauteur de note souhaitée.Cet enchainement nous a conduit à proposer un nouvel outil d'aide à l'apprentissage de chants polyphoniques qui offre la possibilité de manipuler les voix, le chant et la polyphonie sans n'avoir aucune connaissance musicale. / This report presents the different steps to develop a software method for learning polyphonic songs based on the use of wireless sensors. This study within the UMR SPE University of Corsica, in collaboration with the association E Voce di U Cumune and the IRCAM, is part of a university project development and characterization of Corsican cultural heritage.The objective of this thesis is to provide a tool for learning polyphony. To do this we used sign language describing the Corsican musical scale. The aim of our work was to capture these gestures in order to associate each of them with a singing voice. This process which established the link between gestural language and singing involves several concepts which are:- Hand controller, which includes a set of sensors in a single unit to be the first building block of virtual instrument model.- The gestural capturing which allows acquisition, i.e. which translates into electrical signals and digital, the gestures performed.- Recognition that identifies the captured gestures and can differentiate hand posture.- Sound production is the final stage of the system and associated with each of the gestures made a singing voice to match desired note.This concatenation led us to propose a new tool for learning polyphonic songs which offers the possibility to manipulate voice, chant and polyphony without having no musical knowledge. / Stu raportu prisenta e sfarente tappe seguitate da sviluppà un metudu "software" per l'amparera di canti pulifonichi fundatu nantu à l'adopru di cattadori senza filu.Stu studiu realizatu à l'UMR SPE di l'Università di Corsica, in cullaburazione cun l'associu di E Voce di u Cumunu è l'IRCAM, si scrive in un prughjettu universitariu di valurisazione di u patrimoniu culturale corsu.L'ughjettivu di sta tesa hè di prupone un arnese d'aiutu à l'amparera di pulifunie. Per quessa, avemu adupratu un linguaghju gestuale chì discrive una scala musicale corsa. U scopu di u nostru travagliu hè statu di chjappà issi gesti di manera à assucià, à ognunu, una voce cantata. Stu prucessu chì và da u linguaghju gestuale à u sonu chjama diverse nuzione chì sò :-u cuntrollu gestuale, chì gruppa un inseme di cattadori in una stessa unità per cunstituisce u primu bloccu funziunale di mudellu di strumentu virtuale.-a cattazione di i gesti, chì permette l'acquistu, vene à dì chì traduce in signali elettrichi eppo numerichi, di i gesti effettuati.-a ricunniscenza, chì identificheghja i gesti cattati è permette di sfarenzià e pusture di a manu.-a produzzione sonora hè l'ultima tappa di u sistema è assucieghja à ogni gestu effettuatu una voce cantata à l'altura di a nota vulsuta.St´intrecciu ci hà cunduttu à prupone un nuvellu arnese d'aiutu à l'amparera di canti pulifonichi chì offre à pussibilità di manighjà e voci, u cantu è a pulifunia senza avè alcuna cunniscenza musicale.

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<p>Strauss, Richard, Don Juan, Op. 20</p><p>Sørensen, Bent,  Evening Land, 2017</p><p>Tchaikovsky, Peter Ilyitch, Symphony No. 4, F minor, Op 36</p><p>Dirigent: Magnus Theodor Torpp Larsson</p><p>Orkester: Norrköpings Symfoniorkester</p>

Safety culture has been demonstrated to be a key factor in high-reliability organizations (HROs), yet healthcare has not achieved a safety culture as seen in HROs despite decades of effort. Student nurses are enculturated into their profession during their pre-licensure education. This period offers an excellent opportunity to teach students the values, norms, and practices of safety culture. However, little is known about the state of safety culture in schools of nursing. The purpose of this study was to examine the state of patient safety culture as perceived by students in pre-licensure nursing programs in the US using a modified version of the Hospital Survey on Patient Safety Culture (HSOPSC). The School of Nursing Culture of Safety Survey (SON-COSS), the modified instrument created for this study, was administered electronically to a sample of pre-licensure nursing students (N=539) drawn from membership in the National Student Nurses Association (NSNA). The SON-COSS was found to maintain its reliability and validity for use in pre-licensure nursing students. Perceptions of patient safety culture ranged from 81.6% to 23% positive for the 10 dimensions of patient safety culture measured by the SON-COSS. The highest percent positive dimensions for this study were Faculty Support for Patient Safety (81.6%), Teamwork Within Groups (78.3%), and Faculty Expectations and Actions Promoting Patient Safety (68.6%). The lowest percent positive dimensions for this study were Frequency of Events Reported (47.3%), Communication Openness (34%), and Nonpunitive Response to Error (23%). Participants in this study perceived patient safety culture significantly lower for eight of the 10 dimensions measured by the SON-COSS compared to aggregate national data from the HSOPSC (AHRQ, 2016). Only Faculty Support for Patient Safety (81.6%) was significantly higher than the corresponding dimension in the HSOPSC. The results of this survey indicate that students recognize the importance of safety to their faculty, but they do not perceive the presence of a just culture, an essential prerequisite for a culture of safety. This study provides a reliable and valid instrument to measure safety culture in schools of nursing and baseline data to understand the state of safety culture in this population.