This thesis argues that Barth’s asymmetrical structuring of the Trinity in I/1, his doctrine of election in volume II, his concept of the humanity of Christ as the imago Dei in III/2 and his account of the obedience of the Son being reflected in his incarnate life, as detailed in IV/1 and IV/2, are not just coherent but mutually reinforcing. The thesis demonstrates that Barth uses a nexus of crucial terms, including ‘correspondence’ [Entsprechung], ‘reflection’ [reflex/Abbildung] and ‘overflowing’ [Ueberstroemen], to express that God’s actions and relationships ad extra reveal who God is. The concept of ‘correspondence’, tentatively present in the first two volumes, gathers pace through III/2 and achieves full force in volume IV, where the obedience of Christ in IV/2 ‘reflects’ or ‘mirrors’ the obedience of the Son in IV/1. Crucially, the fact that the economic Trinity ‘reflects’ the immanent Trinity, or (differently stated) that the immanent Trinity ‘overflows’ into the economy, establishes a direction, an asymmetry, to the relationship of ‘correspondence’. In ch. II of the thesis we argue that the asymmetry developed in the doctrine of the Trinity in I/1 is the basis for this asymmetric correspondence. Barth describes the triune life as one of giving and receiving existence, suggesting a divine order with an irreversible direction, an asymmetric order. This is shown to be particularly evident in Barth’s defence of the filioque clause which enables him to claim that the Spirit is the one in whom the ruling Father and obedient Son are united ad intra. On this basis we argue, in ch. III, that, when Barth revises his doctrine of election, he comes to see it as the event of triune reflection: the Father, Son and Spirit electing to reflect who they are with a direction of determination, an asymmetry, which is irreversible. In this respect we argue against Bruce McCormack, who sees election as the event in which God elects triunity. In ch. IV we read Barth’s III/2 account of the humanity of Christ as the imago Die, as an attempt to demonstrate that God’s economy of salvation corresponds to who he is. This theme comes into full focus in the first two part-volumes of volume IV, explored here in ch. V. The obedience of Christ reflects, corresponds to, the obedience of the Son. There is obedience in God. This concept, which so mystifies Paul Molnar and Rowan Williams, is shown to be theologically consistent with a doctrine articulated by Barth some thirty years previously: his asymmetrically structured doctrine of the Trinity.

The aim of this project is to investigate the proper response of theology to the Christian God who, as revealed through revelation, is Being-in-act. This project takes seriously the idea posited by Shakespeare, that totus mundus agit histrionem, and upon this stage ‘all the men and women merely players: They have their exits and their entrances; and one man in his time plays many parts.’ If, then, God’s Being is in act, and as so many have deduced, life and death are enveloped within the drama of everyday, then, might it be possible that our theological endeavours would prosper through a dramatic rendering? In light of this, the project seeks to illumine that it is beneficial for both the Church and society, to realise how drama can be, and is, fruitful for our theological endeavours. God is Being-in-act, and through His revelation, He invites humanity to enter into and participate in His action. In light of the aforementioned, then, theology must contend with the implications for its practices, which, as is being argued, are benefited most through a full embrace of the dramatising of theology. The thesis is situated in the recent movement of our theological endeavours that recognise the profundity of the dramatic and its ability to illuminate God’s action and call to action from theology, the Church and society. Moving forward from the seminal work of Hans Urs von Balthasar, and set forth in the context of the theologies of Balthasar and Karl Barth, this project argues that it is through the dramatising of theology that theology is best equipped to illumine God’s desire for humanity’s participation in His Theo-drama. The dramatising of theology is a natural response to God’s Being-in-act; it is the natural movement of theology’s response to God’s action which calls for an active response on our part. Current examples of today’s theological movement towards the dramatic can be seen in such authors as Max Harris, Trevor Hart, Stanley Hauerwas, Michael Horton, Todd Johnson and Dale Savidge, Ben Quash, Kevin Vanhoozer, Samuel Wells and N.T. Wright. This project hopes to contribute to the movement towards the dramatising of theology.

Made available in DSpace on 2016-04-26T20:25:10Z (GMT). No. of bitstreams: 1 HIS - Mayara S Mendes.pdf: 4028005 bytes, checksum: 2bd2228189015f79545c2c3c165df136 (MD5) Previous issue date: 2006-10-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This disssertation aimed at discussing religious conflicts and political relations in Pará between 1930 and 1941 against the political background of the events of the 1930 s and of the tenure of Dom Antônio de Almeida Lustosa as bishop of Pará. In this period, some priests have positioned themselves against the political status quo, taking some attitudes that pleased neither the political bosses nor the local catholic hierarchy, which provoked a censure on them. Involved with electoral lawsuits or defalcation of catholic property, Father José Maria do Lago, Father José Foulquier, Father Leandro Pinheiro and Father Alcides Paranhos were forced to rethink their sacerdotal behavior towards society. Working with different kinds of official documents and newspapers, this work discusses the actions of such religious men and the positions and actions of the Catholic Church and of the local Governments concerning these attitudes, which were classified, by some politicians of that time, as petty politics. / Esta dissertação procurou discutir os conflitos religiosos e as relações políticas no Pará entre 1930 e 1941, tendo como cenário político os acontecimentos de 30 e o bispado de Dom Antônio de Almeida Lustosa. Nesse período, percebemos que alguns padres se posicionaram contra a estrutura política vigente, tomando atitudes que não agradaram nem aos dirigentes políticos, nem os superiores católicos paraenses, o que os levou a uma censura religiosa. Envolvidos com processos eleitorais ou desvio de patrimônio católico, Padre José Maria do Lago, Padre José Foulquier, Padre Leandro Pinheiro e Padre Alcides Paranhos foram forçados a repensarem seu comportamento enquanto sacerdotes diante à sociedade. Trabalhando com ofícios, correspondências, atas episcopais, circulares, cartas pastorais e jornais da época, o trabalho discute as ações destes religiosos e a posição e ação da Igreja católica e da Interventoria locais diante de tais atitudes, consideradas, por políticos da época, de politiqueiras.

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Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-22Bitstream added on 2014-06-13T20:47:56Z : No. of bitstreams: 1 ibanhes_mlg_dr_sjrp.pdf: 2237425 bytes, checksum: c278308ef98831ce2e058eb29489049f (MD5) / O principal objetivo desta tese é o estudo das interseções no mito do bandoleiro, como cavaleiro errante, por meio da figura do herói/anti-herói, Silvino Jacques, enfocando particularmente sua trajetória no tempo e no espaço, com vistas à explicitação dos seus “feitos” e análise das regiões de sua atuação, e da notável significação que o nome e a escritura de Silvino Jacques encerram em certa tradição literária. Para tanto, o corpus deste trabalho baseia-se nas obras Decima gaucha, do próprio Silvino Jacques, Silvino Jacques: O último dos bandoleiros, do escritor regionalista sul-mato-grossense Brígido Ibanhes e no documentário Selvino Jacques: A saga de um bandoleiro, de Hamilton Wander Medeiro. O estudo justifica-se, prioritariamente, pela comprovação dos influxos platinos, os quais ultrapassam fronteiras e leis, ocasionando trocas e/ou “contrabandos” literários e culturais entre as regiões envolvidas. Assim, a análise volta-se para a recuperação do tema ao longo da história da literatura, remontando à reconhecida figura do lendário Martín Fierro e sua formidável ressonância e fortuna nas literaturas do Cone Sul, bem como para o ambivalente herói pícaro, representado tanto pelo Quixote como pelo Lazarillo, nas literaturas hispano-americanas. A perspectiva desta análise contempla reflexões teórico-críticas oriundas da Literatura Comparada e dos Estudos Culturais e também da teoria do documentário, campos de saber que propiciaram a abordagem de um tema ainda pouco estudado, mas de grande produtividade para estudiosos e pesquisadores de poéticas comparadas culturais / El objetivo principal de esta tesis es el estudio de las intersecciones en el mito del bandolero, como caballero errante, a través de la figura del héroe /antihéroe, Silvino Jacques, centrándose particularmente en su trayectoria en el tiempo y el espacio, con vistas a explicitación de sus hechos” y el análisis de las áreas de sus actuaciones, además de la notable significación que el nombre y la obra de Silvino Jacques cierran en determinada tradición literaria. Por lo tanto, el corpus de este trabajo se basa en las obras Decima gaucha, del propio Silvino Jacques, Silvino Jacques: O último dos bandoleiros, del escritor regionalistas sul-mato-grossense Brígido Ibanhes y el documental Selvino Jacques: A saga de um bandoleiro, de Hamilton Wander Medeiro. El estudio se justifica, sobre todo, por la comprobación de los influjos platinos que propasan las fronteras y las leyes, ocasionando cambios y/o contrabando literarios y culturales entre las regiones involucradas. Así, el análisis se vuelve para la recuperación del tema al largo de la historia de la literatura que se remonta a la figura del legendario Martín Fierro y su formidable resonancia y fortuna en las literaturas del Cono Sur, como también para el ambivalente héroe pícaro, representado tanto por el Quijote como por el Lazarillo, en las literaturas hispanoamericanas. La perspectiva de este análisis complace reflexiones teórico-críticas oriundas de la Literatura Comparada y de los Estudios Culturales, además de la teoría documental, campos del saber que favorecen el abordaje de un tema todavía poco estudiado, pero de gran productividad para estudiosos y investigadores de poéticas comparadas culturales

The lecture recital was given on November 20, 1979. The final movement of Widor's Symphonie Gothique, opus 70, the first movement of Widor's Symphonie Romane, opus 73, and the first movement of Dupré's Symphonie-Passion, opus 23 were performed following a lecture on Gregorian Chant in the organ symphonies of Widor and Dupré. The lecture included a brief historical discussion of the decline of organ literature following the French Classical School, the development of the Modern French Organ School beginning with the establishment of the organ department at the Paris Conservatory, the revival of plainsong and the establishment of the School of Solesmes, and the influence of César Franck and the organ symphony. The main body of the lecture included biographical sketches of Widor and Dupré, a discussion of the general characteristics of their organ symphonies, with the emphasis upon those movements specifically employing the use of Gregorian chant.

This dissertation presents a performance guide of two solos for early valved trumpet, as well as an appraisal of their historical significance. The first of these solos is F. G. A. Dauverné's Variations pour trompette à pistons avec accompagnement de Piano-forte, op. 3 (1833). The second solo examined is Amilcare Ponchielli's Concerto per Tromba e Banda, op. 123 (1866). Although Ponchielli's work dates from only the middle of the century, by time of its composition the valved trumpet had already been developed enough to have attained true artistic value. This dissertation provides evidence concerning the evolution of nineteenth solo literature for the Romantic trumpet by means of formal analysis in regard to form, harmony, and historical performance practice.

The first three recitals included one recital of chamber music and two recitals of solo piano music. The first recital consisted of music for clarinet and piano, performed with Dr. Lee Gibson of the music faculty of North Texas State University. This program included the Mozart Clarinet Concerto, Five Atonal Pieces by William Latham, Sonata in F minor by Johannes Brahms, and Four Pieces for clarinet and piano by Alban Berg. The second recital contained the D minor Concerto of Marcello, transcribed by J. S. Sach, Sonata No. 1 by Karl Haria von Weber, Sposalizio by Franz Liszt, Sonata in F by Nels Harveland, and Three Fantasies from Opus 116 by Johannes Brahms. The third recital consisted of the F minor Fantasy by Mozart, Variations on a Theme of Rameau by Paul Dukas, Sechs Kleine Klavierstucke by Arnold Schoenberg and Four Preludes by Sergei Rachraaninov. The fourth recital featured a comparison of selected Liszt and Schumann piano transcriptions of Paganini Viol in Caprices. Musical examples comparing the Paganini Caprices and the transcriptions by Liszt and Schumann, in addition to examples comparing the similarities and differences between the transcriptions of Liszt and Schumann, were interspersed throughout the lecture.

This dissertation is divided into six chapters. The first chapter explains the purpose and significance of the study. The second chapter presents an analysis about Wanderer Fantasy, D.760 composed by Schubert, employing Schenker analysis to elucidate important motives. Chapter 3 provides an analysis of Schubert-Liszt, Wanderer Fantasy for Piano and Orchestra, S. 366 and shows how Liszt transcribed the original to emphasize certain motives, and further, describes the development of the piano history. Chapter 4 delves into an analysis of Schubert-Liszt, Wanderer Fantasy for Two Pianos, S. 653a transcribed by Franz Liszt and further explains the historic development of piano, in particular Érard's grand piano. Chapter 5 explains the analysis of Schubert-Liszt, Wanderer Fantasy for Piano Solo, S.565a and expands upon Érard's grand piano. Finally, Chapter 6 leads to this paper's summary and conclusion.