Oration 30 (Or. 30) has been commonly used in scholarship as positive affirmation of religious violence and temple destruction in late Antique Syria. This view of widespread violence in late 4th century Syria was previously supported by scholarship on temple destruction and conversion, which tended to argue that temple destruction and conversion was a widespread phenomenon in the 4th and 5th centuries. Recent archaeological scholarship, however, argues against this perspective, in favour of temple destruction and conversion being a rather exceptional and late phenomenon. The question must therefore be asked, to what extent can Libanius’ Or. 30 be used as a source of temple destruction in the Antiochene countryside in Late Antiquity? This question is explored through three chapters which examine: the text and context of Or. 30, the use and application of Roman law in Or. 30, and the archeological evidence for temple destruction and conversion in the Antiochene countryside. This research has revealed that Libanius tends to use similar arguments in his ‘reform speeches,’ that there was no legal basis for temple destruction in the late 4th century, and that there is no archaeological evidence for widespread temple destruction occurring around the composition of Or. 30. Thus, the evidence shows that Libanius’ claim of widespread violence must be seen as an exaggeration. Meaning that Or. 30 cannot be used to support the idea of widespread destruction and religious violence in the Antiochene countryside at the end of the 4th century or, for that matter, Late Antiquity in general.

Christian ethics are ecclesial. The aim of this study is to sustain this conviction in the case of St John Chrysostom. The pastoral concern "The Counsel against Despair" provides the interpretative key to his ethics. The full spectrum of his works, most of which are homilies, are examined in this study. The thesis begins with an account of the wider theological issues involved. This is particularly necessary because pastoral ministry has generally been regarded as peripheral to theology proper, and homiletical material has usually been dismissed as an improper source for understanding patristic ethics. In the main body of the thesis, the problem of despair is situated in Chrysostom's overall theological vision. The intrinsic connection of ethics to ecclesiology is explored through an analysis of the pivotal role which a community in mutual consolation and exhortation plays in the overcoming of moral impotence and moral confusion. The implications for the moral commitments of an individual are also examined. Attention is given throughout the analysis to the crucial points of departure between Chrysostom and those among his predecessors and contemporaries who maintain a more rational and volitional interpretation of ethics. A concluding chapter reflects on Chrysostom's contribution to the understanding of the nature of pastoral ministry in the modern age. An Augustinian and a post-Vatican II Roman Catholic approach to the problem of ecclesiastical discipline are analysed and found unsatisfactory. Chrysostom's line of reasoning offers a way to situate pastoral ministry in a wider moral framework. The thesis aims to show that homiletical material and the place of the affections in theological ethics should receive more attention from patrologists and systematic theologians.

Zugl.: Augsburg, Univ., Diss., 2007

Leipzig, Phil. Diss. v. 9. Dez. 1913, Ref. Wilcken, Lipsius. / Soll erweit. ersch. in : Studien z. Geschichte d. Hellenismus u. d. röm. Kaiserzeit. [Geb. 19. Nov. 89 Dresden ; Wohnort : Leipzig ; Staatsangeh. : Sachsen ; Vorbildung : Wettiner-G. Dresden Reife 08 ; Studium : Freiburg 1, Leipzig 7 S. ; Rig. 28. Febr. 13. 14. Mai 12.].

Did the women of the First Four Christian Centuries have any influence upon the roles they were permitted to follow in the Early Church, or use the institution to increase their worldly consequence? The sources indicate that many used their new "spiritual" status of virgin or widow to free themselves from the normal social function expected of them as women. This thesis seeks to explore these and other methods of "self-realization" which Catholic authors, hereseologists and polemicists claimed were open to Christian women; namely active participation in the variety of non-orthodox Christian movements which sprang up in the Patristic Period, and in the "acceptable routes" of the Catholic ministry, chastity and continence. A preoccupation with the problems of femininity may be found in both orthodox and heretical writers. This emphasis takes - several forms: investigations into the role of Eve in the original Creation myth and an apportioning of blame to the chief characters of the Fall drama; a cosmological theorising which equates femininity with the created world order and masculinity with the realm of the spiritual; and delineations of the limits established to the participation of women in such fields as the ministry of the Church. It will emerge from this discussion that many Church leaders had a somewhat ambivalent attitude to womankind. Women would find themselves spurned for their bodily femaleness yet encouraged to abandon their spiritual weakness (which was of necessity- linked to their physical state) and to reach for eternal heights. Once these heights were achieved a woman was spiritually equal- to a man, yet her physical characteristics continued to limit the roles she could play in the institution of the Church. In order to understand these differing attitudes to women, which could be held simultaneously by Church leaders, this work investigates the influence of such factors as social pressure, varying cultural influences, and theological study upon the formulation of the doctrines of womanhood and their position in society. What was the stance of the non-orthodox movements on these aspects of belief and practice? Their foes derided those movements which appeared to place undue emphasis upon the teachings or ministry of women, yet further investigation of those sects most often named as "guilty parties" indicates that the majority had as traditional a view of women as did their orthodox opponents.

No description available.

The common template in Gospel scholarship places the key hermeneutical principle for interpretation as the quest for the community that each Gospel represents. At present the study of the Gospel text is almost a secondary concern; the primary effort is spent attempting to unveil the Gospel "community" which, it is claimed, is to be found within the collection of Jesus material we call a Gospel. In light of the Gospel community debate, this thesis will argue that such a hermeneutical approach is both internally inconsistent and does not match well with external data. By attempting to provide further definition to various aspects of the Gospel community debate, and by using the Fourth Gospel as a test case, we will argue that the Fourth Gospel was never intended for a local, geographic "community" or network of "communities." The conclusion of this thesis, then, is that both the use and concept of "community" in the historical depiction of the Gospel audiences and as the beginning assumption in the interpretation of the Gospel narrative be abandoned. Not only is the term very ambiguous, but it carries a conceptual meaning that has been found to be inaccurate. The current concept of a Gospel "community" is an inappropriate model of the Gospel audience. The interpreters who reconstruct the Gospel "community" have been misreading the Gospel narrative. Furthermore, the application of a general audience reading strategy to the Fourth Gospel reveals further aspects of the purpose and function of the Gospel of John.

No description available.

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Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-10-03T17:02:05Z No. of bitstreams: 1 2016_FabianoFerreiraCostaVale.pdf: 1306371 bytes, checksum: a95de858077d26f825079bd99ab02cd6 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-12-19T11:44:16Z (GMT) No. of bitstreams: 1 2016_FabianoFerreiraCostaVale.pdf: 1306371 bytes, checksum: a95de858077d26f825079bd99ab02cd6 (MD5) / Made available in DSpace on 2016-12-19T11:44:16Z (GMT). No. of bitstreams: 1 2016_FabianoFerreiraCostaVale.pdf: 1306371 bytes, checksum: a95de858077d26f825079bd99ab02cd6 (MD5) / Procurou-se neste trabalho analisar a técnica composicional literária empregada por Graciliano Ramos em Angústia, levando-se em consideração o conjunto de sua obra, materializado em seus principais livros de ficção: Caetés (1933), S. Bernardo (1934), Angústia (1936) e Vidas Secas (1938). Estruturada em primeira pessoa, esta técnica evidencia a voz narrativa e autoral do protagonista, particularidade artística que se manifesta discursivamente por meio do presente histórico, processo estilístico responsável por marcar a estagnação dramática do personagem, organizar os planos espaço-temporais, determinar as ações e mimetizar os eventos extraliterários no romance, realizando a mediação entre o tempo interno relativo à subjetividade de Luís da Silva e o tempo externo ao enunciado, estabelecendo o nexo entre mundo representado e a realidade objetiva. Nesse sentido, ressaltou-se a obra como configuração artística que antecipa momentos históricos brasileiros marcados politicamente pela ambiguidade e pela ascensão de regimes autoritários, internalizando-os em sua estrutura narrativa. Sob tal perspectiva, verificou-se ser Angústia um livro que transfigura, ao mesmo tempo, a constituição e a deformação do tipo romanesco na produção literária deste período. Com base no método histórico-dialético, procurou-se investigar essa forma literária particular em sua estreita relação dialética com a forma social, conciliando interpretação política e fenômeno literário. Dessa forma, percebeu-se que, mesmo não possuindo personagens típicos, uma obra de arte literária ainda sim pode ser considerada típica ao possibilitar a autoconsciência por meio da encenação do processo de constituição autoral. Angústia é este tipo de obra artístico-literária, portanto, que encena o processo de elevação de uma subjetividade, transformando uma experiência pessoal e singular de um personagem em artística, universal. __________________________________________________________________________________________________ ABSTRACT / This work aimed to analyze the literary compositional technique applied by Graciliano Ramos in Anguish, taking into account all his work, materialized in his main fictional novels: Caetes (1933), São Bernardo (1934), Anguish (1936) and Barren Lives (1938). Structured on a first-person narrative, this technique highlights the narrative voice of the protagonist, as well as his authorial voice. It is an artistic peculiarity that discursively manifests itself through the historical present, a stylistic process responsible for flagging a dramatic stagnation of the character, organizing the time-space plans, determining actions and mimicking the events that are extra-literary to the novel. It results in the mediation between the internal time related to the subjectivity of Luis da Silva and the time that is external to the enunciation, establishing the connection between the represented world and the objective reality. In this sense, the work was highlighted as an artistic configuration, which anticipates Brazilian historical moments politically marked by ambiguity, and the rise of authoritarian regimes, internalizing them in its narrative’s structure. Under this perspective, it was verified that Anguish is a book that transfigures, at the same time, both the constitution and the deformation of the novel form in the literary production of this period. Based on a historical-dialectic method, this study sought to investigate this literary form in particular, in its close dialectic relation with the social form, conciliating political interpretation and literary phenomenon. In this way, it is possible to notice that even if it does not have typical characters, a literary artwork can be considered typical when it enables the self-consciousness through the staging of the process of authorial constitution. Therefore, Anguish is this kind of artistic-literary work, which stages the process of elevation of a subjectivity, transforming a personal and singular experience of a character into something artistic and universal.