advancements in Old Testament and New Testament Studies. For example, new knowledge is available on the variant versions of the Septuagint and application of the literary concept of intertextuality has yielded significant results in recent biblical scholarship. However, considering that 1 Peter arguably uses the Old Testament in the most condensed manner of all the New Testament writings, it is surprising that relatively few recent studies have been carried out on the use of the Old Testament in 1 Peter. As a partial corrective to this situation, this in-depth study is focused on the use of the Psalms in 1 Peter, utilizing an integrated hermeneutical procedure that combines traditional grammatical-historical analysis with the state of the art on New Testament use of the Old Testament. The aim is to clarify the hermeneutical implications of the use of the Psalms in 1 Peter for Old Testament and New Testament exegesis within the Reformed tradition today. Thus, a comprehensive exegetical approach is systematically applied to each pericope of 1 Peter and to every relevant Psalm passage in order to establish a valid foundation for understanding how the author interprets the Psalms and how the Psalm references function within the argument of 1 Peter. In addition, intertextual resonance is considered as an effective means to enhance understanding of the function and effect of Psalm references as intended by the author, and to determine the possible unintended effect of Psalm references upon the addressees and later readers. Furthermore, consideration of reader response sometimes makes it possible to identify echoes of Psalm passages not likely intended by the author, but nevertheless, very likely to have come to the minds of the recipients with significant effect. One conclusion of this study is that there is no compelling evidence that the author’s interpretation of the Psalms ignored the intended meaning of the Psalm in its own context, or merely reflected contemporary Second Temple interpretations. Furthermore, it has been possible to refine the criteria for identifying and classifying Psalm allusions rather than merely following broad, predetermined criteria. Thus, a distinction is made between specific allusion, in which case the author’s argument depends upon recognition of specific Psalm passages, and general allusion, in which case the author’s argument depends upon a concept recognizably derived from the Psalms but not limited by the wording of specific references. This study also demonstrates that the use of the Psalms in 1 Peter is based upon a strong sense of solidarity with believers of the past, especially as they expressed their responses to God in the context of suffering. In particular, compared with other New Testament writings, 1 Peter stands out for the fact that the majority of its Psalm allusions are used for the purpose of developing and reapplying significant themes. Thus, 1 Peter provides compelling reason for present-day interpreters to view theme development as a valid and effective way to apply the Psalms to the circumstances of Christian believers as they face the challenge of living faithfully in new contexts of suffering and persecution. / PhD (New Testament), North-West University, Potchefstroom Campus, 2014

In this dissertation, I examine metaphorical expressions of biblical and sacral origin (bibleisms) that occur in Russian narrative literary texts. The interpretation of bibleisms is carried out within the framework of interaction theories of metaphor, making it possible to account for the use of bibleisms in Modern Russian, and for the role of their original meanings in the development of their new metaphorical associations. This is viewed as a set of intertextual relationships between the biblical and sacral texts, the Modern Russian language and the literary texts in which the expressions occur. Different types of metaphor are distinguished in terms of interaction theory. This has implications for the translation of bibleisms. It is demonstrated that in different interactive situations, the same bibleism can be referred to different types of metaphor, and hence the translation procedure may only be determined by taking into account the metaphorical language in each individual case. / Afrikaans & Theory of Literature / M.A. (Theory of Literature)

The text of the book of Revelation preserves examples of scriptural reuse that cohere with similar patterns of borrowing in other ancient Jewish works. This thesis describes the processes of reuse employed by Revelation's notional author (John), and places them into conversation with modes of reuse employed in other ancient Jewish texts, using Zechariah 1-8 as a test case. The design of the study has been crafted to explore these examples in a manner consistent with ancient textual composition. In the first chapter, I examine a dominant aspect of Jewish and early Christian textual culture: pluriformity. I argue that a pluriform scriptural tradition (in both Hebrew and Greek) was a controlling force that shaped the processes of scriptural reuse and, in turn, composition in this period. This analysis also delimits the possible forms of Zechariah available to ancient readers. With textual pluriformity in mind, the next chapter examines the text of Zech 1-8 preserved in John's scriptural references (Rev 5.6; 6.1-8, 9-11; 7.1; 11.4; 19.11-16). While this analysis is complicated by the author's presentation of reused material in Revelation, the evidence strongly suggests that John was familiar with a Hebrew form of Zechariah. Once John's preferred form of Zechariah is identified, the third chapter describes his techniques of reuse. This portion of the thesis consists of a catalogue and discussion of the differences in graphic representation between segments of Zech 1-8 and their instantiation in Revelation. This examination builds a set of textual data that accesses John's processes and strategies of reading. The fourth section of the thesis explores John's habits of reading as witnessed in his techniques of reuse. This section identifies features of Zech 1-8 that motivated John to engage with and alter the wording of antecedent material. Not every textual difference can be accounted for in this way, but it is evident that John is cognisant of the features of a particular form of Zech 1-8. Many of the differences between source and reuse can be explained as John's attempt to comprehend ambiguities in Zechariah. The final section of the thesis is a comparative analysis. The results of the preceding examinations of Revelation are compared to instances of the reuse of Zechariah in early Jewish literature, including works in the Hebrew Bible, the ancient versions of Zechariah, Dead Sea Scrolls, and works commonly classified as “deutero-canonical.” This analysis grounds previous observations about John's reuse in their native textual culture and acts as an historical control. The evidence suggests that John's modes of reading, reformulation, and reuse are similar to those found in other early Jewish works. The thesis concludes that scriptural reuse in the book of Revelation cannot be understood apart from the realities of textual pluriformity and the practices of scriptural reuse in Jewish antiquity. This approach suggests that John is a “scribal” expert—a careful reader of his scriptural tradition—and that his modes of reuse are conditioned by the textual culture of this period.

In this dissertation, I examine metaphorical expressions of biblical and sacral origin (bibleisms) that occur in Russian narrative literary texts. The interpretation of bibleisms is carried out within the framework of interaction theories of metaphor, making it possible to account for the use of bibleisms in Modern Russian, and for the role of their original meanings in the development of their new metaphorical associations. This is viewed as a set of intertextual relationships between the biblical and sacral texts, the Modern Russian language and the literary texts in which the expressions occur. Different types of metaphor are distinguished in terms of interaction theory. This has implications for the translation of bibleisms. It is demonstrated that in different interactive situations, the same bibleism can be referred to different types of metaphor, and hence the translation procedure may only be determined by taking into account the metaphorical language in each individual case. / Afrikaans and Theory of Literature / M.A. (Theory of Literature)

This thesis investigates possible connections between the music of Erik Satie (1866-1925) and the later surrealist movement, turning to Parade (1917) in a case study that seeks to understand surrealism in music through the idea of self-exploration, a well-established interpretive approach in studies of surrealism in the visual arts. This thesis seeks to redefine surrealism in music not as a set of concrete musical characteristics, but as a collection of techniques meant to evoke subconscious turbulence by blurring the boundary between the "outside" and "inside," between conscious and subconscious, leading to a new discovery of higher or deeper truth. Satie's music aligns with the psychoanalytic elements of the discourse on surrealism. Psychoanalysis, pioneered by Sigmund Freud (1856-1939) and his followers in the 1890s in Vienna, permeated France around the time of the creation of the work. It inspired early surrealist techniques like automatism, illusory formal structures, collage, and stylistic allusion. This thesis demonstrates that such techniques can be discerned throughout Parade, not only in Satie's music, but also in its scenario, staging, costumes, and choreography. As such, Parade was a foundational work for the surrealist movement, with Satie's music contributing with the other media equally to the emotional and psychological impact of the ballet.

Doctoral dissertation: Panoptical tropes and negotiations between art and politics in Charles Johnson's short fiction Abstract The dissertation traces the uneasy marriage between ideology and aesthetics in African American literature, and its reflections in Charles Johnson's short fiction. The historical introduction is an attempt to reevaluate the tradition of ideological self-policing in African American literature. Its central thesis resides in the claim that African American literature and its critical reception has still retained some of this ideological template, in a manner and degree that throws it out of sync with the mainstream trajectory of American literature. This lingering anachronism cannot be legitimately attributed to a single causative circumstance, yet one of the more obvious explanations for this residual trend is the living memory of overt discriminatory practices in many parts of the United States, which is why the centrifugal literary discourses of assimilationism and protest fiction are still very vibrant. This simple argument alone provides a sufficient basis for contextualizing and understanding the thesis that ideological writing still inadvertently manages to find its way into African American fictional pursuits. This is also underscored by the observable fact that even the...

The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology.

There is no consensus regarding the interpretation of the "Spirit like a dove" comparison in Jesus' baptism (Mk 1:10). Although scholars have proposed at least fifty different interpretations of the dove comparison, no study appears to have considered Isaiah's three dove texts as the background for the Markan dove (cf. Is 38:14; 59:11; 60:8). This neglect is surprising considering the abundance of Isaianic allusions in Mark's Prologue (Mk 1:1-15), and the growing awareness that Isaiah is the hermeneutical key for both the Markan Prologue and Jesus' baptism within it. Indeed, Mark connects the dove image inseparably to the Spirit's "descent" from heaven, which alludes to Yahweh's descent in a New Exodus deliverance in Isaiah 63:19 [MT]. Furthermore, each Isaianic dove text uses the same simile, "like a dove" or "like doves," which appears in Mark 1:10, and shares the theme of lament and restoration which fits the context of Mark's baptism account. This study therefore argues that the dove image in Mark 1:10 is a symbol which evokes metonymically Isaiah's three dove texts. So the Spirit is "like a dove" not because any quality of the Spirit resembles that of a dove, but because the dove recalls the Isaianic theme of lament and restoration associated with doves in this Scriptural tradition. After discussing the Markan dove in terms of simile, symbol, and metonymy, the study examines the Isaianic dove texts in the MT and LXX and argues that they form a single motif. Next, later Jewish references to the Isaianic dove texts are considered, while an Appendix examines further dove references in Jewish and Greco-Roman literature. Finally, the study argues that the Markan dove coheres in function with the Isaianic dove motif and symbolizes the Spirit's effect upon and through Jesus by evoking metonymically the Isaianic dove texts.

The Program of the Czech Decadent Movement and the Question of Intertextuality. The Work of Miloš Marten This thesis explores the work of Miloš Marten (1883-1917) seeking to analyse its decadent narrative as a modern narrative that brings into play the unity between the pinnacle and the decline. It departs from the comparison between the style and interpretation of the two versions of Cyklus rozkoše a smrti (orig. The Cycle of delight and death; 1907 and 1917/1925) and the study of the realisations of this work. For this purpose the study contextually examines the conceptions of "intertextuality" from fin de siècle authors-critics, meaning their conceptualisations of similarity and/or identity of literary works which frequently involve a confluence of degeneration theory, the argument of the non-ethical nature of plagiarism and theory of decadence. All were often used as instruments of disqualification as well as justifications for a modern aesthetics and style. Reconstitution of Marten's theoretical reflection on artistic genres evidences his research of a harmonizing modern culture within an anti-syncretic tendency: mythology and revolt against myth Order being shifted to tragedy and parable, while the novel is designed as an analytical-critical synthesis. Applying contemporary approaches to...