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Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

The metaphorical marriage, as described by the Old Testament prophets beginning with Hosea, symbolized the relationship of God the bridegroom, to israel his bride. This covenant relationship between God and Israel also symbolized the relationship God ordained between husband and wife. Literary structures, ritual patterns, and the Hebrew word which means "know" are common to ancient Near Eastern treaties and Old Testament covenants; most importantly, the marriage covenant. The marriage covenant is under the umbrella of previous covenants which a man and woman have entered into as part of the house of Israel. The terms "help meet" and "ruler" are the God-given roles to Adam and Eve which define the covenant relationship between husband and wife.

This essay discusses gender systems in children’s bibles with narrative criticism and discourse analysis. The focus in the essay is on gender studies and how the stories in the children’s bibles change between 1940 to 2020. The children’s bibles used were published 1940, 1961, 1989, 1999 and 2020. The story of Adam and Eva is analyzed. The purpose for this essay is to find out how the gender system shows in these bible stories for children. What is feminine and what is masculine. What makes a woman and a man, what are their differences. How are Adam and Eve portrayed. With Hirdman’s (1988) gender system clear differences can be found. The stories tell of what female and male roles are and what they entail. The guilt of the fall of humanity always stays Eves, but how Eve is represented changes. Who Eve is changes. Eve goes from an extension of the man to a being of her own. The conclusion for this essay is that in the period between 1940-2020 there is a change to how Eve is portrayed. When the reader first meets Eve in the 1940 edition of the Children’s Bible, Eve is an extension of the man. Eve is naïve and her decision to go against God and eat the forbidden fruit is framed as her not knowing better. The next Children’s bible, published 1961, follows the same pattern. Both editions are heavy on details and closely follow the Bible. The third and fourth Children’s bible in the study, published 1989 and 1999, breaks this pattern. The story gets less detailed, and the authors are beginning to step away from Eve being naïve to Eve being curious. Noteworthy that the authors for the Children’s bibles published 1940 and 1960 are men, and the authors of Children’s bibles published 1989 and 1999 are women. From the first Children’s bible in the study to the last a vast difference can be seen. Adam and Eve are now created equally for the first time and the biggest change is in the illustration not the text. When Eve is talking with the snake about eating the forbidden fruit, in the right corner we can see another hand reaching out to the fruit. This may be Adam. In conclusion in this study Eve has gone dooming humanity by her naivety and Adam being smarter to Adam on his way to make the same decision maybe even before Eve.

La Vie grecque d’Adam et Eve (VGAE) a été classée parmi les apocryphes de l’Ancien Testament et serait un texte composé entre le Ier siècle avant notre ère et le Ier siècle de notre ère, à partir des traditions judéo-hellénistiques. Attesté par vingt-sept manuscrits grecs, cet ouvrage présente l’histoire d’Adam et Eve avant et après leur expulsion du Paradis. Ces manuscrits font partie d’un ensemble plus vaste, la Vie d’Adam et Eve (VAE), connu par huit versions différentes (en grec, latin, géorgien, arménien, slave, roumain, copte, arabe).La problématique de notre thèse consiste à analyser la représentation de la femme et l‘invention de la notion du "péché de la chair " ; d’une part, conformément à l’étude des manuscrits de la VGAE et, d’autre part, à partir d’une comparaison de la VGAE avec les restantes versions de la VAE et avec d‘autres sources témoignant d’une perspective similaire.Premièrement, nous nous consacrons à la polémique autour du milieu d’origine et de la datation de la VGAE, avec une exposition de l’état de la question (selon trois thèses : l’origine juive, l’origine chrétienne et la « position prudente »). A l’intérieur de cette discussion, nous incorporons une deuxième polémique, concernant la priorité de la version grecque dans l’ensemble de la VAE.Deuxièmement, nous abordons la représentation de la femme, à partir de la considération conjointe de l’innocence et la culpabilité d’Eve dans la VGAE. En incluant ces représentations dans le contexte des sources du Second Temple, nous assignons une compréhension plus complexe et hétérogène de la VGAE.Troisièmement, nous considérons l‘invention de la notion du "péché de la chair ". Cette notion propre à la VGAE, introduit un type de transgression sexuelle rattachée à Eve. Nous recherchons les sources de ce type de transgression pour élucider ensuite son rapport avec d’autres péchés liés également à Eve dans la VGAE. / The Greek Life of Adam and Eve (VGAE) has been classified among the Apocrypha of the Old Testament and would be a text composed between the 1st century BCE and the 1st century CE, from some traditions belonging to the Hellenistic Judaism. Attested by twenty-seven Greek manuscripts, this book presents the story of Adam and Eve before and after their expulsion from Paradise. These manuscripts are a part of a larger whole, the Life of Adam and Eve (LAE), acknowledged by eight different versions (Greek, Latin, Georgian, Armenian, Slavonic, Romanian, Coptic and Arabic).Our dissertation analyzes the representation of the woman and the invention of the notion of "sin of flesh"; on one hand, according to the study of the manuscripts of the GLAE and, on the other hand, from a comparison of the GLAE with the remaining versions of the LAE and with other sources showing a similar perspective.First, we dedicate to the polemic regarding the origin’s milieu and dating of the GLAE, with an exposition of the actual research (according to three theses: Jewish origin, Christian origin, and the "prudent position"). Within this discussion, we incorporate a second controversy, concerning the priority of the Greek version inside the LAE.Second, we concentrate on the representation of the woman, from the cohesive consideration of the innocence and the guilt of Eve in the GLAE. By including these representations in the context of the sources of the Second Temple, we assign a more complex and heterogeneous understanding to the GLAE.Third, we consider the invention of the notion of "sin of flesh". This concept specific to the GLAE, introduced a type of sexual transgression attached to Eve. We look for the sources of this type of transgression to elucidate then its relation with other sins also associated with Eve in the GLAE.

This paper presents a proposal of interdisciplinary approach between analytic psychology and law. From the basis of Carl G. Jung’s theoretical framework, we argue that the law is animated by psychic contents of archetypical nature, which shape the way in which humans relate with rules and authority and impact how we regulate as a society. The paper introduces myth interpretation as a means to comprehend that animic dimension of law and describes the concepts, techniques and cares that should guide the analysis. An interpretation of the fall of Adam and Eve is conducted as an example of the proposed interdisciplinary approach. The analysis leads us to argue that the psychic tendency to separate the inner self from the outer self, with the relegation of the former, derives in the domination of the masculine over the feminine and in a relationship characterized by distance and fear between humans and the authority. The regulation that arises from that context is one also marked by separation, fear of sanctions and is focused on the external behavior. The image of Jesus is thus presented as compensatory one since it tends to the reunion of the inner with the outer and of the feminine with the masculine, which derives in a regulation substantially different from that of the Old Testament. / En el presente artículo compartimos una propuesta de aproximación interdisciplinaria entre la psicología analítica y el derecho. Partiendo del marco teórico de Carl G. Jung, argumentamos que el derecho está animado por contenidos psíquicos de naturaleza arquetípica que moldean el modo en que el ser humano se vincula con la norma y la autoridad, marcando también anímicamente el modo en que nos regulamos como sociedad. En el trabajo se presenta la interpretación de mitos como herramienta para comprender dicha base anímica y se desarrollan los conceptos, técnicas y cuidados que deben guiar dicho análisis. Se presenta también un ejemplo de interpretación de la historia bíblica de la caída de Adán y Eva, relatada en el capítulo tercero del Génesis. Nuestra interpretación nos lleva a postular que la tendencia a separar la realidad interior de la exterior en el ser humano, con olvido de la primera, lleva a la dominación de lo masculino frente a lo femenino y al establecimiento de una relación de lejanía y temor entre el ser humano y la autoridad, fuente de la norma, lo que conduce a un modelo de regulación también lejana, centrada en el temor a la sanción y enfocada en el exterior de la conducta. Frente a esta lectura, la figura de Jesús será mostrada como compensatoria, en tanto busca la reunión de lo interior con lo exterior y de lo masculino con lo femenino, lo que da lugar a un modo de regulación sustancialmente diferente al del Antiguo Testamento.

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Si l’iconographie de l’Arbre sec ou arbre sans feuilles de la Légende du bois de la Croix a marqué le Moyen Age, paradoxalement, elle a peu attiré l’attention des historiens de l’art des XXe et XXIe siècles. Afin de combler cette lacune, nous proposons de développer ce thème dans notre thèse de doctorat. Nous montrons l’aspect formel que les images donnent à cet arbre, l’évolution de sa morphologie au fil des siècles, sa période d’apparition, celle de sa disparition, ainsi que le symbolisme qui lui est attaché, un symbolisme puissant, en relation avec la recherche du Salut. Les images qui illustrent un épisode crucial de la Légende du bois de la Croix — la vision de Seth, le fils d’Adam et Eve, avec l’arbre dénudé au centre du Paradis terrestre — constituent le pivot de notre recherche. Viennent se greffer d’autres images de l’Arbre sec, que nous appelons des « variantes » : la représentation de l’Arbre sec de la légende est transposée dans des contextes extra légendaires, tels ceux des romans d’Alexandre le Grand et du Lancelot-Graal, tel celui de la Divine Comédie, ceux du Devisement du monde de Marco Polo et des Voyages de Jean de Mandeville, ou encore du Pèlerinage de l’âme de Guillaume de Digulleville. L’Arbre sec est aussi dans le tableau de Petrus Christus, la Vierge à l’Arbre sec. Les images montrent l’Arbre sec dans un lieu intemporel, ou au Paradis, ou un lieu qui s’apparente au Paradis. Ce végétal est accompagné de la figure du Christ ou de personnages ou d’animaux le symbolisant. Dans tous les cas, le symbolisme fort et multiple de cet arbre sacré est conservé. L’Arbre sec est tout à la fois un rappel de l’arbre de la connaissance du bien et du mal, une évocation de l’arbre de la Croix et de l’arbre de vie. / The iconography of the Dry Tree or leafless tree is present through out the Middle Ages, but paradoxally, its study has only attracted few historians of art of the XXth and XXIst centuries. To compensate for this, we choose to devote our thesis to an extensive study of this tree. We examine the formal aspect given to the Dry Tree depicted in the images, the evolution of its physical form through the centuries, the period when it first appears and when it disappears, as well as the symbolism it carries, a powerful signification related to the quest for Salvation. The core of our research is the images that depict a crucial episod in the Legend of the wood of the Cross — Seth’s vision of the leafless tree of the Earthly Paradise. Other images of the Dry Tree, which we call « variations », are also examined : the theme of the Dry Tree taken from the Legend is transposed in extra-legendary contexts such as in the romances of Alexander the Great and the Lancelot-Graal, the Divine Comedy, the Million by Marco Polo and the Voyages by Jean de Mandeville, as well as the Pilgrimage of the soul by Guillaume de Digulleville. The Dry Tree is also depicted in Our Lady of the Dry Tree by Petrus Christus. The images show the Dry Tree in Paradise or in a place which symbolises Paradise, with Christ in the Dry tree, or figures or animals as symbols of Christ. The powerful and multiple symbolism is present : the Dry Tree is a reference to the tree of the knowledge, to the tree of the Cross and to the tree of life. Therefore, it is no surprise that the images show man in his quest for the Dry Tree, ie in the quest for God.