Thesis (Th. M.)--Dallas Theological Seminary, 1991. / Includes bibliographical references (leaves 56-66).

The main thesis of this dissertation is that Jezebel is a primary character in 1 Kgs 16 – 2 Kgs 10. This may be observed both in the so-called Elijah and Elisha cycles. One of the main purposes, if not the purpose, of the stories contained within the Elijah cycle is to enhance the polemic against Jezebel and against the Baal cult which had been introduced by her, and not merely to convey events from Elijah‘s ministry. The choice of the characters and details revealed about their background indicate that the Elijah cycle is only partially concerned with the prophet, while it is directed importantly also against the queen and Baal. Elisha‘s ministry follows that of Elijah. His cycle prepares the reader for the punishment of Jezebel by revealing different details of the final moments of the queen‘s life and the events surrounding her death. Even though the reader will find only two direct references to the queen in 2 Kgs 2-8, the text sheds some light on the queen, her character and her death. The narrative also introduces new characters whose role is to be a foil or a contrast to the queen. The thesis, then, argues that Jezebel is a primary character in the narrative of the middle part of the Books of Kings. It must be said, however, that many elements of the argument against Jezebel operate on the narrator‘s, and not on characters‘, level. Besides a few direct references to Jezebel and to her activities, she herself quite often remains absent from the stage. It is only when one raises one‘s sights from the characters‘ to the narrator‘s perspective that he or she may notice abundance of allusions, prefigurations, comparisons, use of foils, and other devices that enhance the argument against the queen and make her a primary character in 1 Kgs 16:29 – 2 Kgs 10.

This study of the elements of the Byronic hero in Herman Melville's Captain Ahab includes a look at the Byronic hero and Byron himself, the Byronic hero and the Gothic tradition, the Byronic hero and his "humanities," and the Byronic hero and Prometheus-Lucifer.

In conceptualizing Moby-Dick; or, the whale, Herman Melville was both drawn and opposed to the ideas of Ralph Waldo Emerson. Through an analysis of the main characters in MobyDick and Emerson’s writing, it becomes evident that Transcendentalism is embodied in the characterization of the novel’s main characters. I argue that the eventual fates of characters in the novel reveal Melville’s criticism of Emerson’s ideas. Moreover, the depiction of ocean and land as a symbol of the soul in Moby-Dick mirrors Emerson’s idealized relationship between man and nature. However, the ambiguous and horrific nature Melville produces shows that the romantic ideal of Emerson’s is lacking. / I skrivandet av Moby Dick eller valen så kom Herman Melville att både inspireras av och motsätta sig Ralph Waldo Emersons idéer. Genom en analys av huvudkaraktärerna i Moby Dick samt Emersons texter så är det tydligt att transcendentalism finns förkroppsligad i karaktäriseringen av romanens huvudkaraktärer. Jag argumenterar för att karaktärernas slutgiltiga öden i romanen uttrycker Melvilles kritik av Emersons idéer. Vidare så är skildringen av hav och land som en symbol för själen i Moby Dick en spegling av Emersons idealiserade förhållande mellan människa och natur. Emellertid den tvetydiga och fruktansvärda natur Melville skapar visar på bristfälligheten i Emersons romantiska ideal.

Zugl.: Apeldoorn, Theologische Univ., Diss., 2008

Although Ishmael does not appear to be a main character in Moby Dick, his narration is integral to the text. Only through telling the story is Ishmael able to give himself a concrete identity, which is reflected not only through himself, but through the thoughts, speeches, and actions of the other characters, specifically Ahab and the shipmates. Ishmael represents the fragmented Romantic of nineteenth century American society. He is bound by a traditional patriarchal world where he must break away from the father to establish his own identity. He has lost his connection to nature, the primal source of his beginningsùthe womb of the mother. Through his hermetic voyage into nature and back to the unconscious, he is able to reconnect to his origins. No longer is he the alienated wanderer, but recreated as the artist, able to create his own myth and identity.

Text in Afrikaans / "Teksbetekenis" staan sedert die opkoms van strukturalisme in die middelpunt van die diskussie in literere Kringe. Die ontwikkeling van lesersgeorienteerde teoriee en die opkoms van die konsep van "intertekstualiteit" het veral bygedra tot die bevraagtekening van die opvatting dat tekste 'n "eintlike" betekenis "het". In konserwatiewe kerklike kringe word daar egter nog baie gemaak van die Skrif as 'n regulatiewe dokument met een sensurerende eintlike of korrekte betekenis. Die opvatting is ook dat prediking Skrifprediking moet wees waarin slegs die Skrifwoord 'n plek het. Die opvatting strook nie met literere insigte nie. In hierdie studie word sekere aspekte van die literere gestalte van die Masoretiese 1 Konings 21 ontleed en die resultaat hiervan vergelyk met soortgelyke analises van die weergawe van die verhaal in vertalings (LXX, Vulgaat, Wycliffe, Purvey, en die Geneva Bible), oorvertellings (deur Josefus en Lukas), kommentare (in die kantlyne van Purvey-en Geneefse vertalings), preke en in 'n akademiese artikel. Die bevinding is dat elke weergawe, ongeag die genre daarvan, die verhaal op een of ander manier verander het en dat interpretasies wissel van mindere uitbouings tot die skep van nuwe verhale. Die situasie van die interpreteer- der het telkens die interteks gevorm wat 'n nuwe vertelling laat ontstaan het. Hoewel tekste betekenis mag he (wat dit moontlik maak om hulle met mekaar te vergelyk) is elke interpretasie 'n kontekstualisering wat onvermydelik 'n nuwe teks produseer. Die bevinding bring konserwatief-teologiese definisies van Skrifbeskoulike konsepte soos kanon, kanoniese betekenis, Skrifgesag en Skrifprediking ernstig in gedrang en noodsaak dringende herbesinning op daardie terreine / Since the rise of structuralism "textual meaning" has been at the centre of the literary debate. The formation of reader orientated theories and a concept like "intertextuality" contributed a great deal to the questioning of the idea that texts "have" a "real" meaning. However, in conservative church circles much is still being made of scripture as a regulative document with one censuring "real" or correct meaning. The conviction is, further, that preaching should be "scriptural", that is, sermons should only repeat what Scripture says. This view does not tally with insights gained from current literary theory. In this study certain aspects of the literary shape of the Massoretic version of 1 Kings 21 are analysed and the results compared with similar analyses of accounts of this narrative in translations (LXX, Vulgate, Wycliffe, Purvey and the Geneva Bible), re-tellings (by Josephus and Luke), comnentaries (Purvey and Geneva Bible margins), sermons and an academic article. It was found that each account, irrespective of its genre, in some or other way changed the narrative and that the interpretations vary from lesser extentions to the creation of completely new narratives. The situation of the interpreter constantly functioned as the intertext generating a new narrative. Even though texts may "possess" meaning (enabling one to compare them with one another) every interpretation is a contextualisation inevitably producing a new text. This conclusion seriously questions conservative theological definitions of concepts such as canon, canonical meaning, scriptural authority and scriptural preaching and necessitates urgent rethinking in these areas / Biblical and Ancient Studies / D. Th. (Ou Testament)

Text in Afrikaans / "Teksbetekenis" staan sedert die opkoms van strukturalisme in die middelpunt van die diskussie in literere Kringe. Die ontwikkeling van lesersgeorienteerde teoriee en die opkoms van die konsep van "intertekstualiteit" het veral bygedra tot die bevraagtekening van die opvatting dat tekste 'n "eintlike" betekenis "het". In konserwatiewe kerklike kringe word daar egter nog baie gemaak van die Skrif as 'n regulatiewe dokument met een sensurerende eintlike of korrekte betekenis. Die opvatting is ook dat prediking Skrifprediking moet wees waarin slegs die Skrifwoord 'n plek het. Die opvatting strook nie met literere insigte nie. In hierdie studie word sekere aspekte van die literere gestalte van die Masoretiese 1 Konings 21 ontleed en die resultaat hiervan vergelyk met soortgelyke analises van die weergawe van die verhaal in vertalings (LXX, Vulgaat, Wycliffe, Purvey, en die Geneva Bible), oorvertellings (deur Josefus en Lukas), kommentare (in die kantlyne van Purvey-en Geneefse vertalings), preke en in 'n akademiese artikel. Die bevinding is dat elke weergawe, ongeag die genre daarvan, die verhaal op een of ander manier verander het en dat interpretasies wissel van mindere uitbouings tot die skep van nuwe verhale. Die situasie van die interpreteer- der het telkens die interteks gevorm wat 'n nuwe vertelling laat ontstaan het. Hoewel tekste betekenis mag he (wat dit moontlik maak om hulle met mekaar te vergelyk) is elke interpretasie 'n kontekstualisering wat onvermydelik 'n nuwe teks produseer. Die bevinding bring konserwatief-teologiese definisies van Skrifbeskoulike konsepte soos kanon, kanoniese betekenis, Skrifgesag en Skrifprediking ernstig in gedrang en noodsaak dringende herbesinning op daardie terreine / Since the rise of structuralism "textual meaning" has been at the centre of the literary debate. The formation of reader orientated theories and a concept like "intertextuality" contributed a great deal to the questioning of the idea that texts "have" a "real" meaning. However, in conservative church circles much is still being made of scripture as a regulative document with one censuring "real" or correct meaning. The conviction is, further, that preaching should be "scriptural", that is, sermons should only repeat what Scripture says. This view does not tally with insights gained from current literary theory. In this study certain aspects of the literary shape of the Massoretic version of 1 Kings 21 are analysed and the results compared with similar analyses of accounts of this narrative in translations (LXX, Vulgate, Wycliffe, Purvey and the Geneva Bible), re-tellings (by Josephus and Luke), comnentaries (Purvey and Geneva Bible margins), sermons and an academic article. It was found that each account, irrespective of its genre, in some or other way changed the narrative and that the interpretations vary from lesser extentions to the creation of completely new narratives. The situation of the interpreter constantly functioned as the intertext generating a new narrative. Even though texts may "possess" meaning (enabling one to compare them with one another) every interpretation is a contextualisation inevitably producing a new text. This conclusion seriously questions conservative theological definitions of concepts such as canon, canonical meaning, scriptural authority and scriptural preaching and necessitates urgent rethinking in these areas / Biblical and Ancient Studies / D. Th. (Ou Testament)

This paper investigates Herman Melville’s quest for spiritual stability and certainty in his novel Moby-Dick. The analysis establishes a philosophical tradition of doubt towards the Bible, outlining the philosophies of Thomas Hobbes, Benedict de Spinoza, David Hume, Thomas Paine and John Henry Newman. This historical survey of spiritual uncertainty establishes the issue of uncertainty that Melville writes about in the nineteenth century. Having assessed the issue of doubt, I then analyze Melville’s use of metaphorical charts, which his characters use to resolve this issue. Finally, I present Melville’s philosophical findings as he expresses them through the metaphor of whaling. Here, I also scrutinize Melville’s depiction of nature, as well as his presentation of the dichotomy between contemplative and active questing, as represented by the characters Ishmael and Ahab.

Representación de la vida y rapto de Elías profeta est une comédie hagiographique en trois actes écrite par Matías de los Reyes (1575- c.1640), publiée pendant le Siècle d'or espagnol (XVIIe siècle). Basée sur les livres 1 et 2 des Rois de l'Ancien Testament, cette pièce a été imprimée par Pedro de la Cuesta à Jaén en 1629. La seule version connue est conservée à la Biblioteca Nacional de España (BNE), mais aucune édition moderne annotée n'a encore été réalisée. Le but de cette thèse repose sur deux objectifs principaux. Premièrement, faire la première édition annotée de Vida y Rapto de Elías Profeta, à partir de la version numérisée de la BNE du volume imprimé en 1629. Deuxièmement, offrir au lecteur moderne une étude préliminaire qui facilite la lecture et l'interprétation de la comédie en analysant ses éléments dramatiques, théologiques et psychologiques. Pour cette édition annotée, diverses sources critiques ont été consultées, dont la Bible et des œuvres de théologie catholique, des œuvres lexicographiques (comme le Diccionario de autoridades ou le Tesoro de Covarrubias), et d'autres textes pertinents afin de fournir un contexte historique adéquat. Les annotations ont pour but d’approfondir la compréhension des passages de la comédie où Matías de los Reyes réinterprète ou fait allusion à des textes bibliques, et se réfère à des personnages historiques, mythologiques ou à des lieux géographiques. Les annotations visent également à éclaircir les termes et expressions caractéristiques de l'espagnol classique du XVIIe siècle. Pour entreprendre une analyse contemporaine de Vida y Rapto de Elías Profeta, il est proposé d’adopter une méthode pluridisciplinaire qui associe trois perspectives complémentaires : la sémiotique théâtrale d'A. Ubersfeld, l'analyse et l'interprétation des comédies selon E. W. Hesse, et la psychocritique de Ch. Mauron. En outre, la méthode intègre des concepts de théologie morale catholique, telles que la Sainte Trinité, les vertus et les vices capitaux, ainsi que de la psychologie clinique, notamment le narcissisme aristocratique, le harcèlement moral ou psychologique, le mobbing et le harcèlement sexuel, tels qu'ils ont été définis par des experts contemporains de la psychologie clinique. Cette section de la thèse, dans une perspective aussi particulière, vise à démontrer l'universalité et l'actualité du théâtre de l'âge d'or, et son potentiel à illustrer des concepts associés à des phénomènes psychologiques et sociaux contemporains sérieux. La combinaison de disciplines aussi diverses confère à cette étude une approche novatrice et enrichissante du théâtre du Siècle d'or, soulignant sa pertinence pour les études littéraires et les contributions qu'il apporte à d'autres domaines de recherche. / Representación de la vida y rapto de Elías profeta is a hagiographic comedy in three acts written by Matías de los Reyes (1575- c. 1640), published during the Spanish Golden Age (17th century). Based on books 1 and 2 of Kings of the Old Testament, this play was printed by Pedro de la Cuesta in Jaén in 1629. The only known version is preserved at the Biblioteca Nacional de España (BNE), yet no modern annotated edition has been produced to date. The purpose of this thesis focuses on two main objectives. First, to produce the first annotated edition of Vida y rapto de Elías profeta, using the digitized version of the volume printed in 1629 from the BNE. Second, to provide the modern reader with a preliminary study that assists in reading and interpreting the comedy by analyzing its dramatic, theological and psychological elements. Various critical sources were consulted for this annotated edition, including the Bible and works of Catholic theology, lexicographical works (such as the Diccionario de autoridades or the Tesoro de Covarrubias), and other relevant texts to provide an adequate historical context. The annotations aim to deepen understanding of the passages in the comedy where Matías de los Reyes reworks or alludes to biblical texts, and refers to historical and mythological figures or geographical locations. The annotations also seek to clarify terms and expressions typical of 17th-century classical Spanish. To undertake a contemporary analysis of Vida y rapto de Elías profeta, a multidisciplinary approach is proposed that integrates three complementary perspectives: the theatrical semiotics of A. Ubersfeld, the analysis and interpretation of comedies according to E. W. Hesse, and the psychocriticism of Ch. Mauron. Additionally, this method incorporates concepts from Catholic moral theology, such as the Holy Trinity, virtues, and capital vices, as well as from clinical psychology, including aristocratic narcissism, moral or psychological harassment, mobbing, and sexual harassment, as defined by contemporary experts in clinical psychology. From such a particular perspective, this section of the thesis seeks to demonstrate the universality and timeliness of the Golden Age theater, and its potential to illustrate concepts associated with serious contemporary psychological and social phenomena. The combination of such diverse disciplines lends this study an innovative and enriching approach to Golden Age theater, underscoring its significance for literary studies and its contributions to other fields of research. / Representación de la vida y rapto de Elías profeta es una comedia hagiográfica en tres actos escrita por Matías de los Reyes (1575- c. 1640), publicada en pleno Siglo de Oro español (siglo XVII). Basada en los libros 1 y 2 de Reyes del Antiguo Testamento, esta obra fue impresa por Pedro de la Cuesta en Jaén en 1629. La única versión conocida está preservada en la Biblioteca Nacional de España (BNE), pero hasta ahora no se ha llevado a cabo una edición moderna anotada. El propósito de esta tesis se centra en dos objetivos principales. Primero, producir la primera edición anotada de Vida y rapto de Elías Profeta, a partir de la versión digitalizada de la BNE del volumen impreso en 1629. Segundo, ofrecer al lector moderno un estudio preliminar que facilite la lectura e interpretación de la comedia, mediante el análisis de sus elementos dramáticos, teológicos y psicológicos. Para esta edición anotada, se han consultado diversas fuentes críticas, incluidas la Biblia y obras de teología católica, obras lexicográficas (como el Diccionario de autoridades o el Tesoro de Covarrubias) y otros textos relevantes para proporcionar un contexto histórico adecuado. Las anotaciones pretenden profundizar en la comprensión de las partes de la comedia en las que Matías de los Reyes reelabora o alude a pasajes bíblicos y hace referencia a personajes históricos y mitológicos o a lugares geográficos; asimismo, dichas anotaciones buscan aclarar términos y expresiones propios del español clásico del siglo XVII. Para efectuar un análisis contemporáneo de Vida y rapto de Elías profeta, se propone un enfoque multidisciplinario que integra tres perspectivas complementarias: la semiótica teatral de A. Ubersfeld, el análisis e interpretación de comedias según E. W. Hesse, y la psicocrítica de Ch. Mauron. Además, este método incorpora varios conceptos de la teología moral católica, como la Santa Trinidad, la virtud y los vicios capitales, y de la psicología clínica, incluyendo el narcisismo aristocrático, el acoso moral o psicológico, el mobbing, y el acoso sexual, definidos por expertos contemporáneos en psicología clínica. Esta sección de la tesis, desde una perspectiva tan particular, tiene como finalidad demostrar la universalidad y actualidad del teatro del Siglo de Oro, y su potencial para ilustrar conceptos asociados con serios fenómenos psicológicos y sociales contemporáneos. La combinación de disciplinas tan diversas confiere a este estudio un enfoque innovador y enriquecedor del teatro del Siglo de Oro, subrayando su importancia para los estudios literarios y sus aportaciones a otros campos de investigación.