Originally presented as the author's thesis, Breslau. / Reprint of the ed. published in Breslau, 1941 as Heft 18 in series Breslauer historische Forschungen. Includes bibliographical references (p. 85-88) and index.

Inaug.-Diss.--Halle. / Vita. Includes bibliographical references.

The Naturalist is a collection of poems with a critical preface. In this preface, titled "'Death is the mother of beauty': The Contemporary Elegy and the Search for the Dead," I examine contemporary alterations and manifestations of the traditional genre of elegy. I explore the idea that the contemporary mourner is aware of the need to search for meaning despite living in a world without a centrally believed mythology. This search exposes the mourner's need to remain connected to the dead and, by proxy, to grace. I conclude that the contemporary elegy, through metaphorical figuration, personal memory, and traditional symbolism, simultaneously employs and denies the traditional elegiac conventions of apotheosis and resurrection by reconceiving them as methods not of achieving transcendence but of embracing desire with an acceptance of the inability to transcend. The poems of The Naturalist are a collection of elegies that reflect many of the ideas brought forth in the preface.

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This thesis examines the proposition that there is a correspondence between the concept of human self-transcendence and the concept of the deification of man in that both are concerned with the bringing of human nature to its fulfilment by a process of 'redemption'. The first issue addressed is what it means to speak of man participating in divinity, and this notion is then traced through the religion and philosophy of the ancient classical world and the later Graeco-Roman world as the background against which early Christian doctrine emerged. Some modern interpretations of the notion of transcendence as it relates to the human existent are then reviewed, with particular attention being given to the suggestion that it is legitimate to speak of man rather than God as the 'locus' of transcendence by virtue of the inherent openness of human nature to the transcendence of being that meets it in its ex-sisting in being. The second, third and fourth chapters examine the development of the concept of deification as a way of speaking of humanity being brought to a resemblance to God, partaking of the divine nature, and thereby being enabled to realize the image of God in which man was originally created. The fifth chapter investigates the contributions of a selection of contemporary thinkers on the notion of man's quest for fulfilment by the process of self-transcendence, that process of overcoming the aspects of being human which compromise and threaten actual human existence. The final chapter shows how the insights of contemporary thought on the concept of self-transcendence can illuminate for us the patristic concept of deification as a way of speaking about the nature and destiny of human existence and the thesis concludes with a suggestion of three areas of contemporary investigation to which this study might be related.

The thesis concerns representations of Roman women of the imperial period depicted in the guise of a divinity. Portraits of women of all social levels have been included as have representations in any media excluding numismatic evidence. The latter, with its specific contextual characteristics, is only included and discussed as comparanda for the main body of material. The juxtaposition of a recognisable reality and a heightened reality in these representations raises a variety of interpretative questions: whether it is possible to establish a correlation between the mythological interpretation of a goddess and the socio-personal interpretation of an image of a mortal woman; the nature of the message being communicated through the choice of a particular deity; and whether the choice of deity for association in some way may be seen to conform to established ideals or topoi for women. The work examines Roman portraiture as a vehicle for self-expression and the transmission of ideals. Various aspects of the 'mechanics' for achieving this (idealisation, imitation, etc.) are investigated. Though, of particular importance to the argument is the relationship between image and spectator: the perception of portraits and the various factors contributing to forming an interpretation. Thus portraiture is established as a medium which within its contextual framework also includes the spectator - and the spectator's cultural reference points. The main body of the thesis centres on a dual examination of the range of deities with which Roman women were associated and the women presented in the divine guises, respectively proposing avenues of interpretations for the divine allusions and offering suggestions for methods of interpreting their use. The examination of the various deities in whose guises Roman women appear is also juxtaposed with the distinctions and attributes used to characterise women in literary and epigraphic sources. The correlation between these helps to elucidate the values represented in the images of women under discussion, and how they fit within a framework of ideals and virtues, and with the social personae of Roman women. Similarly, affinities between social status and mythological depiction are juxtaposed with a discussion of the role of the mythological representations themselves - exploring especially the relationship between mythological narrative and the tradition of exempla in Roman literature. It is further argued that interpretation is influenced also by viewer response - encouraged through empathetic identification and social emulation - and that the images of women in divine guises therefore may be perceived both as revealing intrinsic personal characteristics and as a costume symbolically articulating aspirational values. The inherent duality in these representations does in other words not so much concern degrees of reality as interacting realities: the individual"as a social participant, the public persona evidencing personal virtues. The images of Roman women presented therefore contain equally a reconfiguring response to the world and a socialising affirmation of identity.

This thesis is an investigation of possible significant parallels of the Roman imperial cult (Caesar-Nero) in the book of Hebrews. The book of Hebrews was no doubt greatly impacted by Jewish influence, context, and background. Yet there may be other significant influences that have formed the New Testament book of Hebrews. One such possible influence to the book of Hebrews is the Roman Empire, and more specifically, the Roman imperial cult, the worship of living Roman emperors in god-like terms and the deification of dead emperors. The writer of Hebrews may have used language, forms, and images of the Roman ruler cult to contrast, compare, or clarify their theology and interpretation of Jesus and God. There is the possibility of correspondences between worship of the Roman emperors and the book of Hebrews. Are there significant parallels of the worship of the Caesars to God in the book of Hebrews? Did the writer of Hebrews use illusions, motifs, and images of the Roman emperor cult in parallel to Jesus Christ? Is the Roman imperial cult influence portrayed in the book of Hebrews? If yes, how and to what degree are they portrayed? If no, what are some of the divergences? This thesis attempts to answer these questions in an investigation for possible parallels of the Roman imperial cult (Caesar-Nero) in the New Testament book of Hebrews. I hypothesize there are significant parallels of the Roman imperial cult (Caesar-Nero) in the book of Hebrews. Through my findings I conclude that parallels with words and images on a broad level do exist, but discovery of significant parallels of direct influence were lacking. The parallels between Hebrews and the Roman imperial cult were more likely due to common sources, cultural settings, or universal ideas. The three strongest parallels of the emperor cult (Caesar-Nero) in the book of Hebrews were: divine sonship, enthronement after death, and benefaction. These parallels in combination with the weaker ones do not constitute significant parallelism. The Roman emperor cult does not appear to be a major influence which produced significant parallel for material contained in the book of Hebrews. / Dissertation (MTh (New Testament Studies))--University of Pretoria, 2007. / New Testament Studies / MTh / unrestricted

The author of dissertation considers that dependence of behavior of people on their attitude toward God the Creator is perhaps the first and the most important topic that comes to mind during the study of the present passage of the most fundamental Paul's epistle. We believe it is necessary to explore "false foundations" as we see as Paul opposes to them his ideology - ideology of worship to God the Creator. We affirm that Paul sees the main reason of immoral behavior in such area of man's activity as thinking that, in its tum, denies the Creator of every living thing of Earth and because of its incapability to rule over human passions is forced to look for an ideological basis for its acts. This thesis has also practical meaning because it demonstrates Paul's methodology of disproval of false theories of that time revealing their illogicality and senselessness. / Biblical and Ancient studies / M. Th (New Testament)

The author of dissertation considers that dependence of behavior of people on their attitude toward God the Creator is perhaps the first and the most important topic that comes to mind during the study of the present passage of the most fundamental Paul's epistle. We believe it is necessary to explore "false foundations" as we see as Paul opposes to them his ideology - ideology of worship to God the Creator. We affirm that Paul sees the main reason of immoral behavior in such area of man's activity as thinking that, in its tum, denies the Creator of every living thing of Earth and because of its incapability to rule over human passions is forced to look for an ideological basis for its acts. This thesis has also practical meaning because it demonstrates Paul's methodology of disproval of false theories of that time revealing their illogicality and senselessness. / Biblical and Ancient studies / M. Th (New Testament)

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-10-04T20:25:30Z No. of bitstreams: 1 DANILO DOURADO GUERRA.pdf: 31229801 bytes, checksum: b25e131e1f31bdfac6a72253b3e68f48 (MD5) / Made available in DSpace on 2018-10-04T20:25:30Z (GMT). No. of bitstreams: 1 DANILO DOURADO GUERRA.pdf: 31229801 bytes, checksum: b25e131e1f31bdfac6a72253b3e68f48 (MD5) Previous issue date: 2018-08-17 / GUERRA, Danilo Dourado. Heroes on the scene: the paradigmatic countercultual construction of mesochristology Johannine. Thesis (PostGraduate Program in Religious Studies) - Pontifical Catholic University of Goias, 2018. This investigation has as object of research the hero incarnation homologesis (confession), in Jo 1,14. Using a diachronic-synchronic analytical methodological referential of pendular type, the objective is to carry out the exegetical-reconstitutive tracing of the Christological content implicit in Jo 1,14 and its interface with the socioreligious context experienced by the Johannine groups. In response to this demand, the hypothesis to be demonstrated is that the discourse of the Johannine hero's incarnation, structured within a prologue sequential poetic, echoes the Christological saga of the community and reveals the genetic-noematic configuration of the Johannine mesochristology. It is a protocristological model that is made heterotopic and theo-political construction in relation to the Roman apotheosis, and, therefore, establishes itself as Christolatric, Christocentric and paradigmatic construct in relation to the imperial cult and the theatercratic structures engendered in it. The main objective of the thesis is to explain that the original Johannine Christianity establishes itself as a Christological-cultual prototype, which kerygmatize and claims a devotional praxis centered on Jesus. In this sense, the mesochristological gens, implicit in the Johannine hero incarnational discourse, was implanted like a paradigmatic homologetic construct in relation to any divinizing and cultual praxis, theatrercratically forged under non-Christocentric hermeneutic devices throughout history. / GUERRA, Danilo Dourado. Heróis em cena: a construção paradigmática contracultual da mesocristologia joanina. Tese de Doutorado (Programa de Pósgraduação em Ciências da Religião) – Pontifícia Universidade Católica de Goiás, 2018. Esta investigação tem como objeto de pesquisa a homologese (confissão) da encarnação do herói, em Jo 1,14. Utilizando-se de um referencial metodológico analítico diacrônico-sincrônico do tipo pendular, objetiva-se efetuar o rastreamento exegético-reconstitutivo do conteúdo cristológico implícito em Jo 1,14 e a sua interface com o contexto sociorreligioso vivenciado pelos grupos joaninos. Diante desta demanda, a hipótese a ser demonstrada é que o discurso da encarnação do herói joanino, estruturado dentro de uma poética sequencial do prólogo, repercute a saga cristológica da comunidade e revela a configuração genético-noemática da mesocristologia joanina. Trata-se de um modelo protocristológico que se faz construção heterotópica e teo-política em relação à apoteose romana, e, por conseguinte, estabelece-se como construto cristolátrico, cristocêntrico e paradigmático em relação ao culto imperial e às estruturas teatrocráticas engendradas neste. Esta tese tem como finalidade principal explicitar que o cristianismo originário joanino instaura-se como protótipo cristológico-cultual cristolátrico que kerigmatiza e reivindica uma práxis devocional centralizada em Jesus. Nesse sentido, a gens mesocristológica, implícita no discurso encarnacional do herói joanino, implanta-se como construto homologético paradigmático em relação a qualquer práxis divinizante e cultual, forjada teatrocraticamente sob dispositivos hermenêuticos não cristocêntricos ao longo da história.