This thesis extends recent scholarly interest in the practical processes of Late Antique Roman law and on the integration of the episcopate into Roman power structures in the fourth century, the first century of imperial patronage of Christian communities. It confirms the "minimalist" model of Roman governance and provides a non-medieval example of the persecution of minorities as a contingent effect of competing claims to authority. This thesis argues that fourth-century elite Roman men disputing episcopal status via the Roman courts led to a transformation of episcopal polity, and that this development has been obscured by a subsequent paradigm shift in the norms concerning episcopal use of Roman law towards the end of that century. This paradigm shift identified by this thesis has three important aspects:1. With the change in imperial dynasty from the Valentinians to Theodosians, imperial favour moved from non-Nicene to Nicene bishops. Disparity of access to imperial favour during the fourth century required Nicene-identified bishops to invent tools to succeed in spite of their poor position. After the Theodosian-Nicene takeover, the Nicene-identified bishops retained these tools while also inheriting the legal framework that the non-Nicene bishops had crafted during their mid-century period of patronage.2. The power structures through which imperial favour was granted also changed. The typical fourth-century use of Roman law to resolve inter-episcopal disputes was different from that which would become established as a more enduring precedent in the Theodosian era. 3. The episcopal rhetoric used in claiming imperial favour changed from a focus on affirming one's own privilege to a focus on the proscription of others. The terminology of orthodox versus heretical is significant but must be understood as relational: even once heretics were proscribed by law, orthodoxy remained a status granted by the emperor. The methodology of this thesis argues for the importance of interpreting the relevant fourth-century sources in the context of their own time and norms, rather than in the light of the significantly different fifth-century practice as previous scholarship has done. This thesis first discusses two case studies before the paradigm shift: in Chapter One, Athanasius of Alexandria, as an example typical of the fourth century, and in Chapter Two, Priscillian of Avila, as an example at the cusp of the transition in the 380s who still demonstrates conformance with earlier practice. The thesis then describes the transition to the Theodosian-Nicene mode with an extended focus on Ambrose of Milan. Chapter Three shows Ambrose, contemporary with Priscillian, refusing to engage with existing episcopal legal practices and inventing a new strategy to survive the threat of Roman law. Chapter Four shows how Ambrose further refined this strategy in other conflicts and in doing so created a new place for bishops within the power structures of the Roman Empire.

Based on a comparative research idea on non institutionalized ecstatic forms of dance and its music in Europe, ‘Trantella and ecstatic dancing’ concentrates on the myth of the Tarantula, which inspires today to multiple and heterogeneous hybrid forms and genres. Beginning with the comparison of coeval definitions of folk music, folklore and the discourse of myths (J.-L. Nancy, A. Assmann) and specially the myth of Tarantula (A. Kircher, E. de Martino, D. Carpitella), the focus goes then on to contemporary forms of its embodiment in Salento (Italy) and to the question which melodic, rhythmic and functional fragments as well as instruments and discourses survive in the heads of today’s receipting and producing people in southern Italy. What is being reproduced though the time? This work is pointing out the therapeutic functionality of the dance and music. It is not concentrating on the diverse, confusing and changing forms the Tarantella can have.

<p>This thesis examines the concept of God as Father in the thinking of two Patristic authors: Athanasius (c. 293-373) and Gregory of Nazianzus (c. 329-390). Since God is called Father frequently in the New Testament both Athanasius and Gregory see the name as fundamental to understanding the nature of the intradivine life, as well as God’s relationship to humankind. The reliance of Patristic authors on the language of Father and Son brings relational language to the fore of Christological and trinitarian discussions of the 4th and 5th centuries. In this thesis, I endeavour to demonstrate the centrality of the fatherhood of God in the thinking of Athanasius and Gregory of Nazianzus, and to connect their thinking on this topic to larger theological questions of the period.</p> / Master of Arts (MA)

This dissertation examines the theology of C.S. Lewis in light of the writings of Athanasius, Augustine, and Anselm. Specifically, it looks at the role that justice and mercy play in each of these theologian’s understanding of the atonement. It proceeds on the basis that Lewis does in fact have a specific, robust, and coherent understanding of the atonement, and that his theological anthropology and his understanding of sanctification are an outworking of his understanding of the atonement. Chapter 1 lays out Lewis’ theological orientation and his method. Chapter 2 engages with Athanasius, Augustine, and Anselm on the atonement, and it lays out the particular concepts that were crucial in their understanding of the atonement, namely the justice and mercy of God. It outlines the fundamental concepts that we find in seedling form in Athanasius and Augustine and that were brought to full fruition in Anselm. It also argues that Anselm’s satisfaction theory is best understood as grounded in the nature of God, rather than in Anselm’s feudal, Medieval context. Chapter 3 examines Lewis on the atonement, and it traces the concepts that Lewis uses to describe and explain Christ’s death and resurrection. While Lewis does not adhere to any one doctrine or understanding of the atonement, there is a common thread that unites the various pictures that he takes to be true representations of the atonement. Fundamentally, for Lewis, the atonement is about the restitution of proper order that was disrupted in the Fall. Chapter 3 examines which theories of the atonement Lewis accepts and which he rejects. It also traces his understanding of the atonement to his understanding of the nature of God, relying on the concept of justitia defined as proper order, which has its source in the nature of God himself. In so doing, it aims to show that Lewis’ later understanding of the atonement is fundamentally Anselmian. Chapter 4 engages with Lewis’ theological anthropology and his understanding of sanctification, focusing on the process of “good infection” and how Lewis envisions the spread of the new life made available after Christ’s act of atonement. Sanctification, for Lewis, like the atonement, is also fundamentally about proper order. This plays out in his theological anthropology largely in terms of humility and obedience to God. Finally, chapter 5 addresses Narnia specifically and traces the concepts of justitia and proper order throughout the series and aims to show that, by focusing on proper order, we can see how the series hangs together as a whole theologically as an outworking of Lewis’ understanding of the atonement. / Thesis / Doctor of Philosophy (PhD)

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

No description available.

Among the vast assembly of Biblical mythology, the tower of Babel stands as an exclusive representation of the limits of human endeavor. As a paradigmatic extremity, it circumscribes the field of civic artifice. Babel is the absolute limit, and in that regard, its presence is enduring and timeless. The legacy of exegetic readings are textual shades, emanating from the point source of the paradigm. Athanasius Kircher's Turris Babel is an appropriate and intentional unfolding of this condition. / Firstly, that in the awakening of the Baroque scholar to history, origin materializes as the sole legitimate chronological reference. / Secondly, that the paradigmatic extremities collapse into the empirical standard of the theoretical discourse. / This thesis is a speculative study of architecture, drawn through Turris Babel, in the shadow of the paradigmatic limits of Babel. Written in three parts, each dealing with the implications of artifice in confrontation with the post-Babel adversaries of dispersion, tyranny, and decay.

Orientadores: Luiz Cesar Marques Filho, Maria Cristina Louro Berbara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T17:34:30Z (GMT). No. of bitstreams: 1 Azevedo_Evelyne_M.pdf: 12063793 bytes, checksum: 928c7b993703d336d31616d9f1c0281f (MD5) Previous issue date: 2009 / Resumo: A Fonte dos Quatro Rios situada na Piazza Navona, em Roma, foi projetada e construída por Gian Lorenzo Bernini (1598-1680) entre os anos 1648 e 1651. Grosso modo, ela é constituída de quatro colossos representando os quatro maiores rios da Terra, aos quais são vinculados elementos da flora e fauna respectivos das zonas geográficas às quais os rios pertencem. Sobre o conjunto, encontra-se um obelisco encimado por uma pomba levando em seu bico um ramo de oliveira. Ao projeto iconográfico da fonte vincula-se a figura do jesuíta alemão Athanasius Kircher (1602 -1680), que, em 1650, finaliza sua obra Obeliscus Pamphilius, na qual trata, dentre outras coisas, especificamente da simbologia dos animais utilizados na fonte e sua relação com a mitologia egípcia. Peça fundamental deste estudo, a tradução do texto kircheriano revela diferentes significados para o monumento berniniano, permitindo uma nova interpretação que associa ambas obras. / Abstract: The Four Rivers Fountain is located at the Piazza Navona, in Rome and it was projected and constructed by Gian Lorenzo Bernini between 1648 and 1651. It is formed by four colossi representing the greatest rivers of each continent known at that time. Above them an obelisk was erected having on its top a dove with an olive branch. The iconographic project is associated to the german Jesuit Athanasius Kircher which published in 1650 the Obeliscus Pamphilius. This book reveals the simbology of the animals used in the fountain and its relation with the egyptian mythology. The translation from the latin of this text shows differents meanings for the monument, which permits a knew interpretation for Bernini's fountain. / Mestrado / Historia da Arte / Mestre em História

No description available.

Zwischen 1630 und 1650 vollzog sich ein Wandel in Athanasius Kirchers Vermittlung des musikalischen Wissens: Musik konzipierte er im Zusammenhang der Universalwissenschaft immer mehr als Zeichen des Weltbildes im Kontext einer christlich-neuplatonischen Pansemiose. Die Studie arbeitet dies am Beispiel der "Institutiones mathematicae" (ca. 1630), der "Mathematica curiosa" (ca. 1640) und der "Musurgia universalis" (1650) heraus. Besonderes Augenmerk gilt Kirchers Umgang mit seinen Quellen, insbesondere Nikolaus von Kues, Robert Fludd und der Tradition der Philosophia perennis. / Between 1630 and 1650, a change in Athanasius Kircher's way to communicate the knowledge of music took place: Within the context of universal science, he conceptualised music increasingly as a symbol for his world view and its Christian-Neoplatonic pansemiosis. This study discusses these issues based on Kircher's "Institutiones mathematicae" (c1630), "Mathematica curiosa" (c1640), and "Musurgia universalis" (1650). Special emphasis lies on Kircher's use of his sources, particularly Nicholas of Cusa, Robert Fludd, and the tradition of Perennial philosophy.