A definitive identification of the Servant figure of Second Isaiah is notoriously difficult, as attested by centuries of conjecture and debate. The interpretive obstacles are profuse: the Servant is addressed as Israel-Jacob, but then spoken of in terms that are not consistent with the nation’s experience; in some texts he seems to represent a community, while in others he speaks as an individual; he seems to suffer extreme hardship and persecution, but then is said to experience new life; some of his experiences appear to be historical, while others are best described as idealistic. Further hampering objective interpretations are the pervasive traditional approaches among Christian and Jewish readers, which associate the Servant, equally emphatically, with Jesus or Israel. But a primary reason the Servant is so difficult to pin down is rarely considered, and that is that there exists no objective image of the Servant anywhere in Second Isaiah. As a literary character he is constituted entirely by dialogue; that is, by discourse addressed to him, spoken by him, and spoken about him by others in the form of a confession. His actions are never described, and his person is never defined. Scholars have referred to this as his “fluid” nature, but have lacked the methodological tools for a fuller study of this literary curiosity. The ideas of literary theorist Mikhail Bakhtin speak to this type of characterisation. His “polyphonic hero” is a fictional character who is constituted by what is spoken to him or her, by what they overhear said concerning them, and by how they make that discourse, and the discourse of the wider world, an aspect of their own self-knowledge. They become known only by the discourse that converges on them, much as the Servant of Second Isaiah is constituted. This thesis develops a reading strategy based on Bakhtin’s theory of the polyphonic hero, as well as his broader theories of dialogism. It reimagines the inner discourse of the Servant in order to comprehend him according to the dialogue by which he knows himself, and not according to conventional reading strategies that seek for a fixed, opaque image. In the process it discovers that there are not multiple Servants, which is often posited as a solution to the problem of his fluid nature, but one Servant, Israel-Jacob, whose self-knowledge as the faithful Servant of Yahweh calls empirical Israel to faith in a time of national distress. It concludes that the Servant is present in the collection of Second Isaiah as a “voice-idea”, the embodiment of a theologically critical position that calls many of Israel’s theological and ideological presuppositions into question, in order to liberate her for a renewed history as a faithful “witness” to Yahweh her redeemer.

Thesis (S.T.M.)--Trinity Lutheran Seminary, 2007. / Includes bibliographical references (leaves 112-116).

Thesis (S.T.M.)--Trinity Lutheran Seminary, 2007. / Includes bibliographical references (leaves 112-116).

The editor's Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin. / Vita.

A critical analysis of La Princesse de Babylone, linking the thought and style with the ideas and literature of the Philosophes and of Voltaire in particular. / Thesis / Master of Arts (MA)

The theses analyzes the position of the Center Babylon Liberec in tourism in region Liberecký kraj. The first part describes region Liberecký kraj, the condition for tourism and analyze its greatest natural and cultural attractivities. Tourism in region Liberecký kraj is evaluated also in terms of statistics related to tourist arrivals, overnight accomodation, favorite attractivities. Another part is dedicated on the city of Liberec which describes its tourism and favorite attractivities. The key part concerns of analysis of the Center Babylon Liberec in which describes its entertainment and relaxation packages. The Value of the Center Babylon Liberec for inhibitants of region Liberecký kraj was determined on the basis of survey. The aim was to determine the position of the Center Babylon Liberec among other favorite attractivities of Liberec, how often it is visited by inhibitants of Liberec, what they lack there and what they would propose to improve in this entertainment center. According to the survey was created SWOT Analysis Center Babylon Liberec.

No description available.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Composé entre 2009 et 2012, le ballet-opéra Bilgamesh constitue un projet d’envergure à deux titres. D’abord, il y a la tentative de ressusciter un genre presque oublié, l’opéra-ballet. Ensuite, on y utilise exclusivement les langues anciennes de la Mésopotamie le sumérien et l’akkadien. Pour établir un lien avec d’autres genres artistiques on remarque que la fusion du chant et de la danse prend une place de plus en plus dans la musique populaire. Aussi, dans le cinéma contemporain les réalisateurs préfèrent l’utilisation de langues méconnues mais authentiques afin de refléter l’ambiance l’époque oubliée. Je crois profondément qu’un sujet mythologique ouvre à des possibilités énormes pour l’incarnation des idées intentionnées ci-dessus. Les langues mortes fusionnent avec la forme opéra-ballet afin de créer un organisme unique, tout en renforçant l’activité sur scène par des pensées spéciales et sacrées. Le choix du titre n’est pas non plus un hasard : le nom Gilgamesh est une altération de la version babylonienne du nom original du héros qui s’appelle Bilgamesh dans la langue sumérienne. / Composed between 2009 and 2012, the ballet-opera Bilgamesh represents an ambitious project for two special reasons. Firstly, there is the attempt to revive a partially forgotten genre opera-ballet. Secondly, the ancient language of Mesopotamia, Sumerian and Akkadian, are used exclusively. Drawing a parallel with other art forms, one must observe that the blending of singing and dance is more and more gaining a place in popular music and in contemporary cinema producers prefer more often the use of little-known but authentic languages to reflect the atmosphere of long- forgotten times. It is my deep conviction that a mythological subject opens up enormous possibilities for the embodiment of the ideas mentioned above, where dead languages can join together with the opera-ballet form in single organism, strengthening the action on stage with special, sacred thoughts. The title itself is no accident. The name Gilgamesh is a Babylonian alteration of the original name of the hero, Bilgamesh, in Sumerian.

A presente dissertação tem como objeto o conteúdo utópico de dois projetos produzidos entre 1958 e 1974: New Babylon (Constant Nieuwenhuys e Internacional Situacionista, 1956-74) e Gli Atti Fondamentali (Superstudio, 1972-73). A investigação considera o debate político e cultural da época para organizar um quadro de comparativo. Aproximados e colocados à luz da discussão contemporânea sobre utopia, esses projetos revelam-se como iniciativas especulativas e críticas, estruturadas a partir da proposição de modelos espaciais e sociais. Tratam-se de ideais urbanos que respondem a transformações fundamentais no paradigma da urbanização no pós-guerra europeu. Ambos compartilham almejam um modelo urbano no qual infraestruturas automatizadas proveem recursos abundantes à uma sociedade liberada do trabalho e da propriedade privada. / The object of the present dissertation is the utopian content of two projects developed from 1958 to 1974: New Babylon (Constant Nieuwenhuys and Situationist Internacional, 1956-74) and Gli Atti Fondamentali (Superstudio, 1972-73). This research considers the cultural and political debate contemporary to that time as a parameter for organizing a comparative scheme. To the light of a contemporary discussion of utopia, these projects reveal themselves as critical and speculative enterprises based on proposing spatial and social models for the future. They consist of urban ideals that relate with fundamental changes of the urbanization paradigm during the post-war years. Both yearn for an urban model in which automate infrastructures homogeneously provide abundant resources to a society that is free from both labor and private property.

A presente dissertação tem como objeto o conteúdo utópico de dois projetos produzidos entre 1958 e 1974: New Babylon (Constant Nieuwenhuys e Internacional Situacionista, 1956-74) e Gli Atti Fondamentali (Superstudio, 1972-73). A investigação considera o debate político e cultural da época para organizar um quadro de comparativo. Aproximados e colocados à luz da discussão contemporânea sobre utopia, esses projetos revelam-se como iniciativas especulativas e críticas, estruturadas a partir da proposição de modelos espaciais e sociais. Tratam-se de ideais urbanos que respondem a transformações fundamentais no paradigma da urbanização no pós-guerra europeu. Ambos compartilham almejam um modelo urbano no qual infraestruturas automatizadas proveem recursos abundantes à uma sociedade liberada do trabalho e da propriedade privada. / The object of the present dissertation is the utopian content of two projects developed from 1958 to 1974: New Babylon (Constant Nieuwenhuys and Situationist Internacional, 1956-74) and Gli Atti Fondamentali (Superstudio, 1972-73). This research considers the cultural and political debate contemporary to that time as a parameter for organizing a comparative scheme. To the light of a contemporary discussion of utopia, these projects reveal themselves as critical and speculative enterprises based on proposing spatial and social models for the future. They consist of urban ideals that relate with fundamental changes of the urbanization paradigm during the post-war years. Both yearn for an urban model in which automate infrastructures homogeneously provide abundant resources to a society that is free from both labor and private property.