This essay explores the representation of nonhuman nature in David Malouf’s postcolonial novel Remembering Babylon. By applying a postcolonial ecocritical framework to the narrative the essay shows how nonhuman nature, including the animalised human “other”, is subject to Western ideologies that see them as resources or services to be exploited. However, the essay also reveals how the nonhuman “others” are opposing these views by resisting the Western pastoralizing practices and exposing environmental threats, as well as altering some of the Diasporic character’s views of the nonhuman “other” and their sense of displacement.

Esta dissertação de mestrado aborda as relações entre arquitetura, arte, cidade e utopia nos anos 1950 e 1960 a partir do exercício de cotejamento de duas concepções de cidade suscitadas neste intervalo de tempo. A cidade nova, Brasília, projetada pelo arquiteto brasileiro Lucio Costa para ser a nova capital moderna do Brasil e a cidade ficcional, Nova Babilônia, idealizada pelo artista holandês Constant Nieuwenhuys como recusa aos modelos de cidades vigentes. Quais as relações possíveis entre elas? O que dizem sobre os anos em questão? A essas indagações procuramos oferecer alguns caminhos. / This masters thesis approaches the relationship between architecture, art, city and utopia in the years 1950 and 1960 from the exercise of mutual comparison of two conceptions of the city raised in this time interval. The new city, Brasilia, designed by Brazilian architect Lucio Costa to be the modern capital of Brazil and the fictional city, New Babylon, created by Dutch artist Constant Nieuwenhuys as a refusal to existing models of cities. What are the possible relationships between them? What they say about the years in question? The thesis seeks to offer some guidelines to these questions.

Esta dissertação de mestrado aborda as relações entre arquitetura, arte, cidade e utopia nos anos 1950 e 1960 a partir do exercício de cotejamento de duas concepções de cidade suscitadas neste intervalo de tempo. A cidade nova, Brasília, projetada pelo arquiteto brasileiro Lucio Costa para ser a nova capital moderna do Brasil e a cidade ficcional, Nova Babilônia, idealizada pelo artista holandês Constant Nieuwenhuys como recusa aos modelos de cidades vigentes. Quais as relações possíveis entre elas? O que dizem sobre os anos em questão? A essas indagações procuramos oferecer alguns caminhos. / This masters thesis approaches the relationship between architecture, art, city and utopia in the years 1950 and 1960 from the exercise of mutual comparison of two conceptions of the city raised in this time interval. The new city, Brasilia, designed by Brazilian architect Lucio Costa to be the modern capital of Brazil and the fictional city, New Babylon, created by Dutch artist Constant Nieuwenhuys as a refusal to existing models of cities. What are the possible relationships between them? What they say about the years in question? The thesis seeks to offer some guidelines to these questions.

This thesis seeks to explore the implications of a parenetic reading of the Book of Revelation as a whole, rather than merely of the seven messages in which this is more commonly regarded as the primary purpose of the text. It examines the validity of this approach in relation to the book�s claims about its purpose in the original communication event of which its text is a witness and its effectiveness in addressing hermeneutical issues in key passages of the book and argues that attention to the function of parenesis facilitates readings of Revelation which connect more directly with the intention of the book free from the need to decipher obscure coded references to past or future history. Drawing from the text of the Apocalypse a twofold hermeneutical strategy is developed and exemplified by application to key passages of the book. The first aspect of this reading strategy is focussed on the proposed parenetic nature of the book. In an examination of Revelation�s introductory and concluding passages it is argued that as a coherent unity they form a frame around the book. This frame serves to establish the perspective from which the whole book may be read. It does so by giving rise to the expectation that the whole book contains parenetic exhortation to faithfulness in light of the imminent parousia. Consequently this thesis proceeds to interpret the Book of Revelation by focussing primarily on how the various images in the book�s body (4:1-22:9) as well as the explicit parenesis in the seven messages serve to communicate this parenetic exhortation to the original addressees. The second aspect of interpretation seeks to facilitate scholarly analysis of the parenesis expected to be contained in Revelation�s body with systematic regard for the individual situation of each of the addressees of the book, as documented in the comparatively accessible seven messages. To this end an intra-textual hermeneutic is employed. It builds on an examination of the links between the various parts of Revelation which is part of the examination of both the book�s frame and the seven messages. This intra-textual reading utilizes the many links between the seven messages and Revelation�s body by allowing them to play a determinative role in the investigation of an image�s parenetic implications. In order to further explore the validity of a parentic reading, the intra-textual principle is applied to two central parts of Revelation�s body, the Babylon vision (Rev 17-19:3) and the seal, trumpet and bowl visions (Rev 6, 8, 9, 11:15-19, 15, 16). In this reading, the Babylon vision is read not as a general critique of the church�s pagan environment but as a divine commentary on the concrete threats and temptations with which the churches of the seven messages were confronted. In God�s judgment of Babylon those who suffer under her violence against Christians are promised vindication and are thus encouraged to maintain their faithful witness as citizens of the New Jerusalem. The citizens of Babylon however are exhorted to repent and leave her behind, becoming citizens of the New Jerusalem and thus escaping Babylon�s demise. The seal, trumpet and bowl visions are interpreted as illustrating the dividing line between what constitutes faithful witness to Christ on the one hand and heed to satanic deception on the other. Faithfulness even to the point of death is expected of the followers of the Lamb; the inhabitants of the earth are exhorted to repent from their affiliation with the beast and give glory to God. Thus such an intra-textual reading of Revelation as parenesis offers a strategy for reading the book in a way that is relevant for the Christian church beyond the limits of end-time phantasms on the one hand and mere historic interest on the other hand and so might facilitate the emergence of the message of the book from the obscurity in which it appears to be hidden to a significant proportion of its contemporary readers.

The orthogonal, or rectangular, grid plan arose out of a need to organize the sprawling cities of Ancient Greece. To one particularly enigmatic figure in history, this problem was met with a blueprint and a philosophy. The ancient city-planner known as Hippodamus of Miletus (c. 480-408 BCE) was more of a philosopher than an architect, but his erudite connections and his idealistic theories provided him with numerous opportunities to experiment with the design that has come to bear his name. According to Aristotle, he was commissioned by the city of Athens to redesign its port-city, the Piraeus, and it is likely that he later followed a Pan-Hellenic expedition to an Italic colony known as Thurii (Thourioi). Strabo argues that the architect was also present at the restructuring of the city of Rhodes; however there is some debate on this issue. Hippodamus’ blueprint for a planned, districted city soon came to define the Greek polis in the Classical period, culminating with Olynthus in the Chalcidice, but his ideas were by no means unique to his own mind. There are precedents for the grid plan not only within the large, administrative empires of the Near East, but also within the Greek colonies of the Mediterranean, whose own histories span at least two centuries before Hippodamus’ lifetime. Since the 19th century, when Hippodamus received his title as the ‘Father of Urban Planning’, confusion and mistranslations have plagued the discipline, casting doubt on nearly every facet of Greek urbanism. Although he could not have invented the orthogonal grid plan, as Aristotle claims, it may prove far more effective to focus instead on Hippodamus’ philosophy and to give voice to where he himself excelled: the theoretical side to city planning. / Graduate / 0999 / 0579 / 0324 / aidanbk@uvic.ca

The Old Testament verbal expression of ‘the exile of Judah’ during the Babylonian exile has led to the perception that the land of Judah was emptied of all Judeans. This biblical expression is not necessarily contradictory to historical facts, but theologically and quality-orientated in nature. The exile of the elite from Jerusalem to Babylon, the execution of some of them and the flight of others to Egypt and other neighbouring states disrupted Jerusalem and rendered the city dysfunctional in every national sphere. The royal and religious services, which were based in Jerusalem, the capital city, were discontinued. The emptiness of Judah was signalled by the emptiness as regards the royal and religious authority wrought on Jerusalem by Babylon. Without their royalty, cult, trade, military and judiciary, Judah was indeed emptied and exiled. However, not all Judeans were exiled, for a remnant remained. There is almost no significant record of revelations by God in Judah during the exile, especially after compatriots that opted to flee to Egypt had forcefully taken Jeremiah with them. In addition to its land being emptied during the exile, Judah lost some of its land. The Judean identity in Judah disintegrated due to the influx of foreigners into the land and their subsequent influence on the remaining Judeans. Those that remained in Judah were unable to establish an exclusive Judean community and identity effectively; in any case, not before the Babylonian exiles returned early in the time of the Persian Empire. The paucity of information about the lifestyle in Judah during the exile attests to the veracity and rectitude of the theological concepts of the exile of Judah from 605 to 539 BCE. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2013.

The Old Testament verbal expression of ‘the exile of Judah’ during the Babylonian exile has led to the perception that the land of Judah was emptied of all Judeans. This biblical expression is not necessarily contradictory to historical facts, but theologically and quality-orientated in nature. The exile of the elite from Jerusalem to Babylon, the execution of some of them and the flight of others to Egypt and other neighbouring states disrupted Jerusalem and rendered the city dysfunctional in every national sphere. The royal and religious services, which were based in Jerusalem, the capital city, were discontinued. The emptiness of Judah was signalled by the emptiness as regards the royal and religious authority wrought on Jerusalem by Babylon. Without their royalty, cult, trade, military and judiciary, Judah was indeed emptied and exiled. However, not all Judeans were exiled, for a remnant remained. There is almost no significant record of revelations by God in Judah during the exile, especially after compatriots that opted to flee to Egypt had forcefully taken Jeremiah with them. In addition to its land being emptied during the exile, Judah lost some of its land. The Judean identity in Judah disintegrated due to the influx of foreigners into the land and their subsequent influence on the remaining Judeans. Those that remained in Judah were unable to establish an exclusive Judean community and identity effectively; in any case, not before the Babylonian exiles returned early in the time of the Persian Empire. The paucity of information about the lifestyle in Judah during the exile attests to the veracity and rectitude of the theological concepts of the exile of Judah from 605 to 539 BCE. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2013.

This thesis seeks to explore the implications of a parenetic reading of the Book of Revelation as a whole, rather than merely of the seven messages in which this is more commonly regarded as the primary purpose of the text. It examines the validity of this approach in relation to the book�s claims about its purpose in the original communication event of which its text is a witness and its effectiveness in addressing hermeneutical issues in key passages of the book and argues that attention to the function of parenesis facilitates readings of Revelation which connect more directly with the intention of the book free from the need to decipher obscure coded references to past or future history. Drawing from the text of the Apocalypse a twofold hermeneutical strategy is developed and exemplified by application to key passages of the book. The first aspect of this reading strategy is focussed on the proposed parenetic nature of the book. In an examination of Revelation�s introductory and concluding passages it is argued that as a coherent unity they form a frame around the book. This frame serves to establish the perspective from which the whole book may be read. It does so by giving rise to the expectation that the whole book contains parenetic exhortation to faithfulness in light of the imminent parousia. Consequently this thesis proceeds to interpret the Book of Revelation by focussing primarily on how the various images in the book�s body (4:1-22:9) as well as the explicit parenesis in the seven messages serve to communicate this parenetic exhortation to the original addressees. The second aspect of interpretation seeks to facilitate scholarly analysis of the parenesis expected to be contained in Revelation�s body with systematic regard for the individual situation of each of the addressees of the book, as documented in the comparatively accessible seven messages. To this end an intra-textual hermeneutic is employed. It builds on an examination of the links between the various parts of Revelation which is part of the examination of both the book�s frame and the seven messages. This intra-textual reading utilizes the many links between the seven messages and Revelation�s body by allowing them to play a determinative role in the investigation of an image�s parenetic implications. In order to further explore the validity of a parentic reading, the intra-textual principle is applied to two central parts of Revelation�s body, the Babylon vision (Rev 17-19:3) and the seal, trumpet and bowl visions (Rev 6, 8, 9, 11:15-19, 15, 16). In this reading, the Babylon vision is read not as a general critique of the church�s pagan environment but as a divine commentary on the concrete threats and temptations with which the churches of the seven messages were confronted. In God�s judgment of Babylon those who suffer under her violence against Christians are promised vindication and are thus encouraged to maintain their faithful witness as citizens of the New Jerusalem. The citizens of Babylon however are exhorted to repent and leave her behind, becoming citizens of the New Jerusalem and thus escaping Babylon�s demise. The seal, trumpet and bowl visions are interpreted as illustrating the dividing line between what constitutes faithful witness to Christ on the one hand and heed to satanic deception on the other. Faithfulness even to the point of death is expected of the followers of the Lamb; the inhabitants of the earth are exhorted to repent from their affiliation with the beast and give glory to God. Thus such an intra-textual reading of Revelation as parenesis offers a strategy for reading the book in a way that is relevant for the Christian church beyond the limits of end-time phantasms on the one hand and mere historic interest on the other hand and so might facilitate the emergence of the message of the book from the obscurity in which it appears to be hidden to a significant proportion of its contemporary readers.

No description available.

Il est question d’analyser une tendance marquée des séries de science-fiction contemporaines, qui proposent un récit complexe et feuilletonnant, impliquant une intense participation de la part des spectateur.ice.s ; ces dernie.re.s se voient promettre, via l’énigme, la quête et/ou le voyage dans le temps, un dénouement qui serait la conséquence logique des évènements mis en scène. Au travers des énigmes de Lost (2004-2010, ABC), de la quête des humains dans Battlestar Galactica (2004-2009, Sci-Fi) ou de l’utilisation du voyage dans le temps dans Doctor Who (2005- ?, BBC1), il est possible de déceler des mécanismes narratifs visant à entretenir l’illusion d’une progression réfléchie vers un dénouement tantôt mis en avant, tantôt repoussé, dans un contexte de production où les scénaristes ne sont pas maîtres de leur récit. Babylon 5 (1993-1999, TNT), série dont le récit a été effectivement prévu à l’avance, sert de maître-étalon, tandis que Fringe (Fox, 2008-2013) permet d’envisager les limites de cette tendance. La capacité de ces programmes à construire une « intrigue macroscopique » à l’échelle de la série toute entière, éclaire plus largement les processus narratifs à l’œuvre dans la majorité des séries narrativement complexes contemporaines (au sens de Mittell). Au fil des liens avec l’intrigue des cycles littéraires, et d’une méthodologie centrée sur la visualisation de l’intrigue macroscopique, on peut, en s’appuyant sur une narratologie des séries télévisées encore expérimentale, entrevoir une poétique de l’écriture prospective télévisuelle. Dans une perspective contextualiste, il est vital de garder en vue les conditions d’écriture, de production et de réception de ces objets atypiques ; en retour, ces récits prospectifs apportent un nouvel éclairage au projet d’une narratologie transmédiatique porté par les études contemporaines du récit. / The aim of this work is to analyse a specific trend in contemporary science-fiction TV series : narratively complex programs (Mittell) that require an increased investment from the viewer and seem to make the promise of a logical and fulfilling ending where truth is revealed, quests are achieved and time-travel paradoxes are resolved. Looking at the mysteries from Lost (2004-2010, ABC), the quest of the Thirteenth Tribe in Battlestar Galactica (2004-2009, Sci-Fi) or the never-ending use of time-travel in Doctor Who (2005- ?, BBC1), it is possible to isolate narrative mechanisms that alternately foreshadow and defer the ending, in a world where writers can’t have full control over the plot. Babylon 5 (1993-1999, TNT), a show written in advance by its creator, will be our Rosetta Stone, while Fringe (Fox, 2008-2013) will take us to the edge of that growing trend. These programs’ ability to construct a “macroscopic plot” on the scale of the entire series, shines a light on narrative process operating in the majority of narratively complex TV series. Taking a closer look at research on literary cycles, and creating narrative diagrams to visualize this macroscopic plot, it is possible to outline a poetic of prospective writing, drawing on television series narratology. Following a contextualist view, it is important to consider the writing, production, reception of these programs; in return, studying macroscopic plots in TV series can give new clues for transmedial narratology (Herman).