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Diss.--Universität, Würzburg, 1995. / Bibliogr. p. 203-212. Index.

Th. doct.--Universität München, 1995. / Bibliogr. p. 261-283. Index.

Dissertation (PhD)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: The main purpose of the study is to develop a model and to establish certain principles for writing a script treatment (personal pictures) of a book of the Bible. Personal pictures can be identified as the most important component of the production (filmic creation) and marketing (promulgation) processes of a fully dramatised audio-visual representation of a biblical book. The study deals primarily with personal pictures. Changes in the communication and perception of biblical content are investigated. The study focuses mainly on the dissemination of such content through audio-visual Bible products (end products). The study contends that audio-visual Bible communications for children and adults should have an educational foundation. The other main dimension of all audio-visual Bible is the entertainment it provides to viewers (patrons). The educational and entertainment facets of end products are described here as edutainment. It is important for end products to have edutainment value as perceived by socio-economically diverse peoples, of both Christian and non-Christian (non-religious) persuasions. Aspects which can contribute to the edutainment value of fully dramatised audio-visual Bible products are expounded. An audio-visual model, which defines the basis for the filmic creation and promulgation of an end product, is explained and its elements described. The determinants of the filmic creation and promulgation processes, some of which have a greater educational impact and some which have a greater entertainment impact, are explicated. An important factor is to involve patrons in the filmic creation and promulgation processes, and to help them to feel part of these processes. Writing the personal pictures of a Bible book is investigated. A personal pictures model is put forward to explain how the personal pictures can be written. A variety of guidelines to help the writer (owner) write the personal pictures of a book are presented. These guidelines deal with aspects such as writing the narrative, selecting the context of the storytelling, gathering and using background information, using enhancement factors, and implementing requirements of the users. The personal pictures already written of two Bible books are assessed. An explanation is given of why the books of Ruth and Hebrews, one from the Old and one from the New Testament, are chosen for such assessment. These personal pictures are found to be deficient and new personal pictures are written for both books, using the model and guidelines given. An empirical survey is undertaken of the personal pictures of one of the two books assessed, namely Ruth. The analysis of the empirical research finds that the respondents are able to visualise a film of Ruth with edutainment value after reading the personal pictures. The results of the survey point to the importance of both the educational and entertainment aspects in end products. Some further valuable deductions can be made from the study: Audio-visual Bible products are beneficial to convey biblical content to patrons. A model and guidelines are presented for writing good quality personal pictures. Patrons can profitably be engaged in the filmic creation and promulgation processes of fully dramatised audio-visual Bible products. A few constraints have been encountered which have a limiting effect on the study. The study highlights a number of important areas which can be further researched. / AFRIKAANSE OPSOMMING: Die hoofdoel van die studie is om sekere riglyne neer te Ie vir die skryf van 'n draaiboeksinopsis of visuele voorstelling ("personal pictures") van 'n Bybelboek. "Personal pictures" van 'n Bybelboek is waarskynlik die belangrikste komponent van die vervaardigings- en verspreidingsprosesse van 'n volledig-gedrarnatiseerde oudio-visuele weergawe van so 'n boek. Die studie handel hoofsaaklik oor "personal pictures". Veranderinge in die kommunikasie en in die begrip van die inhoud van die Bybel word ondersoek. Die studie fokus hoofsaaklik op die uitdra van die inhoud van Bybelboeke deur middel van oudio-visuele Bybelprodukte. Die studie toon aan dat oudio-visuele Bybelkommunikasie vir kinders en volwassenes 'n opvoedkundige grondslag het of behoort te he. Die ander belangrike grondslag van 'n oudiovisuele Bybel is die vermaaklikheidsaspek. Die opvoedkundige en vermaaklikheidsfasette van oudio-visuele Bybelprodukte word hierin beskryf as opvoedkundige vermaak ("edutainment"). Dit is belangrik dat oudio-visuele Bybelprodukte "edutainment'' verskaf aan uiteenlopende sosio- . ekonomiese groepe van sowel Christel ike as nie-Christelike oortuiging. Sekere aspekte word verduidelik wat die waarde van "edutainment" in gedramatiseerde oudiovisuele Bybelprodukte kan verhoog. 'n Oudio-visuele model, wat die grondbeginsels vir die vervaardiging en verspreiding van so 'n Bybelproduk uiteensit, word verskaf en die onderskeie beginsels word gedefinieer. Die bepalende faktore in die vervaardigings- en verspreidingsprosesse, waarvan sornmige 'n groter opvoedkundige en ander 'n groter vermaaklikheidsimpak het, word uitgewys. 'n Belangrike faktor is dat verbruikers by die vervaardigings- en verspreidingsprosesse betrek word, en op 'n wyse wat hulle dee I van hierdie prosesse laat voel. Hoe om "personal pictures" van 'n Bybelboek te skryf, word ondersoek. 'n "Personal pictures"- model word aangebied, asook 'n verskeidenheid riglyne vir die skryfvan die "personal pictures" van 'n boek. Hierdie riglyne omvat aspekte soos die storielyn, die keuse van die konteks waarin die storie afspeel, die inwin en gebruik van agtergrondinligting, die gebruik van effekte wat die storie bevorder, en die toepassing van spesifieke vereistes van die vervaardigingspersoneel. Die "personal pictures" wat reeds van twee Bybelboeke bestaan, word beoordeel. 'n Verduideliking word gegee waarom Rut en Hebreers, boeke uit onderskeidelik die Ou en die Nuwe Testament, vir so 'n evaluering gekies is. Hierdie "personal pictures" word as ontoereikend bevind, en nuwe "personal pictures" word vir beide boeke geskryf deur van die genoemde model en riglyne gebruik te maak. 'n Empiriese ondersoek word gedoen om die "personal pictures" van een van die twee boeke, naamlik Rut, te evalueer. In die ontleding van die empiriese ondersoek word bevind dat respondente in staat is om 'n film van Rut met "edutainment"-waarde te visualiseer, nadat hulle die "personal pictures" gelees het. Die resultate van die ondersoek wys op die belangrikheid van die opvoedkundige sowel as die vermaaklikheidsaspekte van oudio-visuele Bybelprodukte. Die volgende verdere waardevolle afleidings word uit die studie gemaak: Die inhoud van Bybelboeke kan met vrug deur middel van oudio-visuele Bybelprodukte oorgedra word. Goeie kwaliteit "personal pictures" kan geskryf word deur gebruik te maak van die voorgestelde model en riglyne. Dit kan voordelig wees om verbruikers by die vervaardigings- en verspreidingsprosesse van gedramatiseerde oudio-visuele produkte van die Bybel te betrek. Die faktore wat 'n beperkende uitwerking op die studie gehad het, word aangetoon. Die studie lig 'n aantal belangrike areas uit vir verdere navorsing.

The topic of this diploma thesis was an analysis and comparison of the Bibles of Melantrichian tradition. In the first part of the thesis, we briefly described the history of the Bible translations in Europe and in Czech lands and then we outlined the importance of Melantrichian Bibles in Czech history and literature. At the end of this part of the thesis, we summarized the conclusions of previous analyses of this topic. In the main part of the thesis, we analyzed differences between all Melantrichian Bi- bles divided into five sections - graphics and orthography, phonology, morphology, syntax and textual changes. We used textual probes into the Old Testament and the New Testament as the method for our analysis. Subsequently, we compared our results with the previous analyses of the topic.

This essay discusses gender systems in children’s bibles with narrative criticism and discourse analysis. The focus in the essay is on gender studies and how the stories in the children’s bibles change between 1940 to 2020. The children’s bibles used were published 1940, 1961, 1989, 1999 and 2020. The story of Adam and Eva is analyzed. The purpose for this essay is to find out how the gender system shows in these bible stories for children. What is feminine and what is masculine. What makes a woman and a man, what are their differences. How are Adam and Eve portrayed. With Hirdman’s (1988) gender system clear differences can be found. The stories tell of what female and male roles are and what they entail. The guilt of the fall of humanity always stays Eves, but how Eve is represented changes. Who Eve is changes. Eve goes from an extension of the man to a being of her own. The conclusion for this essay is that in the period between 1940-2020 there is a change to how Eve is portrayed. When the reader first meets Eve in the 1940 edition of the Children’s Bible, Eve is an extension of the man. Eve is naïve and her decision to go against God and eat the forbidden fruit is framed as her not knowing better. The next Children’s bible, published 1961, follows the same pattern. Both editions are heavy on details and closely follow the Bible. The third and fourth Children’s bible in the study, published 1989 and 1999, breaks this pattern. The story gets less detailed, and the authors are beginning to step away from Eve being naïve to Eve being curious. Noteworthy that the authors for the Children’s bibles published 1940 and 1960 are men, and the authors of Children’s bibles published 1989 and 1999 are women. From the first Children’s bible in the study to the last a vast difference can be seen. Adam and Eve are now created equally for the first time and the biggest change is in the illustration not the text. When Eve is talking with the snake about eating the forbidden fruit, in the right corner we can see another hand reaching out to the fruit. This may be Adam. In conclusion in this study Eve has gone dooming humanity by her naivety and Adam being smarter to Adam on his way to make the same decision maybe even before Eve.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: An allusion in the source text poses a serious problem for a translator. A relevance-theoretic approach would define an “allusion” as the re-use of language from a prior text such that, by calling the prior text to mind, an implied reader is aided in his/her attempt to plausibly reconstruct the alluding author’s meaning. For this to happen, the reader’s “context” in the relevance-theoretic sense must include the source of the borrowed language. To explicate the connection for the reader, however, can thwart the pragmatic effects of an allusion, since these often require maintaining some “openness” in the text; hence the translator’s dilemma. Isaiah 40-55 (Deutero-Isaiah or DtI), a richly allusive text, furnishes an ideal test case for a descriptive translation study (DTS) focused on this source-text feature. This investigation of eleven Portuguese versions will attempt to determine whether and how the translators’ decisions with regard to DtI’s allusions might be accounted for. Source-oriented approaches to translating often tend toward lexical concordance; therefore, these approaches—in theory—should tend to preserve instances of vocabulary that is shared between an alluding- and an alluded-to text. Target-oriented approaches (e.g. “functional equivalence”) are more interested in contextual clarity than lexical concordance; these could then be expected to produce target texts that are less allusive. Increased sophistication in translation theory should result in more sophisticated approaches to allusion in translating. Collaborative and coordinated translation projects should produce more allusive target texts than those whose procedures are more piecemeal. The investigation reveals less correlation than expected between general source-orientedness and allusiveness in the target text. Target-oriented approaches—e.g., classical functional equivalence—do tend to produce less allusive target texts. In addition, there is a correlation between a translation project’s organization and the perspicuity of allusion in the target text, but it is mostly negative. That is, projects that do their work piecemeal produce unallusive versions, but more collaborative and coordinated projects still leave many inter-textual resonances inaudible. It appears that translations will preserve this source-text feature in a way that tends toward randomness unless the perspicuity of inter-textual allusions is articulated as a conscious value in translating. Above all, “allusion-friendly” translating will require target cultures that want more allusive Bibles. Translators, as “model readers” themselves, will need to recognize the presence and function of allusions in the source text and make the attempt to represent these in translation a priority. / AFRIKAANSE OPSOMMING: Sinspeling in ’n bronteks kan aansienlike probleem skep vir vertaler. Relevansie-teoretiese benadering definieer “sinspeling” as die hergebruik van taal uit vroeëre teks tot so mate dat veronderstelde leser, deur die vroeëre teks voor die gees te roep, in sy/haar poging om die sinspelende outeur se bedoeling te rekonstrueer, gesteun word. Om dit te bewerkstellig, moet die leser se “konteks,” in die relevansie-teoretiese sin van die woord, die bron van die ontleende taaluiting insluit. Om die verband aan die leser te verklaar kan egter die pragmatiese effekte van sinspeling teenwerk, aangesien sinspeling as sulks dikwels die handhawing van mate van “openheid” in die teks vereis; vandaar die vertaler se dilemma. Jesaja 40-55 (Deutero-Jesaja of DtJ), teks met baie gevalle van sinspeling, bied die ideale geleentheid vir beskrywende vertalingstudie (BVS) wat op hierdie brontekskenmerk fokus. Hierdie ondersoek van elf Portugese vertalings sal poog om te bepaal of en hoe die vertalers se vertaalkeuses met betrekking tot DtJ se sinspelings verklaar kan word. Bron-georiënteerde benaderings tot vertaling neig dikwels tot leksikale konkordansie; daarom behoort hierdie benaderings – in teorie – te neig om die gevalle van woordeskat wat tussen sinspelende en opgesinspeelde teks gedeel word, weer te gee. Teiken-georiënteerde benaderings (bv. “funksioneel-ekwivalente benaderings”) stel meer in die verstaanbaarheid van uitdrukkings in die konteks waarin dit gebruik word as in leksikale konkordansie belang; van hierdie vertalings sou dan verwag kon word om teikentekste op te lewer wat minder sinspelend is. Toenemende sofistikasie in vertalingsteorie behoort tot meer gesofistikeerde benaderings tot sinspeling in vertaling te lei. Gesamentlike en gekoördineerde vertalingsprojekte behoort meer sinspelende teikentekste voort te bring as die waarvan dit nie die geval is nie. Die ondersoek openbaar minder korrelasie as wat verwag is tussen algemene brongeoriënteerdheid en sinspeling in die teikenteks. Teiken-georiënteerde benaderings neig wel om minder sinspelende teikentekste te produseer. Daar is boonop korrelasie tussen vertalingsprojek se organisasie en die duidelikheid van sinspeling in die teikenteks, maar die korrelasie is meestal negatief. Dit wil sê, projekte wat hul werk stuksgewys doen, produseer niesinspelende weergawes, maar meer gesamentlike en gekoördineerde projekte laat steeds baie intertekstuele resonansies nie tot hulle reg kom nie. Dit blyk dat hierdie brontekskenmerk slegs op ‘n lukrake wyse in ’n vertaling tot sy reg sal laat kom, tensy die duidelikheid van intertekstuele sinspelings as bewuste waarde in die vertaling uitgespel word. Bowendien, “sinspelingsvriendelike” vertaling sal teikenkulture vereis wat meer sinspelende Bybels wil hê. Vertalers, as “modellesers” hulself, sal die teenwoordigheid en funksie van sinspelings in die bronteks moet herken en die poging om hierdie in vertaling te verteenwoordig prioriteit maak.

This paper analyzes two selected passages from six children’s Bibles with respect to their use of the narrator’s voice and focalization. This means that the texts are analyzed with a focus on who is telling the story and from whose perspective it unfolds. The analyzes are also built upon what has been added or taken away from the Bible texts and what functions the illustrated pictures have. In this way, the result can also be analyzed through a theory about use of history; that is the idea that morality and identity formatting shape history telling. In this study the different children’s Bibles tend to lift different aspects of the Bible stories. Even though the aims of the book writers cannot be known for sure, their intentions of moralizing or shaping a certain Christian or Jewish identity, such as the institution of pesach or the communion, can be anticipated. Furthermore, the study shows that the children’s Bible genre is often very didactic, while moralization is generally avoided in newer versions. A general distinction between how the Old Testament and the New Testament stories are told can also be spotted. In the latter one, the reader receives more insight about the characters inner and outer speech, which could make it easier to identify and sympathize with them.

In the sixteenth century, Martin Luther's Protestant Reformation generated multiple reform movements and political transformations in Europe. Within this general period of reform, political and cultural changes from the Tudor era (1485-1603) created a separate English Reformation. The English Reformation evolved from the different agendas of the early Tudor monarchs and occurred in two distinct waves: an initial, more moderate Henrician Reformation and a later, more complete Edwardian Reformation. Henry VIII and Edward VI's attempts to redefine monarchy through a new State and Church identity drove English church reform during this period, giving these religious shifts distinct political roots. Cultural artifacts were prominent indicators of these differing political goals, and Henry VIII and Edward VI adjusted and removed images and texts according to their propaganda methods. These royal manipulations of culture are well-documented, but historians have overlooked important components in the communication process. Lay responses to imagery changes ranging from compliance to rebellion demonstrate the complex relationship of images, monarchy, and reform. Examining images' function as propaganda with questions of intent, reception, and comprehension in royal communication is imperative for assessing the impact of royal messages on Tudor culture. Analyzing Tudor art as a form of political communication that disseminated idealized political representation reveals a strong visual discourse between the King and the English people. Images held key powers within royal discourse to create and disseminate propaganda of a kingship.

<p>Inferno constitutes a turning point in Strindberg's literary production in that scriptural quotations appear more frequently and a new style emerges. This thesis presents the characteristics of the scriptural quotations appearing in Inferno (1897) and Jacob Wrestles (a fragment following Légendes, written in French and in Swedish in 1898). Comparative, discourse, textual and intertextual approaches are used to define the place and role of scriptural quotations in this literary corpus.</p><p>From a historical point of view, both novels are part of the religious history of late 19th century France, where religion played a more important role than during the scientific, rationalist era characterizing the preceding decades. Strindberg adopts a new style corresponding to the spirit of his time. The art of "quoting the Bible at random" is a rhapsodic style, which appears mainly in Strindberg’s correspondence, in his Occult Diary (writings contemporary with Inferno) and in the work of some French 19th century writers. This style originates, above all, in the occult tradition, but it is also a means of imitating the Bible and identifying with a prophetic figure.</p><p>The research discussed in this dissertation has made it possible to determine, for the first time, what Bible translations are used in the two novels by Strindberg (translations by Ostervald and Martin / Roques). Five different types of rewritings of quotations were found: omissions, cutting of verses, substitutions, typographical changes and inversions. These variations were aimed at harmonising the Biblical text and the Strindbergian text, while removing contextual and theological elements that bothered the writer. The discourse analysis has concentrated on the quotations viewed as reported speech, distinguishing different ways of introducing Biblical verses in the novel. It was found that the narrator's subjectivity is present in the comments leading up to the quotations. The polyphonic character of some quotations has stressed the importance of identification play between the narrator and certain quotations characters such as Christ, Job and the psalmist.</p><p>The intertextual analysis has revealed a large number of similarities in the scriptural quotations in the literary production of Strindberg, Swedenborg and French 19th century literature. It is shown that Inferno contains various quotations that appear in Occult Diary and in other writers’ works, such as those of Swedenborg, Péladan, Zola, Huysmans and Chateaubriand. Jacob Wrestles, on the other hand, does not include as many intertextual elements but instead reassembles many scriptural quotations that were underlined in the Bible translation used for this novel: La Sainte Bible, Ostervald's translation from 1890, which can be found in Blå Tornet (The Strindberg Museum in Stockholm). Strindberg is consequently recycling Biblical material when he writes Inferno, while resorting to the French Bible of Ostervald from 1890 to write Jacob Wrestles.</p><p>The quotations strewn in Inferno constitute a crescendo and reveal the narrator’s unsuccessful attempt at conversion, at the same time forming the structure of a complaint psalm in which the narrator cries out his suffering and awaits liberation. In the French text of Jacob Wrestles, the writer offers a package of scriptural quotations in order to identify the narrator as "a religious man", imploring God's mercy like Moses and Job. In the Swedish text of Jacob Wrestles, a new perspective is introduced as a result of the change in language, the change from Old to New Testament, the new spiritual disposition of the narrator and the sudden intrusion of the writer in the narrator’s space. The role of scriptural quotations in the entire fragment of Jacob Wrestles is a true linguistic, thematic and theological revolution, which accounts for the narrator's extraordinary religious evolution. The misery of the narrator in Inferno allows a ray of Christian hope, which will persist in Strindbergs’s literary production post-Inferno.</p>