Texte remanié de: Diss.--Fachbereich 1--Universität Gesamthochschule Siegen, 1998. / Bibliogr. p. 349-360. Index.

Diss.--Fakultät für Kulturwissenschaften--Tübingen--Eberhard-Karls-Universität, 1990/91. / Bibliogr. p. 491-501.

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In this thesis I establish that Matthew's presentation of Jesus's exorcisms fits with the Second Temple exorcistic messianic expectations. This thesis challenges the axiom that nobody expected the Messiah to cast out demons. Previous research has been either preoccupied with sharp definitions of titles, have had a narrow understanding of messianism, or have attempted to import non-Jewish explanations. I have taken a more conceptual approach and have focused on those ideas in the Jewish Scriptures that provide the seedbed for messianism in general, that is, the Promise (2 Sam 7) and the centrality of David and Solomon. I have focused specifically on those elements that make their rule distinctive and ideally secure their prevailing over their adversaries. I have then traced the development of these features in the Second Temple period towards explicitly exorcistic interpretations. In so doing I have established the contemporary landscape and demonological language against which Matthew's presentation of Jesus's exorcisms specifically as the Son of David takes a shape of prophetic fulfillment. I have, thus, shown that Matthew's account of Jesus the Son of David's exorcisms makes sense only if it is preceded by a contemporary expectation for an exorcistic Messiah.

Submitted by Davi Silistino de Souza (dvssouza@hotmail.com) on 2018-02-27T18:37:49Z No. of bitstreams: 1 Dissertação - Davi.pdf: 1308006 bytes, checksum: 3dbf8e602397954ecbcacf60eed1b2b6 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-28T14:52:18Z (GMT) No. of bitstreams: 1 souza_ds_me_sjrp.pdf: 1308006 bytes, checksum: 3dbf8e602397954ecbcacf60eed1b2b6 (MD5) / Made available in DSpace on 2018-02-28T14:52:18Z (GMT). No. of bitstreams: 1 souza_ds_me_sjrp.pdf: 1308006 bytes, checksum: 3dbf8e602397954ecbcacf60eed1b2b6 (MD5) Previous issue date: 2018-02-09 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) Coordenação de confiança e Aperfeiçoamento de financiamento desta Pessoal de Nível pesquisa Superior (CAPES) / As injustiças e opressões enfrentadas pelos subalternos vêm sido estudadas há algumas décadas pelos Grupos de Estudos Subalternos, seja o de origem indiana ou latina. Com o auxílio dessas pesquisas, na contemporaneidade, os indivíduos excluídos adquirem voz, sendo ouvidos e respeitados na sociedade. Considerando esses fatos, a dissertação tem como objetivo contribuir para esse enfrentamento, ao estudar de que maneira a subalternidade é representada nas personagens de Cloud Atlas (2004), romance escrito por David Mitchell. Em nossas análises, evidenciaremos a presença de uma crítica às estruturas hegemônicas na construção das protagonistas, pertencentes a sociedades organizadas em hierarquias sociais e econômicas que propiciam a subjugação e abafamento da voz dos marginalizados. Verificaremos como Mitchell dá voz a personagens subversoras da relação de desprezo, ataque ou mesmo silenciamento. Como aparato crítico-teórico, fundamentamos nossa pesquisa em Grosfoguel (2008), Mignolo (2007) e Castro-Goméz (2005), para discutir questões relacionadas à decolonialidade; em Foucault (2015), Rabinow e Rose (2006), para tratar do conceito de biopoder; em Butler (2003), Foucault (1980) e Stadniky (2007), para estudar as questões de identidade e gênero; em Arendt (2000), Bauman (2014), Butler e Spivak (2007), para debater acerca da liberdade dos subalternos; em Bauman (2014) e Eagleton (2004; 1996), para estudar conceitos relacionados à contemporaneidade; e, por fim, Bhabha (2013) e Santana (2008), para discutir questões relacionadas às diversas concepções de tempo. / Injustices and oppressions faced by subalterns have been studied for some decades by Subaltern Studies Groups, whether of Indian or Latin origin. With the aid of the group researches, contemporarily, excluded individuals acquire a voice, being heard and respected. Considering these facts, the dissertation aims to contribute to this fight by studying how subalternity is represented in characters in Cloud Atlas (2004), a novel written by David Mitchell. In our analysis, we will highlight the presence of hegemonic structure critiques in the construction of characters from subaltern groups. They belong to societies organized in a social and economic hierarchy, responsible for subjugation and muffling of subaltern’s voices. We will observe how Mitchell gives voice to characters who subvert the contempt, attack or even muzzling subalterns. As a criticaltheoretical approach, we base our research on Grosfoguel (2008), Mignolo (2007) and Castro-Goméz (2005), to discuss issues related to decoloniality; in Foucault (2015), Rabinow and Rose (2006), to deal with the concept of biopower; in Butler (2003), Foucault (1980) and Stadniky (2007), to study identity and gender issues; in Arendt (2000), Bauman (2014), Butler and Spivak (2007), to discuss subaltern freedom; in Bauman (2014) and Eagleton (2004, 1996), to study concepts related to contemporaneity; and finally, Bhabha (2013) and Santana (2008), to discuss issues related to different conceptions of time. / 2015/25282-4

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I The Origins of A Song to David This chapter deals with the outlook of the poet, his re-dedication to the service of God, his Hymn to the Supreme Being (1756), his madness and confinement, Jubilate Agno, and references to the Psalms and A Song to , David in the Jubilate Agno. II (i) The Form and Structure of the Poem A Song to David is a poem of praise, a paean bringing in the whole of the cosmos. As such it takes its origin from the Psalms of David. Smart prepared himself for the triumph of the Song by writing his Seatonian poems on the attributes of the Supreme Being. The stanzaic pattern of the Song, romance-six, is used by other eighteenth-century poets, but its master is Smart. The basic structural device consists of repetition and the matching of parts of the poem. The description of the contents provided by the poet is not wholly to be trusted. (ii) An Explication of the Poem This section, the longest portion of the thesis, is a line by line commentary on the poem; the intent is to supply background for the reader. The meaning of ambiguous or obscure phrases is suggested; glosses for unfamiliar words are either supplied from the work of previous critics and editors or suggested by the study of biblical and other contemporary texts. The character of David, as drawn by Smart, is not the historical or biblical figure, though it has something in common with the medieval concept of David. Cross-references to Jubilate Agno are noted. The work of W. F. Stead, W. H. Bond, and J. B. Broadbent is correlated with some original study. The climactic nature of the final stanzas is discussed. III (i) Links with Other Poems by Smart The recurrence of similar themes and patterns in other works is pointed out. There is a definite relationship between the Song and Smart's later poems. (ii) Comparison with Some Other Poets Other poets of a similar bent utilize a biblical story in their work. Parallels and contrasts are found in the handling of a similar theme by Cowley, Prior, and Browning. A close resemblance exists between A Song to David and The Benedicite Paraphrased, a poem by James Merrick. (iii) A Song to David is Unique in its Aesthetic Achievement The achievement of A Song to David is defined. The effect upon the reader is discussed and the success of the poet commented upon. A place is claimed for A Song to David in the top rank of devotional poetry. / Arts, Faculty of / English, Department of / Graduate

The thesis explores the various aspects of the love death theme in the parent-child, man-man, and man-woman relationships in four of D. H. Lawrence's early novels: The White Peacock, Sons and Lovers, The Rainbow, and Women in Love. However, before this theme can be examined, it is necessary to establish, in detail, what Lawrence considers to be the underlying cultural factor determining the destructiveness in the love relationships: the Christian teaching of self-denial. Christianity has led the individual to deny his Self, his distinct personality, his instinctive individuality. He becomes a "sacrificed," "selfless" creature. Lawrence sees modern industrialism, nationalism and education as secular extensions of Christianity: in all of them,the individual no longer counts. He becomes a mere unit in the great machinery of industrialism, in the impersonal institution of nationalism, and in the education system with its falsified Truths and "vulgar authority." A "dissociation of sensibility" has taken place. Individuals have lost the capacity to respond spontaneously with the "whole" man. They have become "not me" creatures. Because modern man has denied Selfhood, the love between man and woman, which should receive first place, is frequently replaced by parent-child love. The woman cannot love and respect the weak man with the destroyed Self. In her desperate attempt to find the fulfillment that she cannot find with her husband, she turns to her children. They become the substitute lovers to which she "sacrifices" herself. By turning to her children, she humiliates her husband and thus further destroys him, as well as herself. And the children, too, become "crippled" as the result of such a parent-child relationship they feel obligated to return the sacrificial love to the parent and thereby rob themselves of love that should find expression elsewhere. Not only does the weak man fail to maintain the love and respect of the woman, but also he frequently fails to establish a wholesome relationship with other men. According to Lawrence, a man must unite with other men for the "purposive, creative activity" of building a world. The weakling has no distinct Selfhood to bring to this man-to-man friendship. In the four novels examined, the love between the man and woman is usually destructive: a form of death occurs for either the man or woman, or both. Frequently they bring a destroyed Self to the relationship and a further destruction takes place. Occasionally, the destruction in the man-woman relationship is a purgation through which the individual becomes free; through destruction he experiences are birth to a capacity for a new, spontaneous love. / Arts, Faculty of / English, Department of / Graduate

David Lindsay's A Voyage to Arcturus must be read as an allegorical dream fantasy for its merit to be correctly discerned. Lindsay's central themes are introduced in a study of the man and his work. (Ch. 1). These themes are found to be common in allegorical dream fantasy, the phenomenological background of which is established (Ch. 2). A distinction can then be drawn between fantasy and romance, so as to define allegorical dream fantasy as a literary mode (Ch. 3). After the biographical, theoretical and literary backgrounds of A Voyage have been established in the first three chapters, the second three chapters explicate the structure of the book as an allegorical dream fantasy. Finally, the dichotomies which have been found in Lindsay (between Lloyd's underwriter and visionary dreamer), between the dream and the real world, between fantasy and romance, are found to be unified by Norman N. Holland's theory of literature as transformation / Arts, Faculty of / English, Department of / Graduate

That one narrows the critically popular quest theme to one of wholeness does not axiomatically assure a tapered, pertinent monograph. For that reason I have taken some care to construct my approach to D. H. Lawrence's shorter fiction with three chapters which canalize Setting, Structure, and Imagery toward this quest for wholeness. And to attenuate further, the three essays which connect with each of these are titled "Landscape and Point of View," "The Whole Story," and "Triangle Versus the Individual Consciousness." In the case of the first and last, I use two of Lawrence's own essays to kindle the examinations of certain short stories and novellas. Chapter I endeavors to relate the apparent influence of post-Impressionist painting on the writer's creation of landscape, and to illustrate how closely point of view allies itself with setting in the character quest for wholeness. The third chapter recognizes the difference between structural and concrete Imagery, then uses the triangle image as an example of the first kind to show how this image remains antithetical to Lawrence's idea of the individual consciousness—for him the epitome of wholeness. The middle chapter attempts to locate a unique contribution by Lawrence to the short story art of the twentieth century, and to demonstrate successful and unsuccessful quests by characters who attain archetypal scope which lifts them beyond the more naturalistic figures in the author's other shorter fiction. Of course, character success or lack of it in the search for wholeness remains the purpose in the discussion of each story, regardless of chapter. And what the Introduction does, in part, is define the nature of that wholeness as relates to Lawrence's polemic essays; for the rest, it reviews evaluation of the shorter fiction by the critics. / Arts, Faculty of / English, Department of / Graduate