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Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

Are we cyborgs or humans? This question is at the heart of this investigation, and the implications of it are all around us. In Christian theology, humans are seen as uniquely made in the image of God (imago dei). This has been taken to mean various things, but broadly, it suggests an understanding of humans as somehow discrete from, and elevated above, other creatures in how they resemble God. Cyborgs mark a provocative attempt to challenge such notions, especially in the work of Donna Haraway, whose influential ‘Cyborg Manifesto’ (1991) elaborated a way of understanding cyborgs as figures for the way we live our lives not as discrete or elevated, but as deeply hybridised and involved in complex ways with technologies, as well as with other beings. Significantly, Haraway uses the cyborg to critique notions of the human rooted in theological anthropology and anthropogeny: the cyborg was not created in Eden. This assertion is the starting point of my investigation of cyborgs and humans in theological anthropology. Analysis of this position is broken down into three key concepts throughout the investigation that form the three main parts of the structure: (1) What is the significance of Eden, specifically as a point of origin? What ideas do we inherit from Genesis mythologies, and how do they influence our multitudinous understandings of not only humans, but also cyborgs, that range from the Terminator, to astronauts, to hospital patients? What does it mean to say that the cyborg cannot recognise Eden or even dream of the possibility of return?(2) If the cyborg was not created in Eden, then is it still to be considered as creaturely? How does this figure tessellate into, or challenge, notions of human nature and sin in the absence of an origin or teleology in a Garden? What commentaries of the human as created in God’s image can we compare this to, and how do all of these readings bear on how we see ourselves and technologies? (3) More constructively, given that the cyborg amalgamates the organic and the mechanic, and discusses hybridity, how might this be appropriated by theological anthropology? What does it mean to say that we are hybrids? From these questions, I reflect on tensions between the cyborg and the human, and make suggestions for a theological appropriation of the cyborg figure that takes heed of the emphasis on hybridity by applying it to notions of Eden and imago dei. The overarching aim is to decentre and destabilise the human, and to refigure it within its broader networks that are inclusive of other creatures, technologies, and God.

The purpose of this study was to critically evaluate the aesthetic decisions and theoretical complexity of three of Ernest Hemingway’s most experimental texts: IN OUR TIME, TO HAVE AND HAVE NOT, and THE GARDEN OF EDEN, and to show that the usually maligned Hemingway was an author invested in the avant-garde and in analyzing and dissecting rigid societal rules, not championing them. Through critical analysis this study examined how Hemingway makes specific aesthetic decisions in order to more clearly examine the disparity between whites and both women and racial minorities in America. The problems that Hemingway makes clear through his art are meant to have a profound effect upon the reader and encourage re-evaluation of societal rules, their purpose, and their fairness to those who are not white, male, and typically in a position of power. The findings demonstrate that Hemingway’s entire oeuvre is open to re-interpretation on the basis of a progressive view of the author.

"In From Eden to Dystopia: An Ecocritical Examination of Emergent Mythologies" "in Early Los Angeles Literary Texts, ecocriticism and critical regionalism were utilized" "alongside other American Studies practices to analyze nineteenth- and early-twentieth-" "century depictions of nature in Los Angeles. Specifically, these tools were applied to" "travel guides and narratives of the 1870s and 1880s, the turn-of-the-century magazine" "The Land of Sunshine, Upton Sinclair’s Oil! (1926) and Raymond Chandler’s The Big" "Sleep (1939), and other non-fiction publications of the 1920s and ’30s to track an" "evolving narrative of Los Angeles as a paradise and later as a place perched on the edge" "of ecological ruin. Key themes included nature as aesthetic or health-related amenity vs." "exploitable resource, along with both subtle and overt class- and race-based" "environmental exclusions. The chief aim of this thesis was to elucidate how Los Angeles" "went from a “new Eden for the Saxon home-seeker” to the place where its river was" "paved with cement and virtually forgotten for decades. This thesis concluded that with" "the Los Angeles River’s recent revitalization efforts, there could be future gains made for" "other aspects of the city’s environment, with the hope that uncovering past idea-shaping" "narratives of nature in Los Angeles may help illuminate how current ideas of Los" "Angeles as a place without nature came to be and how that city-versus-nature dichotomy" "can be both damaging and false."

The Bear Lake Plateau extends north-south across the north central corner of Utah and the southeastern corner of Idaho. North Eden Creek drains westward through part of the plateau and is crossaxial across both strikes of beds and other structures in the area. The formations in the area mapped are of Triassic, Jurassic, and Tertiary age, although only Jurassic and Tertiary rocks contribute sediments to North Eden Creek. The formations consist of sandstones (Nugget), limestones (Twin Creek), and conglomerates (Wasatch). A local extrusion of basalt occurs in the southwestern part of the drainage area. Particle-size analyses of 15 samples from pits dug along North Eden Creek and its tributaries and North Eden Delta show that mean and maximum particle sizes increase downstream due to additions by tributaries and mass-wasting from the coarse-grained, highly jointed Nugget Formation flanking lower parts of the stream. Mineralogic analyses of these samples show that quartzite and chert predominate in the gravel sizes and that quartz and calcite predominate in the sand and silt sizes; kaolinite is the dominant mineral in the clay sizes. Feldspar and dolomite also are present in small quantities. Amorphous material, a common constituent in the sediment of Bear Lake, is abundant in sizes < .00049 mm. The calcite supplied to Bear Lake as clay-sized particles indicates that claysized calcite in Bear Lake is at least partly detrital.

In my thesis, I examine Aminata Sow Fall's sixth novel Douceurs du bercail "The Sweetness of Home" through three lenses: race, gender, and nature. I analyze the way Sow Fall approaches each of these three areas in terms of paradox to emphasize her understanding of the complexity of these issues and her reluctance to outline them rigidly. Instead of putting forth hard opinions about how race, gender, or nature should be understood, Sow Fall exhibits a propensity to allow each area to remain complicated. I study why she allows racial, gendered, and environmental paradoxes to circulate around one another in her text rather than attempting to resolve them, concluding that she uses this strategy both as an organizing principle and as an invitation to her readers to question the extant theories surrounding these three issues. Sow Fall's use of language in all three areas signals an underlying fascination with the paradoxes inherent in each. In the chapter on race, I discuss the contrasting narrative styles Sow Fall uses to describe European airport officials versus the protagonist Asta's best friend, a French woman named Anne. Sow Fall's language is significant here because she contrasts two white Europeans, one characterized as systematic and cold, the other warm and open, respectively. I also discuss the way Sow Fall uses an informal and lethargic narrative voice to characterize a black secretary living in Senegal, further highlighting the disconnect between the two racial groups. In the chapter on feminism, I discuss a shift in Asta's language as she becomes more assertive. I also analyze the various aspects of femininity in Douceurs du bercail which have led some scholars to carry out feminist readings of the text, such as Asta's decision to leave her domineering and abusive husband, but recognize the more traditional aspects of the novel, such as Asta's marriage to Babou at Naatangué, as problematic to a purely feminist reading of the text. In the chapter on nature, I study Sow Fall's problematic use of Westernized language to describe the development of the untouched land of Naatangué into a lucrative farm. Throughout the chapters, I interpret Naatangué as the ultimate paradoxical space which is at once wrought with complicated language and conflicting ideals yet acts as a quasi-paradise where Asta and her friends balance the conflicting forces of tradition and modernity. Naatangué also acts as an organizing principle where all three areas of my study intersect.

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<p>This thesis examines the nature and theological function of God’s revelation of knowledge in five texts discovered at Qumran: <em>Instruction</em>, the <em>Treatise on the Two Spirits</em>, the <em>Hodayot</em>, the <em>Songs of the Sabbath Sacrifice</em>, and the <em>Songs of the Sage</em>. Chapter 1 is a historical survey of the different ways scholars have understood and classified God’s revelation of knowledge in the Scrolls. Scholars have often interpreted these texts in isolation from one another, and they have disagreed about whether the concept of divine revelation expressed in them is derived from the sapiential, prophetic, or apocalyptic traditions. I propose that all five of these texts should be interpreted together and that they all drew upon a single distinct revelatory tradition.</p> <p>In chapters 2–6, I examine each of the texts mentioned above by asking three questions: What did God reveal? How did he reveal it? What is the theological function of God’s revelation? In asking the last question, I am particularly interested in the role that God’s revelation of knowledge plays in the anthropological and soteriological worldview of the authors. Over the course of chapters 2–6, I argue that all five of these texts represent essentially the same revelatory tradition. In this tradition, God has revealed the mysteries of his cosmic design and the statutes of his covenant with creation to certain righteous people. God’s act of revelation takes place either through a visionary experience or an indwelling spirit that imparts knowledge. This knowledge of God’s cosmic design has the power to rectify the corrupt human condition which, in turn, allows those who have knowledge to enter into paradise where they can commune with the angels. Through God’s revelation of knowledge, the righteous can obtain the glorious state that Adam once possessed in the Garden of Eden.</p> <p>In chapter 7, I conclude the thesis by summarizing the principle features of the revelatory tradition contained in these five texts. I argue that this tradition did not flow directly from any of the standard tradition streams of which scholars typically speak (sapiential, prophetic, or apocalyptic), although, it does contain elements from all of these. Instead, these texts utilize a revelatory tradition that originated from within the Jerusalem temple establishment. This temple tradition equated the inner sanctuary of the temple with the Garden of Eden and the high priest with Adam. Within the holy of holies one could access God’s throne and receive the knowledge of his cosmic design. This tradition was eventually brought out of the temple and into religious communities which came to see themselves as the true paradisiacal temple. These communities believed that God continued to reveal his cosmic design in and through them allowing the community members to become like Adam and join together with the angels in communal worship of God.</p> / Doctor of Philosophy (PhD)

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