Thesis (M.C.S.)--Regent College, 2001. / Abstract and vita. Includes bibliographical references (leaves 206-211).

Thesis (M.C.S.)--Regent College, 2001. / Abstract and vita. Includes bibliographical references (leaves 206-211).

Thesis (Ph. D.)--Georgia State University, 2005. / Title from title screen. Paul J. Voss, committee chair; Stephen B. Dobransk, Paul H. Schmidt, committee members. Electronic text (171 p.) : digital, PDF file. Description based on contents viewed May 25, 2007. Includes bibliographical references (p. 159-171).

Thesis (MTh)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This study aims to compare the figures of Moses in the Exodus narratives and Queen Esther in the Esther narratives. The study will proceed to argue that Esther, a remarkable Jewish deliverer figure in the Persian period can be viewed as a reinterpretation of the Moses figure in the Exodus narratives. Within a broad analysis of these narratives, the researcher investigates how Esther fits into the Old Testament deliverance motifs. Commonalities between Moses and Esther and their parallels and characterization as Old Testament deliverer figures assist in drawing a comparative analysis between the two. The study proceeds to prove that Esther is a new Moses figure, arguing that the Esther narratives are presented deliberately in such a way that they reinterpret the Moses narratives. A survey of previous studies that investigated the two narratives provides further evidence for the view that the Esther narratives are reinterpreting the Moses narratives, and hence that Esther can be regarded as a new Moses in the Old Testament deliverance motifs. This study argues that Esther stands within the same category of Old Testament deliverer figures like Moses and that female figures like Esther are not ignored in the deliverance of God’s people. The concluding part of this study investigates what implications the Old Testament narratives of Moses and Esther as deliverer figures may have for the modern-day context of African leadership. The focus is on investigating whether biblical models of leadership and deliverance offer anything to the discourse on African leadership. In the last section, the models of Moses and Esther are applied to modern-day ethical problems of leadership in African societies. It is postulated that Old Testament ethical reflections on biblical characters such as Moses and Esther may inform modern-day reflection on responsible leadership. / AFRIKAANSE OPSOMMING: Die studie vergelyk die rol wat Moses in die Exodus-verhaalsiklus speel met die rol van Ester in die Ester-verhaal. Die argument is dat Ester se rol as ʼn merkwaardige bevrydingsfiguur uit die Persiese tyd dié van Moses herinterpreteer. Die studie is ʼn breë narratiewe analise wat nagaan of Ester binne die Ou Testamentiese bevrydingsliteratuur ʼn geïsoleerde figuur is al dan nie. Die ooreenkomste tussen Moses en Ester saam met tipiese eienskappe van Ou Testamentiese bevrydingsfigure lei die studie tot ʼn suksesvolle vergelykende analise van die twee figure. Trouens, dit word duidelik dat Ester ʼn nuwe Moses is waar Moses se rol doelbewus herinterpreteer word. ʼn Oorsig oor bestaande studies wat die twee verhale nagana, verskaf verdere stawing vir die seining dat die Ester-siklus die van Moses herinterpreteer. As sodanig is Ester ʼn tweede Moses binne die Ou Testamentiese bevrydingsliteratuur en staan sy geen tree terug as ʼn vroulike figuur in die rol nie. In die laaste en samevattende gedeelte van die navorsing word die implikasies van bevrydingsfigure soos Moses en Ester toegepas op leierskap in Afrika. Die oogmerk is om hierdie Bybelse bevrydingsfigure as model voor te hou en om dan daarmee in gesprek te gaan met die aard van leierskap in Afrika. Die Ou Testamentiese verhale en leiers het bepaalde waardes en oortuigings wat huidige leierskap in Afrika krities onder die loep kan neem. Dit kan ʼn vormende invloed op Christelike morele waardes, identiteit en die verstaan van mag uitoefen. As sodanig sal Moses en Ester as modelle voorgehou word om moderne etiese leierskapprobleme en -uitdagings aan te spreek. Die studie is oortuig dat Ou Testamentiese leiers waardevolle insig bied vir etiese refleksie en kontekstuele riglyne virverantwoordelike leierskap.

Trata-se de um estudo sobre a obra cênica de José Agrippino de Paula e Maria Esther Stockler, a saber: Tarzan IIIº Mundo O Mustang Hibernado (1968), O Planeta dos Mutantes (1969) e Rito do Amor Selvagem (1969). A proposta é recuperar esses espetáculos utilizando os registros já existentes e resgatar o que há de memória daqueles que participaram do grupo SONDA. Ao mesmo tempo estabelecer relação entre o pensamento e a obra desses artistas, conectados a seu tempo. Na dimensão da obra com um todo, encontrou-se um eixo que estabelece ligação a toda a produção, que abrange também o cinema; como uma arte do tempo, a performance passou a integrar o trabalho. A obra cênica aqui abordada, inserida num contexto contracultural, de uma sociedade que se fragmenta, vai se oferecer enquanto uma arte de permeabilidades, encontrando na esquizofrenia sua correspondência. / This work is the product of the study about the scenical work of José Agrippino de Paula and Maria Esther Stockler, which are: Tarzan IIIº Mundo O Mustang Hibernado (1968), O Planeta dos Mutantes (1969) and Rito do Amor Selvagem (1969). The proposition of this work is recovering those spectacles by using the existing records, as well as recovering the memory of the ones who participated of the GRUPO SONDA. At the same time, it will set up the connection between the ideas and the work of those artists, each one in its proper time. In the whole work, it is possible to find a main point that establishes a connection to the entire production which also embraces the cinema - as an art of the time, the performance started to integrate the work. The scenical work here, in a contracultural context, in a fragmenting society, will be presented as an art of permeabilities, that finds out its correspondence in the schizophrenia.

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Includes bibliographical references.

Trata-se de um estudo sobre a obra cênica de José Agrippino de Paula e Maria Esther Stockler, a saber: Tarzan IIIº Mundo O Mustang Hibernado (1968), O Planeta dos Mutantes (1969) e Rito do Amor Selvagem (1969). A proposta é recuperar esses espetáculos utilizando os registros já existentes e resgatar o que há de memória daqueles que participaram do grupo SONDA. Ao mesmo tempo estabelecer relação entre o pensamento e a obra desses artistas, conectados a seu tempo. Na dimensão da obra com um todo, encontrou-se um eixo que estabelece ligação a toda a produção, que abrange também o cinema; como uma arte do tempo, a performance passou a integrar o trabalho. A obra cênica aqui abordada, inserida num contexto contracultural, de uma sociedade que se fragmenta, vai se oferecer enquanto uma arte de permeabilidades, encontrando na esquizofrenia sua correspondência. / This work is the product of the study about the scenical work of José Agrippino de Paula and Maria Esther Stockler, which are: Tarzan IIIº Mundo O Mustang Hibernado (1968), O Planeta dos Mutantes (1969) and Rito do Amor Selvagem (1969). The proposition of this work is recovering those spectacles by using the existing records, as well as recovering the memory of the ones who participated of the GRUPO SONDA. At the same time, it will set up the connection between the ideas and the work of those artists, each one in its proper time. In the whole work, it is possible to find a main point that establishes a connection to the entire production which also embraces the cinema - as an art of the time, the performance started to integrate the work. The scenical work here, in a contracultural context, in a fragmenting society, will be presented as an art of permeabilities, that finds out its correspondence in the schizophrenia.

This oratorio tells the story of Queen Esther as presented in the Old Testament Book of Esther. Its format includes choruses and solos with an orchestral accompaniment. The main characters in the story are Esther, King Xerxes, Esther’s uncle Mordecai and their antagonist Haman, with occasional insertions by a narrator. In addition to the primary scripture used, there are several inclusions from the Psalms, Song of Songs, and a commentary poem by Wayne Watson highlighting the oratorio’s sub-title, “For Such a Time as This,” which is the overriding textural theme. The orchestration focuses on reed woodwinds, brass, strings, and percussion, including consistent use of the Persian tanbak (bongo type drum). Rhythms are regularly freely used to support the text. Dissonant melodic construction and its resulting harmonic dissonance present a panoply of sound beyond the traditional classical approach of dominant/tonic tonality.

The Beating of Wings is a polyphonic novel comprised of multiple interior monologues, inspired by the historical development of the fairy tale as a literary genre. Characters are based upon key writers within this movement: Charles Perrault, Rabbi Nachman, Flora Annie Steel, and J M Barrie; as well as associated figures, including the Franco-Scottish miniaturist and calligrapher, Esther Inglis, the Duchess of Polignac, and Edwina Mountbatten. The subject of this vocal fugue is an ostensibly authorless fairy tale, The Golden Tree and the Moth, handwritten in a seventeenth-century miniature manuscript. Within an omniscient frame modelled after the ancient Indian collection of fables, the Panchatantra (circa 200 B.C.), a succession of first-person narrators chronicle the passage of the fairy tale through time, via the 'beating wings' of its woven narrative threads, back to its source. As each narrator ventriloquises the voice of a previous owner, the matryoshka doll narratives engage concurrently with questions of adaptation and appropriation, narratology, paratext, the Barthesian concept of the 'death of the author', and literary ventriloquism. Ultimately, the novel aspires to culminate in a fictional rebirth of a defining voice, founded upon gynocritical theory and the silencing of women within the patriarchal canon during the early modern period. This origin of the tale that was neither 'already written', nor 'already read', is borne of Esther Inglis (1571-1624). My critical essay considers specific theoretical influences of the novel: predominantly literary ventriloquism, as well as Inglis's corpus. A marginalised figure in the context of early modern women's writing, prior to recent academic enquiry Inglis was dismissed as a skilled copyist, whose manuscripts were notable only for her virtuoso calligraphic replication of religious verse in miniature. To this discussion, I introduce Gérard Genette's concept of paratext as a viable means of interpretation. I argue that this strand of literary analysis is imperative to our understanding of how Inglis sought to materialise an authentic authorial voice through the paratextual space of her manuscripts, mobilising the trope of literary ventriloquism to facilitate her complex construction as a literary icon. By applying Genette's taxonomy, I suggest that Inglis emerges as an incisive, progressive, and ingenious publisher and author, who successfully manifested Her word upon the patriarchal page during an era when women writers were silenced or forced to write anonymously.

This paper explores how Charles Dickens’s use of a female narrator in Bleak House (1853) fundamentally problematizes and undermines his use of the fairy tale’s cultural cachet, motifs, and characters to prop up and project his fantasies of the feminine ideal. More specifically, it examines the effects of the thematic presence of several tale-types and stock fairy tale figures on Dickens’s ability to prescribe ideal feminine behaviors, such as incuriosity and selfless obedience, to both his characters and his female audience. Because Esther’s ability to write and her interest in either discovering or constructing her own identity establish her as competitor to the males who attempt to script her life, Dickens tries to control and circumscribe her ability to know and act through her own and other characters’ resemblance to traditional fairy tale character types, especially Bluebeard and Griselda. Esther’s narrative, however, betrays these unnatural delimitations in telltale interruptions and denials as Dickens attempts to circumvent the constraints he has placed on her voice. Esther’s narrative therefore resists but imperfectly overcomes the Victorian male author’s scripting of femininity. / text