Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2004. / Includes abstract and vita. Includes bibliographical references (leaves 213-221).

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2004. / Includes abstract and vita. Includes bibliographical references (leaves 213-221).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2004. / Includes abstract and vita. Includes bibliographical references (leaves 213-221).

No description available.

M.A. (English) / Please refer to full text to view abstract

Images of pregnant women and women in childbirth play an important role in first-century apocalyptic literature. The embodied experience of labor pains and parturition captured the imaginations of male authors of apocalyptic eschatology as they envisioned how the eschaton might occur. These writers, while often critical of the present state of the world, were not isolated from it; rather, as active participants in the broader culture, their visions and fantasies are best understood within the literary and material context of the Roman Empire. Imperial and apocalyptic arguments alike employ discourses of gender, power, and futurity, engaging the reproductive body as a fundamental point of connection between humanity and the divine and between the present and future. At the same time, votive offerings and uterine amulets related to pregnancy and childbearing further illustrate the centrality of fecundity and childbearing to women and their families. Reproduction was a cultural imperative achieved, at least in part, by means of appeals to the divine. Medical writers also addressed successful pregnancy, in this case by associating feminine anatomical inferiority with the ability to become pregnant. Together, this evidence serves as a framework for this study of apocalyptic images of pregnancy and childbirth in the writings of Paul, the book of Revelation, and 4 Ezra. Each of these works employs images of pregnancy and childbirth to assert the power of God over humanity and creation, to emphasize the appropriate societal regulation of women’s bodies, and to describe the end of the known world. The reproductive bodies of women become the ground upon which claims of divine authority and human futurity are made and disputed.

No description available.

En rapport avec la tradition du poète-historien du vingtième siècle, la poétique documentaire pratiquée par Ezra Pound et Susan Howe de manières distinctes mais liées sert de base à une étude de la matérialité complexe au sein du processus compositionnel des deux écrivains. Fondée sur les matériaux d'archives des deux séquences, une analyse détaillée des « Malatesta Cantos » de Pound et de « Marginalia de Melville » de Howe permet une réflexion sur le développement de la transformation typographique dans le domaine de la poésie. Tout au long de cette critique, Steven Paschall aborde les processus de la signification de la matérialité en parallèle aux conceptions et expériences Poundiennes et Howiennes de l'archive historique et de la production littéraire. Pour Pound l'interprétation du quattrocento et de la saga de Sigismond Malatesta, et pour Howe celle des notes marginales et des ébauches manuscrites, a mené à la composition des poèmes innovateurs qui, à partir des sources textuelles, redéfinissent les idées conventionnelles de l'historiographie et de la pratique interprétative poétique au moyen des techniques structurelles et formelles. En examinant les opérations de l'appropriation littéraire, de la révision du langage écrit et de la page visuo-spatiale, Paschall avance un lien généalogique entre la matérialité archivistique du « poème contenant l'histoire » de Pound et les expériences visuelles d'articulation effectuées dans les reconfigurations palimpsestiques de Howe. / Set against the tradition of the 20th-century poet-historian, the documentary poetics practiced in distinct yet related ways by Ezra Pound and Susan Howe serves as the basis of this study's investigation of the complex materiality underpinning each writer's compositional process. Pound's "Malatesta Cantos" and Howe's "Melville's Marginalia" are the focus of detailed analysis specifically grounded in the archival materials for each sequence in order to explore the development of typographic metaphrasis. Throughout this critical work, Steven Paschall sets the processes of materiality's signification in parallel to Pound and Howe's conceptions of, and engagements with, the historical archive and literary production. Pound's reading of the quattrocento and the saga of Sigismondo Malatesta, and Howe's reading of marginalia and manuscript drafts, resulted in unique source-based poems, the structural and formal techniques of which redefine conventional notions of historiography and interpretative poetic practice. In addressing the mechanics of literary appropriation, editing written language, and the visio-spatial page, Paschall asserts a genealogical thread between the archival materiality of Pound's "poem containing history" and the visual experiments in articulation of Howe's palimpsestic reconfigurations thereof.

Die Untersuchung betrachtet das Verhältnis der Schriften 4., 5. und 6. Esra zueinander. Während die Apokalypse 4. Esra als Referenztext für neutestamentliche Schriften Gegenstand zahlreicher Untersuchungen ist, wurden 5. und 6. Esra bisher lediglich als christliche Hinzufügungen abgetan und nicht in einer bedeutungsvollen Beziehung zu 4. Esra verstanden. Auf Grund der syrischen Tradition, die 4. Esra als geschlossene Schrift überliefert, wird oftmals übersehen, dass in den lateinischen Traditionen 4. Esra ausschließlich im Zusammenhang zu 5. und 6. Esra bezeugt ist. Die Arbeit greift methodische Ansätze aus der alttestamentlichen und Apokryphenforschung auf, um das Verhältnis der drei Schriften zueinander zu beschreiben. Handelt es sich um eine willkürliche Zusammenordnung der Schriften oder lassen sich Ordnungsprinzipen und durchgängige Konzepte erkennen, die eine Lesart als zusammenhängende und aufeinander bezogene Gesamtschrift 2. Esdras nahe legen? Die Arbeit geht dabei auf verschiedenen Ebenen vor: Zunächst werden die mittelalterlichen Manuskripte, die die früheste vollständige Bezeugung der Schriften darstellen, analysiert und ausgewertet. Wesentlich ist hierbei, dass die Schriften zwar immer im Zusammenhang zueinander überliefert wurden, jedoch in sehr unterschiedlichen Anordnungen in den jeweiligen Manuskripten enthalten sind. Auf synchroner Ebene werden zentrale Konzepte der einzelnen Schriften exegetisch herausgearbeitet und zueinander in Bezug gesetzt. Schließlich werden narratologisch und daramaturgisch die Erzählbögen der Einzelschriften analysiert und ausgewertet, ob und wie ein Gesamthandlungsbogen von 2. Esdras erkennbar ist. Gerade an der literarischen Figur des Esra zeigt sich, wie die unterschiedlichen Anordnungen jeweils andere Aspekte der Figur in den Vordergrund rücken. Die literarische Gestalt des Esra selbst wird zur Projektionsfläche für die Intentionen der späteren Tradentenkreise. Daher stellt die jeweilige Anordnung der Schriften einen bewussten und sinnhaften Ausdruck der theologischen Konzeptionen der Tradentenkreise dar. / The study is focused on the relation of 4th, 5th and 6th Ezra. While the Apocalypse 4th Ezra as a reference text for New Testament writings is the subject of numerous studies, 5th and 6th Ezra are normally dismissed as Christian additions and are not understood in a meaningful relationship to 4th Ezra. Due to the fact that the Syriac tradition testifies 4th Ezra as an independent writing, it is often ignored, that the Latin tradition exclusively features 4th Ezra in the context of 5th and 6th Ezra. The study employs methodological approaches from the 361 Old Testament and Apocryphal research to investigate the relation between the three writings. Should it be regarded as a random compilation of writings or are there indications for a structural order or underlying concepts and motifs, which suggest an interrelated reading as a composed writing of 2nd Esdras? The study engages the subject with different approaches of research: first of all the medieval manuscripts representing the oldest complete sources for the writing of 2nd Esdras are evaluated. It is to be considered, that while all three writings are featured, the order of arrangement of the writings varies in the different traditions. In a synchronic exegetical analysis of the texts main themes and concepts are retraced and put in perspective to each other. Finally in a narratologic and dramatic point of view the plots and the arc of suspense of each writing is examined and considered in perspective of an underlying plot and understanding of 2nd Esdras as one story line. Especially in regard to the literary character of Ezra the different arrangements of the text emphasize different theological aspects of the character. The figure of Ezra itself becomes a projection space for the intentions of the later recipients. Therefore each arrangement of the writings can be regarded as a deliberate and meaningful expression of the theological concept of the recipients.