O objetivo do trabalho é analisar alguns elementos retóricos e estilísticos de certos hinos gregos de várias épocas. Partindo deles, são estudos também alguns hinos da tradição indiana mais antiga, contidos no Rig Veda, a fim de sugerir traços comuns a essas duas tradições hínicas indo-européias e as suas respectivas especificidades. A tese procura apontar, com base na leitura de hinos paradigmáticos, as estratégias formais dos poetas para louvar a divindade. A preocupação básica é com as estruturas dos hinos, com os expedientes de que se vale o poeta para expressar seu louvor. São descritos os meios com que, no hino grego, a divindade é atraída para perto e como, em certos poemas, essa convenção é quebrada para alcançar efeitos literários. Estudam-se pares contrastantes que estruturam a composição de determinados hinos e também como esse mesmo contraste, em outros casos, é deliberadamente borrado em benefício do louvor. Quanto aos hinos rigvédicos, sugere-se uma forma peculiar a partir do qual se estruturam, a saber, a partir do seu centro. Conclui-se que, em ambas as tradições - a grega e a indiana - o hino é uma oferenda que instaura entre deus e devoto uma relação de reciprocidade na qual ele próprio, hino, atua como objeto de troca - um objeto de troca digno da estima divina, que chama atenção sobre si mesmo à força da sua elaboração estilística e retórica. / This work aims at analyzing some rhetorical and stylistic features of some Greek hymns from various periods. Taking them as a starting point, some hymns from the Rig Veda will be studied as well, in order to assess certain common characteristics of both hymnic traditions and their peculiarities. Based on the close reading of the hymns, the author tries to show the poet\'s formal strategy to praise the deity. The structure of each hymn is a main concern, as are the devices used by the poet to give voice to his praise. As for the Greek hymns, it will be described how the poet persuades the deity to come near and how he builds his work based on contrasting pairs. As for the Rigvedic hymns, it is suggested that some of them are organized around its middle section. The conclusion to be drawn is that in both traditions - in the Greek and the Indian one - the hymn is an offering that creates a bond of reciprocity between deity and his worshipper. The hymn itself is valued in the exchange by means of its stylistic and rhetorical quality.

Esta dissertação gira em torno da representação do poeta no hino tardio (späte Hymne) de Hölderlin. A representação do poeta é abordada a partir da consideração de representações de poetas que lhe são anteriores, tanto no contexto da poesia lírica alemã do séc. XVIII, mais precisamente no âmbito dos hinos (Hymnen) desse período, como no da poesia da Antiguidade, com destaque para a grega, a qual era tratada com peculiar atenção por autores em língua alemã da época supracitada. Ideias elaboradas por autores de língua alemã da segunda metade do séc. XVIII acerca do hino e da relação da poesia antiga (mais uma vez com destaque para a grega e para Píndaro) com a literatura alemã são aqui retomadas (na seção quatro deste trabalho). O estudo da representação do poeta se baseou, sobretudo, em análises mais detidas de poemas. Foram analisados, além de dois poemas de Hölderlin Die Wanderung e Andenken (na seção cinco) , dois poemas de autores alemães que lhe precederam Das Landleben, de Klopstock, e Wandrers Sturmlied, de Goethe (seção quatro) e dois poemas do mundo antigo, o Hino Homérico 6: a Afrodite e a Pítica 1, de Píndaro (seção três). Procura-se identificar a representação do poeta nos poemas por meio dos gestos de fala, cuja conceituação é desenvolvida em uma das primeiras partes deste trabalho (seção dois). A forma simples que subjaz ao hino é a reza, cujos gestos, ainda que com algumas variações discutidas nos casos particulares, são encontrados, por fim, nos poemas acima indicados. O objetivo é compreender, através desta pesquisa, de modo mais geral, (a) o processo de constituição da imagem do poeta a partir de concepções do poeta legadas pela tradição e (b) as interseções e correlações entre poesia arcaica e moderna; entre o papel de poetas antigos e poetas de um mundo moderno. Certos poetas alemães do séc. XVIII retomam e perfazem, em outra circunstância e condições sociais e históricas diversas, gestos realizados por poetas da Antiguidade, os quais, por sua vez, apresentam funções e atividades concernentes à poesia da sociedade de que faziam parte. Poetas na Alemanha do séc. XVIII/XIX que realizam gestos daquela poesia antiga aparecem, por um lado, como visionários, iniciados, articuladores da voz de pedido e louvor da comunidade, núncios e profetas, e também, por outro, como alguém de sensibilidade, intérprete da poesia e da história, pessoa de grande percepção e genialidade. Contudo, não se exclui, na idade moderna, a predicação de loucura ao poeta que demonstra um entusiasmo não tão consequente ou que se perde na lida com Píndaro. Nesse percurso de retomada da poesia passada, mostrou-se significativo o estabelecimento de charis pelo poeta: um característico encontrado na poesia antiga que vai assumindo novas formas e objetos de articulação ao longo desses poemas mais modernos. / The present dissertation focuses on the poets representation in Hölderlins late hymn (späte Hymne). The approach to this poets representation considers the representation of poets that preceded Hölderlin, both in context of German lyric poetry from the 18th century the hymns of this time, to speak more precisely and in the context of ancient poetry, above all the Greeks, which were treated in a particular manner by German authors from the aforementioned period. The discussion German-speaking authors developed of hymns and of the aftereffects of ancient poetry (again with emphasis on Greek and Pindar) in this period of German literature is summarized (in section four of the present work). The study of the poets representation was based on more exhaustive analyses of poems: the Homeric Hymn to Aphrodite (no. 6) and Pindars first Pythian (in section three); Klopstocks Das Landleben and Goethes Wandrers Sturmlied (section four); Hölderlins Die Wanderung and Andenken (section five). The poets representation in the poems is identified through the gestures of speech (Sprachgebärden) typical of the hymn. The concept of gestures of speech is developed in the second section of this work. The simple form (einfache Form) underlying the hymn is the prayer (reza), whose gestures of speech were found in all the poems named above, although the sequence of the gestures can differ from on text to another. These differences and similarities are a topic of discussion during poems analysing and in the conclusion. In a more general manner, the present dissertation aims to comprehend (a) the formation of the poets image from conceptions of the poet presented by the tradition and (b) the parallels and correlations between archaic and modern poetry; between the ancient and modern role of the poet. Despite other occasions, different circumstances and social conditions, German poets perform gestures of speech that poets in antiquity presented within their functions and activities concerning the poetry in their society. German poets in the 18th century who used gestures of ancient poets are seen as initiated, heralds, prophets, the voices of praise and request of a community, also as visionaries, ones of especial sensitivity, exegetes of poetry and history, persons of great perception and genius. Nevertheless they can be seen as madman and frenzied. The establishment of charis appears significant: a feature of the ancient poetry that takes on new forms and objects of articulation throughout those modern poems.

The aim of this study is the analysis of social concepts of honor and identity in Paul’s letter to the Philippians. In the first chapter, the research problem is formulated and the appropriate methodology, which could address the issue under investigation, is chosen. It was observed, that in the social studies of the New Testament texts, the key analytical categories – honor, identity and (social) values, – as well as the correlation between them, were not properly defined. At the same time, the text of the letter to the Philippians demonstrates that to aspire for honor is not totally rejected within Christian community (1:20; 2:29; 3:14). The discourse analysis (discovery of social patterns embedded in the text) was taken as main methodological approach; clarifying of social concepts and text analysis were main tools used to test the hypothesis: In his letter to the Philippians, Paul does not argue to reject honor as a social value, yet he promotes a new identity and new source of honor; aspiration to honor within one’s group remains the same for non-Christians and for “heavenly society.” In the second chapter, the main terminology is defined. So, “value” is an often non-verbalized, invisible conception, which determines one’s understanding of the desirable or rationality. The same values can have different embodiments in different cultures; the same values can be shared by different groups. Identity is based on the visible manifestations of a culture; people of different identities can share the same values. Honor is a positive evaluation of one’s behavior; it is very significant for every collectivistic society. The source of honor is at the same time the source of identity: the one whose opinion matters, whose approval is valuable is the one with whom a person associates/identifies him/herself. In the third chapter, the language of identity in the letter to the Philippians is analyzed. Paul pays a lot of attention to his readers’ new identity “in Christ.” He accentuates their distance from the non-members of the group (negative identity); he insists on their unity, mutual support, and call to leave aside any inner quarrel or competitiveness in order to concentrate on the survival and development of the “in-Christ” group. His own example of changed identity demonstrates that Christ gives Paul both a sense of belonging and a sense of worth. Strong orientation of the members of the Christian commune to their group reflects the common dependence of an individual on his/hew group in collectivist societies. In the fourth chapter, the issue of honor in the text of Philippians is investigated. The Christological hymn (Phil 2:6-11) and its context presents the only appropriate way of behavior and hence, gaining honor within the “in-Christ” community: God is the only honor-bestower; one must stay loyal to the community and obedient to its leaders despite suffering and death. Paul’s account of his own experience demonstrates that he is anxious about honor, yet he seeks it exclusively in terms of the “in-Christ” group: God is the only source of honor; hence honor must be achieved strictly via loyal service to God and his group. Any attempt to gain honor in competition with other members of the “in-Christ” group is interpreted as treason, as it denies the status of God as the only honor-bestower. In the fifth chapter, the findings of the research are summarized. It is concluded that social values of “heavenly society” are very much the same as those of a non-Christian society. Belonging to a group and positive evaluation of such a group (honor) – relational values common for Mediterranean cultures – are still most significant for the “in-Christ” group members. The only thing which is changed is identity (and hence, the source of honor): for Christians, God and Christ are an exclusive source of identity and an exclusive source of honor. Hence, the “in-Christ” group and the outer world both share the value of honor; the only difference between them is the source of that honor (i.e. identity). Values remain the same, identity is different. / Thesis (PhD)--University of Pretoria, 2014. / gm2014 / New Testament Studies / unrestricted

This thesis Czech Religious Song in the Liturgy after the Second Vatican Council focuses on the repertoire of songs contained in hymnbooks "Kancionál" (Hymnal), "Mešní zpěvy" (Czech gradual), "Hymny" (Hymns) and "Hymny a básnické modlitby" (Hymns and poetic prayers). Includes theological principles of songs, history of Czech spiritual hymns, analysis of the editorial approaches for songbooks and analysis of the hymns in relation to the requirements of the liturgical renewal documents. The thesis focuses primarily on "Kancionál" (Hymnal), "mešní píseň" (mass song) and singing a song of thanksgiving after Communion. The thesis evaluates compositional approaches for lyrics and music of mass songs.

Denna uppsats behandlar ämnet gospelackompanjemang på kyrkorgel.Oavsett erfarenhet av gospelmusik eller av orgelspel så är det här en kombination somväcker många frågor. Syftet med denna studie är att överbrygga glappet mellangospelmusiken och annan gudstjänstmusik i den svenskkyrkliga kontexten. Den handlarom hur man rent praktiskt kan göra för att lyckas med sitt spel i denna genre.Undersökningen behandlar såväl olika typer av orglar som sätt att registrera, arrangera,artikulera och rytmisera. Studiens resultat påvisar att en av de viktigaste aspekterna för ettrytmiskt spel handlar om att spela tonerna så friliggande, eller stackato, som möjligt.Registreringen behöver vara skarp med genomträngande rörverk. Pedalstämman behöverstabila rytmer med betoning på första taktslaget. Undersökningen gör det möjligt att mermedvetet ta sig an olika delar av gospelrepertoaren utan att vara beroende av enackompanjemangsgrupp. / <p>J S Bach (1685-1750)Trés vitement ur fantasia in G, BWV 572</p><p>Mary Mary m fl. Shackles (Praise You)</p><p>Richard Smallwood Total PraiseMedverkande:</p><p>Sabina Lilja - orgel och sång</p><p>Isac Bergendahl - trummor</p><p>Immanuel Gospel</p><p>Nina Tellander - körledare</p>

This thesis is a collection of poems.

The aim for this study has been to analyze the character of Satan in the main hymnal of the Swedish church, and to do so in relation to the biblical Satan in the New testament. The New Testament portrays Satan in a multifaceted way and he does not always have to be interpreted as unambiguously evil in these narratives. He rules the world and holds it bound under his power but has his role reformulated through the death and resurrection of Christ. He still lives on in these narratives and fulfills a continuing function where he can be seen to serve as a language and name for the trials that man still encounters in life. The hymnal instead gives a relatively unambiguous portrayal of Satan, where he is often no longer around with a role to play after Christ's victory on the cross. He is portrayed as defeated and out of the game, and man can therefore forever rejoice. This study has problematized this as man in the contemporary world continues to face difficulties and trials, and if there is no theology or language that can put these experiences into words, it can be difficult to also have a close faith in God. I have tried to show in this essay that Satan can provide and maintain an explanation for much of this if he is allowed to have a continued role in the human theological narrative. Through a hermeneutic and narrative method, the study has analyzed Satan's role and function in the hymns, and then set it against the overall theology of that hymn. After that, an exegetical analysis has been made of the hymn's biblical reference to Satan, which was also set against the overall theology of the biblical text. After each analysis, a comparative discussion has followed where I discussed similarities and differences in the portrayal of Satan. Possible problems were also highlighted regarding Satan's role within the narrative of the hymn and the Bible, and this was put in relation to the hymn's purpose of making existential identification possible. Therefore there was also an intention with this comparison which goes beyond the main perception that the hymn's depiction of Satan is not fully coherent with its biblical reference, and it was about the hymn's inherent intention of making possible the sanctification of man. Every hymn is built upon a biblical narrative and has an integral aspect of making that reference an experience. The biblical experience lies in the idea of the hymn as creator of theology because the hymn's intention is that something should happen in the person when the biblical word manifest or woven into the hymn enables recognition. The theological intention of the hymns is about being able to bring people closer to God through song and worship, and they aim to frame peoples lives in a meaningful way. To do justice to that intention people's situation and problems needs therefore be sufficiently recognized in the theology of the text, in order for the hymn to be able to achieve this identification and approach to God. The hymns are thus not only a collection of songs intended for worship, but carry the intention of giving the feeling of existential identification to the level that man unconditionally dares to say his "yes" to God. The result of the analysis has shown that there are more differences than similarities between the Satan of the hymn and the Satan of the Bible, and the difference is that the man in the hymn is in most cases an object of God's salvation, while the Bible always presents him as an acting subject. In the Bible, Satan is also an ongoing reality while three of the five hymns present him as defeated and therefore no longer a threat. The New Testament treats the figure of Satan ambiguously and man is perceived ambivalently regarding the view of his role and underlying intentions. Sometimes he is a direct threat to God's plan of salvation and uses dirty means to overthrow it, and he is an enemy to man's life and faith. However, he is also in part of the narrative a necessary disciplining body to which people in lack of faith can be sent to learn not to blaspheme God. In the world of the hymns, he is instead unequivocally evil and associated with death, wickedness, darkness and despair. A conclusion has been made that the presentation of Satan as evil or good does not really affect the psalm's ability to provide existential identification and approach to God. The most important thing is that he remains in the narrative as his presence fulfills an important theological function of acting as a name for the trials and suffering that man continues to face in his life. If Satan is no longer there, man must put these experiences of evil in relation to God, which runs a greater risk of alienation than bringing him closer. A present Satan, whether good or evil, and man as a subject with the possibility of action and choice, have been shown to do the hymn's matter of sanctification the most justice. This is when man can choose to answer yes to God's offer of salvation and through this put on Christ's armor of faith and fight the good fight which means constantly resisting Satan's temptation to forget and give up on God. The good fight becomes the sanctifying movement toward God that the hymn wants to accomplish in this context, but if Satan does not exist, this movement would be greatly hindered.

Cette thèse prépare l’édition du corpus des hymnes chrétiennes liturgiques de langue grecque conservées par les sources papyrologiques trouvées en Égypte et datées entre le IVe et le IXe siècle. L’introduction définit les termes du sujet, fixe la terminologie poétique et liturgique et justifie les limites chronologiques et géographiques du corpus. La première partie (vol. I t. 1) expose les étapes de la constitution du corpus de la collecte des papyrus, établit le protocole d’identification et de sélection des papyrus et propose un classement croisant quatre principes, par document entier, par destinataire du culte, par modèle littéraire et par thème liturgique Une deuxième partie (vol. I t. 2) rassemble cinq études préparatoires à l’édition des papyrus, puis une étude illustrant les problèmes d’édition posés par neuf papyrus remarquables et une synthèse destinée au futur Dictionary of Hymnology. Elle comporte trois annexes détaillant l’apport des autres sources anciennes transmises par la tradition manuscrite au travail du papyrologue, les principes de la poésie religieuse byzantine de rythme accentuel et une liste des hymnographes chrétiens anciens de langue grecque, ainsi qu’une bibliographie générale. Un CD-ROM de planches numérisées de 21 papyrus servant à la datation paléographique ou éditées dans les études est joint (non communicable). Le vol. II (t. 1 et 2) contenant les éditions des 209 papyrus (avec présentation matérielle, bibliographie, édition du texte grec, reconstitution en grec normalisé, apparat critique) est communiqué au jury afin de permettre la discussion du classement proposé dans la thèse. / This thesis presents the preparation of an edition of christian liturgical hymns, in greek, on papyrological materials discovered in Egypt, dated between the 4th and 9th centuries. The introduction defines the subject, clarifies the liturgical and poetic terminology and determines the chronological and geographical boundaries of the corpus of 209 hymns. The first part of the first volume describes the steps in assembling the corpus, establishes a protocol for referencing the papyri and proposes four levels of classification: by document, by religious entity, by literary type and by liturgical topic. The second part of the first volume contains five preparatory studies for editions of the papyri, a paradigmatic study of the problems confronted in the editions of nine specific papyri and a general summary destined for an upcoming publication in the Dictionary of Hymnology. This first volume includes three annexes: a list of ancient sources whose texts survived through manuscript copies, a detailed description of the principles of rhythmic accents in byzantine religious poetry and a chronology of early christian hymnographers in the greek language. There is also a general bibliography at the end of the volume and a CD-ROM that contains digital images of 21 papyri that are either included in the preparotory studies or that served as paleographic paradigms for the dating of the materials. The second volume of the thesis contains editions of 209 papyri. These includes editions of the original greek texts, apparatus criticus, normalized editions of the greek texts and bibliographies. This second volume was provided to the jury only, in order to foster and support a discussion of the classification systems determined within the thesis.

<p>This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.</p>

This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.