The dissertation examines how medieval poetic tradition was reactivated in the production of poetry from the period between the two world wars—the Polish interwar period, defined here as one of literary transition. The positioning in regard to certain literary conventions and the quest for a new normativity that is so prevalent in interwar poetry is also reflected in the era’s poetry on the theme of Mary. Marian lyrics, owing to their strong position in Polish literature (but also by dint of their role in Polish piety and national identity), serve as an indicator in identifying and defining certain poetic processes. Central to this are the respective relationships of Marian themes to tradition and to the poetic norms of the era: is a given poem located along the traditional axis (if so, which), does it run counter to it, or is it an innovation? The poems analysed—Julian Przyboś’ Heavenly Blue, Jerzy Liebert’s Litany to the Virgin Mary, Tytus Czyżewski’s De profundis, Maria Pawlikowska-Jasnorzewska’s The Black Portrait, Józef Czechowicz’ pious rhymes—represent disparate poetic models: the Krakow Avant-garde, Catholic literature, formism/futurism, the circle of Skamander, the Poetics of the Third Sphere in the Second Avant-garde. Reflected here is the broad spectrum of the period’s poetic trends, tendencies, and constellations—as are the historical and literary events of the era. Despite important differences in the poetic/aesthetic models, in these poems it is possible to identify shared characteristics relevant to this study, that is, elements of medieval poetry. The identifying criterion for these elements here is the concept of dogmatic formal language. In the poems medieval poetics are transformed into their own modern form and integrated into the respective poetic models. No other literary epoch offers what the poets are seeking better than poetic formal language modelled on medieval liturgical language. The five poets all participate in what has been called the interwar paradigm shift in Polish poetry—a parameter that only indirectly relates to modernism. The term high modernism (in the sense of the culmination of Polish poetic modernism) can serve to summarize the historical and literary delimitations and definitions in the study. As interwar poetry is indeed part of the definitive emergence and full expansion of modernism in Polish literature, serving as a link between tradition and innovation, such a study of the influence of high modernism and Marian lyrics on each other aspires to reflect general processes in the poetry of the time.

Between 1810 and 1819, the Church of Sweden adopted three new books: the new handbook from 1811, archbishop Lindblom’s new explication of Martin Luther’s Small Catechism and Wallins new hymn book from 1819.  A few years earlier, a Lutheran revival movement had arisen in upper Norrland. The members of the revival movement, generally named “new readers”, reacted strongly to the influence of Enlightenment inspired theology (neology) in the new books. In 1848, the opposition of the most radical new readers led them to separate from the Church.  This master thesis examines the opposition to the new Swedish hymn book from 1819 in the area which since 1904 has been the diocese of Luleå. The study is limited to the period between 1819 and 1903. It is based on a qualitative problem-oriented source study through a close reading of the visitation documents for the parishes in the area. Opposition can be expressed in many ways and there can be many different indicators of it. The study’s inductive approach means that these indicators are not determined in advance, but rather are discovered through the close reading of the visitation documents.  The main questions discussed in the thesis are: • How long did it take before the parishes in upper Norrland introduced the hymn book of 1819? • What signs of opposition to the new hymn book are found in the visitation documents, and for how long? • How did the opponents motivate their resistance to the hymn book of 1819? • How was the new Sami hymn book from 1849 which was partly a translation from parts of the Wallinian hymn book received?  The study shows that it took a while before the new hymnal was introduced in most upper Norrland's Swedish-speaking parishes. More than half of those parishes had not introduced the new hymnal in 1829. This changed in many parishes during Bishop Franzén's visits in 1835. Opposition to the hymn book was largely expressed in parishes where the radical reading- movement had an influence. People expressed opposition to the hymn book in different ways during different phases. The opposition was usually explained in the visitation documents based on doctrinal reasons. The Sami hymnal, which was published in 1849 and which was partly based on the Wallinan hymnal, met with criticism from both the clergy in northern Lapland and the Sami. The priests criticized the translation, that it was difficult to understand for those who spoke the northern dialects. What the Sami were critical of is unknown.  The study shows that the new hymn book seemed to have been used in all Swedish-speaking parishes before 1903, but in parallel with the hymn book from 1695 in at least two parishes. This parallel use lasted for a very long time, perhaps during the entire investigation period. The old hymn book continued to be important to many people in upper Norrland.

This study is about how Athena is portrayed in two of the surviving works of antiquity, the Iliad and the Hymn to Athena by Callimachus. The study further shows in comparison of the two works, how Athena can be described based on her emotions, attributes, actions and character traits. In relation to the Iliad, Athena comes to express emotions such as frustration, dissatisfaction, anger, hatred, happiness, joy and as loving. Furthermore, the analysis of the Iliad has been able to identify actions and character traits such as cunning, persuasion, incitement, courage, eager and quickness. Athena has also been able to be attributed characteristics in relation to her as a goddess of war and her father Zeus within the analysis. The characteristics that emerged during the analysis are the goddess as terrifying, angry, with destructive powers, that she never tires, terrible deity and based on her epithet Tritogeneia.   Through analysis of the Hymn to Athena by Callimachus, the goddess can be attributed to emotions such as pity and love. Unlike the Iliad, emotions of a negative nature such as frustration, dissatisfaction and anger do not appear in the hymn. Furthermore, other actions and character traits can also be attributed to Athena in the hymn, such as female beauty and personal hygiene. The majority of epithets and designations can be attributed to the goddess within the hymn, which, unlike the Iliad, is more numerous in number. The epithets and designations that are claimed are polisgoddess, queen, lady and Thebes. Like other identifications attributed to Athena within the hymn, epithets and designations can be related to context. That in the sense that worshipers want to see Athena appear in their company, which is most likely to happen if they address the goddess with respectful words.

Julia Palmer, a little-known religious poet, composed two centuries-collections of one hundred poems intended to be sung as hymns-in the two years between 1671 and 1673. Palmer's manuscript is unique in that its author was perhaps the only self-taught Nonconformist woman to have composed centuries during the Restoration period. Although religion shaped the lives of most British citizens at the time, the public literary expression of spiritual experiences-particularly by middle-class women-was uncommon within conventional Puritanism. The poetry's hybrid of forms, proliferation of religious themes, and undertones of political subversion offer an important glimpse into the way Puritan women writers of the seventeenth century manipulated literary discourse to meet their needs. Palmer negotiates contemporary sociopolitical issues by using poetic forms and themes consistent with biblical, puritan, and social standards. Palmer's centuries fuse the seventeenth-century spiritual journal with the eighteenth-century hymn. Applying the personal introspection of the journal to public worship would not become customary until the eighteenth century. This thesis analyzes Palmer's poetry in light of other Restoration writing as well as religious, sociopolitical, and gendered contexts in order to position it as an early form of eighteenth-century Dissenting poetry.

The Abstract The Hymn and its Tradition in Late Medieval Bohemia Veronika Mráčková, Charles University, Prague The present thesis concerns the monophonic and polyphonic office hymns preserved in late medieval Bohemian sources. The author is mainly focused on the repertoire of the hymns written in Strahov Codex from around 1467. This manuscript of uncertain provenance contains an enormous collection of three- and four- voice polyphonic hymns which show plenty of the local characteristics. These domestic traits may be identified not only through texts devoted to indigenous Saints, but also through the melodies which form the cantus firmus in the upper voice of the hymns. The identification of these monophonic tunes in other plainchant sources could help us to determine the origin of Strahov Codex. Additionally, it is clear that this mensural manuscript contains not only music of a high artistic standard, but also a number of less polished compositions, and that it is thus an important witness to the existence of a wide range of daily musical activities in late medieval Bohemia. A crucial part of this dissertation is a critical edition of the monophonic hymn tunes preserved in Roudnice Psalter, as well as an edition of the selected polyphonic hymns written in Strahov Codex.

This dissertation is a detailed analysis of the Epistle to the Colossians. The author uses rhetorical critical methods and recognizes that the New Testament epistles are greatly influenced by oratory. Also, the author demonstrates how rhetorical techniques assist Paul to express his thought that the central idea of Christianity—the divine nature and saving work of Christ — has unavoidable ethical implications. In the first chapter of his letter Paul cites Christological hymn; he uses Christological theme during the whole epistle; the apostle concludes his admonition with the Household code, in which social roles of the member of oikos are interpreted in relation to Christ. According to Paul's teaching in Colossians, the power of Christ has universal scope and, consequently, all aspects of human life, including everyday, societal relationships, must be brought into submission to Christ. / New Testament / M. Th. (New Testament)

This dissertation is a detailed analysis of the Epistle to the Colossians. The author uses rhetorical critical methods and recognizes that the New Testament epistles are greatly influenced by oratory. Also, the author demonstrates how rhetorical techniques assist Paul to express his thought that the central idea of Christianity - the divine nature and saving work of Christ - has unavoidable ethical implications. In the first chapter of his letter Paul cites Christological hymn; he uses Christological theme during the whole epistle; the apostle concludes his admonition with the Household code, in which social roles of the member of oikos are interpreted in relation to Christ. According to Paul's teaching in Colossians, the power of Christ has universal scope and, consequently, all aspects of human life, including everyday, societal relationships, must be brought into submission to Christ. / M.Th. (New Testament)

O objetivo desta tese é analisar as criaturas amiúde consideradas monstruosas bem como os termos geralmente traduzidos por monstro presentes em três poemas da tradição de poesia hexamétrica arcaica, a saber, a Teogonia de Hesíodo, o Hino Homérico a Apolo e a Odisseia de Homero. A análise dessas criaturas tem como foco o modo como são descritas e o papel que desempenham nas narrativas contidas nesses poemas, para a qual são utilizadas como abordagem teórico-metodológica a referencialidade tradicional proposta e desenvolvida por John Miles Foley ao longo da década de 1990 bem como a perspectiva de que os poemas que constituem a tradição hexamétrica arcaica compõem uma história do cosmo, conforme desenvolvida por Barbara Graziosi e Johannes Haubold na década de 2000. Como resultado da análise das criaturas, de um lado, e dos termos traduzidos por monstro, de outro, questiona-se a pertinência da categoria monstro como geralmente pressuposta para essas criaturas no mundo moderno, tendo-se em vista que ela possa não existir na poesia hexamétrica arcaica, já que fazem parte de um sistema de pensamento em um mundo ainda não desencantado em termos weberianos, no qual a realidade empírica e a esfera divina enquanto representativa do sobrenatural estão profundamente imbricadas. Como instrumental teórico-metodológico para o questionamento acerca da existência ou não do monstro enquanto categoria em tal tradição poética, lançou-se mão das teorias de categorização de Wittgenstein, desenvolvida nas décadas de 1940 e 1950, daquelas desenvolvidas por Eleanor Rosch e sua equipe durante a década de 1970, bem como as presentes nas obras de George Lakoff a partir da década de 1980. A proposição de que a categoria monstro como pressuposta e entendida no mundo moderno é inexistente para a poesia hexamétrica arcaica tem implicações na compreensão moderna dessas criaturas, que devem ser percebidas enquanto integrantes de um cosmo que não separa o sobrenatural, o maravilhoso e o divino nos mesmos termos que o faz a sociedade moderna ocidental, revelando a necessidade de compreender essas criaturas sob o ponto de vista da tradição que as criou ou as incorporou e ressignificou. / The aim of this thesis is to analyse the creatures often considered monstrous as well as the words generally translated as monster in three poems belonging to the tradition of archaic hexametric poetry, namely, Hesiod\'s Theogony, the Homeric Hymn to Apollo, and Homer\'s Odyssey. The analysis of the creatures focuses on the ways they are described and the role they play in the narratives presented in those poems. The theoretical and methodological approach used to such analysis is the traditional referenciality proposed and developed by John Miles Foley in the 1990\'s in addition to the perspective that such poems that inform the archaic hexametric tradition constitute a history of the cosmos, as developed by Barbara Graziosi and Johannes Haubold during the 2000\'s. The analysis of the creatures, in one hand, and of the words translated by monster, in the other, results in questioning the validity of the monster category as usually taken for granted in the modern world, considering that it might not exist in archaic hexametric poetry, since those creatures are part of a system of thought in a world not yet disenchanted in Weberian terms, in which the empirical reality and the divine sphere as representative of the supernatural are deeply entangled. As theoretical and methodological framework for questioning the existence of monster as a category in such poetical tradition, this thesis adopted the theories of categorization formulated by Wittgenstein during the 1940\'s and 1950\'s, as well as the theories developed by Eleanor Rosch and her team during the 1970\'s, along with the ones presented by George Lakoff from 1980\'s onward. The proposition that the category of monster as pressuposed and understood by the modern world is non-existent in archaic hexametric poetry has consequences to the modern understanding of those creatures which must be perceived as part of a cosmos that does not separate the supernatural, the wonderful, and the divine in the same terms as the modern western world does, revealing the need to understand those creatures under the point of view of the tradition that created them or incorporated and ressignified them.

This thesis undertakes a study of some of the historical origins and developments of the Southern Baptist Convention in relation to its music.

許多學者曾探討語言與音樂的互動關係。本研究則是將此議題延伸討論至漢語聖經經文入樂。本文漢語聖詩的歌詞皆截取自聖經經文，旋律的部份則是由牟維華(2007)所編。本篇主要包含了語料庫以及優選理論分析。語料庫的設置是用以觀察音節與音符的關連性、語言與音樂的邊界，以及輕聲的節奏。而優選理論分析則是藉著制約排序選出優選輸出值。本文聖詩可以兩種方式避免音符沒有對應到歌詞的現象，即一個音節對入多個音符，以及插入重複的歌詞。此兩種不同變異體可透過並存音韻(cophonology)的次語法，也就是Dep-σ 及Univormity-SM兩個制約的重新排序來解釋。由 Align-R(Long,IP)、Align-L (T, XP) 及 Align-R (T, IP) 三種制約排序，可預測出三連音邊界與歌詞的對應關係。Rhythm-N和Align-R (Long, IP) 兩個制約的排序，則可預測輕聲字的節奏長短。本研究發現音樂可被調整，以容納音節節奏。語言亦會被音樂影響，如此以符合樂譜的模組(template)。 / Scholars have discussed the interaction between language and music. This study investigates this issue in Chinese biblical hymns. The lyrics of Chinese biblical hymn discussed in this paper are from biblical verses while the melodies are composed by Mou (2007). This paper includes corpus-based and Optimality Theory analysis. Corpus is constructed to observe the phenomena of syllable-note association, language and music boundaries, and the rhythm of neutral tone syllables. In terms of Optimality Theory, the optimal output of the hymn is governed by a set of constraints. Both linking one syllable to multiple notes and inserting repeated lyrics to the hymns can avoid notes from not linking to any lyric. These two variations can be accounted for by re-ranking Dep-σ and Univormity-SM in Cophonology Theory. The constraint ranking of Align-R (Long, IP), Align-L (T, XP) and Align-R (T, IP) can predict the interaction between the tiercet boundary and lyrics. The ranking of Rhythm-N and Align-R (Long, IP) determines the rhythm of neutral tone syllables. To conclude, this study has found that music can be modified to accommodate syllable rhythm. Language can also be influenced by music to satisfy the music template.