Les préverbes a)na- et kata- sont souvent considérés comme un couple complémentaire, parce qu’avec des verbes de déplacement a)na- marque un mouvement vers le haut et kata- un mouvement vers le bas. Ces deux préverbes ont pourtant eu des emplois très variés qui dépassent largement l’emploi spatial.L’étude des composés présents dans les oeuvres d’Homère, Hésiode et Hérodote permet d’identifier les connotations essentielles associées à ces préverbes dès les premiers textes. A défaut de pouvoir identifier une Urbedeutung, il est possible de comprendre comment le sens de ces préverbes a évolué d’un sens concret vers des emplois plus abstraits. L’étude successive de ces deux composés, en établissant des catégories de significations parmi les verbes, nous per-met découvrir un certain nombre de sèmes qui semblent constitutifs de chacun des deux préverbes. Cela nous montre que le préverbe a)na- est surtout associé à des verbes de mouvement, alors que le préverbe kata- est davantage lié à des verbes statifs ou qui évoquent un processus de destruction.La question de la valeur aspectuelle de ces préverbes est aussi un élément fondamental. L’étude de ces deux préverbes permet de comprendre comment ils ont pu tous les deux acquérir une valeur aspectuelle pour souligner notamment l’accomplissement du procès. Cependant, on constate qu’ils ne correspondent pas au même accomplissement, puisqu’a)na- dénote un accomplissement créatif, tandis que kata- souligne le plus souvent l’accomplissement d’un processus de disparition. / The preverbs a)na- et kata- are usually considered as a couple, because for motion verbs a)na- bears an up motion and kata- a down motion. These two preverbs have nevertheless been employed variously and more widely than for merely spatial indications.Studying the compound verbs of the works of Homer, Hesiod and Herodotus allows us to identify the essential conno-tations linked to these preverbs since early literature. Even if we cannot find the Urbedeutung, it’s possible to unders-tand how the meaning of these preverbs has progressed from a concret meaning to an abstract. The ordered investiga-tion of these compound verbs, by distinguishing the different categories of meaning, help us discover some semantic classes which seem to be essential for each preverb. Thus we see that the preverb a)na- is mostly linked to motion verbs, whereas the preverb kata- is more combined with stative verbs or verbs which discribe a disappearance.The question of aspect for the preverbs is also fundamental. The study of these two preverbs allows us to understand how they could, both of them, own an aspectual value to emphazise the process accomplishment. But we can see that it’s not the same accomplishment, since a)na- indicates a creative accomplishment, while kata- most often highlights the accomplishment of a dying process.

The study consists of a survey in which church musicians answered questions about which hymns are played during the various gatherings of Easter in the Church of Sweden. Based on the Swedish Hymn Book, the answers to the questionnaire are presented and a selection of hymns is made for the study. The psalms are analyzed on the basis of a hermeneutic method and in the light of reception theory regarding the origin of the psalms through the narrative of the biblical gospels. The study compares the Bible reading that occurs during Easter gatherings in the Church of Sweden and the hymns that are sung. It describes whether these different texts are common to the psalms and the reading or whether they are independent of each other. Finally, what happens to the Gospel texts when they are converted into a psalm is discussed. What happens is that the whole of the Gospels is included and not just specific pericopes. The psalm does not reflect the feeling of what is happening in the reading of the gospel, but contributes with a completely different feeling. This means that the experience of the gospel narrative through the psalm becomes different from the gospel narrative through reading.

This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants. The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance. Musical perspectives are discussed looking at ways to help people not formally trained in music to evaluate tunes. This theoretical section leads to a catalogue of criteria for “Good songs”: These are criteria for quality, for “Good Text”, such as biblical and theological value, how easily it is understood, whether it takes human experience seriously and its poetic value. Criteria for “Good Tune” include its level of difficulty, how heavily it depends on accompaniment, and its balance between the familiar and the interesting and new. The third category of criteria evaluate the match between text and tune in mood, rhythm and climax. The last category looks at the balance in the song between different polarities, such as, amongst others, the balance of past and present, cognitive and emotive elements, between challenge and affirmation, and between universal and particular emphases. This list of criteria is then tested on three songs each of four different songwriters: two traditional and two contemporary: Paul Gerhardt, Charles Wesley, Graham Kendrick and Noel Richards. In each case a background is given, an overview of their work as a whole and a detailed analysis of each song. In the end the criteria themselves are evaluated as to their usefulness and user-friendliness. Suggestions are then made how these criteria can guide worship leaders in their choices of songs for the Sunday service. / Thesis (PhD)--University of Pretoria, 2013. / gm2014 / Practical Theology / unrestricted

In his Southern Harmony collection, William Duckworth extracts existing material from shape-note hymns found in William Walker's 1835 publication A Southern Harmony and Musical Companion. He then applies minimalist and postminimalist processes to this material to create innovation choral compositions. This document provides a comprehensive analysis of the methods used to construct all twenty works in Duckworth's collection by tracing the extracted source material through the fabric of the new compositions. This study provides substantial evidence of Duckworth's place as a pioneer of the postminimalist genre. It also provides a discussion on the vocal implications of utilizing shape-note hymns as source material as traditional performances of the genre are typically associated with a unique vocal style.

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Topic This study examines the hymnic pericopes found at Revelation 4.8-11; 5.9-14; 7.10- 12; 11.15-18; 12.10-12; 15.3,4 and 19.1-8 in light of the cosmic conflict theme. It considers that this theme is a major contributor to the development of Revelation’s plot, and thus the hymnic sections are informed by, and inform the understanding of the controversy. Purpose Recognizing that the majority of critical studies give interpretative primacy to the social and political realities that existed in the Roman Empire at the time of Revelation’s composition, there is need for an examination of the storyline from the perspective of issues that are clearly of narratival importance. This study argues that the cosmic conflict is at the center of the book’s concerns, and attempts to determine the function of the hymns in relation to the ongoing controversy. Previous examinations of the hymnic sections have either considered them to be a response and/or parody to Roman liturgy, examples of God’s unquestioned sovereignty, or expressions of thematic overtones found throughout the book. While all these approaches make a contribution to a greater understanding of the hymns, the relation of the hymns to the ever-present conflict theme has not been explored. This study allows the hymnic sections to engage with the larger narrative issue as to who is truly the rightful sovereign of the universe. Conclusion This study found that a close examination of the text confirms that the cosmic conflict is the major motif in the narrative, and that it does not simply serve as a metaphor for political realities. It also concluded that the temple/throne room imagery found throughout the storyline, should have a controlling influence upon interpretation. This setting provides the backdrop for understanding the origins and issues of the controversy. Another conclusion of the study is that the only way for the controversy to be resolved is for God to reveal Himself in such a manner that the truth about Him is manifest. Finally, it was seen that the hymns do provide commentary on the conflict, by acclaiming God’s goodness and right to rule, despite the undertones of Satan’s accusations. / New Testament / D. Th. (New Testament)

This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.

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.

A vigorous oral tradition has existed throughout South African history, and in many ways represents our truly original contribution to world literature. Despite this, oral literature is largely absent from accounts of literary history in this country. While the particular oppressions of South African political life have contributed to the exclusion of oral forms, the suppression of the oral in favour of the printed text is a feature of literary studies worldwide, and appears to be related to the critical practices that have been dominant in universities and schools for most of this century. In this study I consider ways of recovering oral forms for literary debate, and offer what I consider to be more appropriate strategies of 'reading'. My aim is to re-establish a line of continuity in South African poetry and performance from the songs and stories of the Bushmen, through the praise poems of the African chiefdoms, to the development of Christianised oral forms, the adaptation of the oral tradition in 'Soweto' poetry of the 1970s, and the performance of poems on political platforms in the 1980s. Recovering oral poetry and performance genres for literary debate requires the development of an appropriate critical methodology. Through a consideration of advances in the study of orality, I aim to suggest ways of reading which grant credence to the specific strategies and performative energies of oral texts while locating the texts in the spaces and constrictions of their societies. A great many oral texts from the past survive only in printed, translated forms, however, and a key aspect of such a critical project is how - while acknowledging the particular difficulties involved - one 'uses' highly mediated and artificially stabilised print versions to suggest something of the dynamic nature of oral performance in South African historical and social life. This thesis also considers how texts address us across historical distances. I argue for maintaining a dialectic between the 'past significance' and 'present meaning' of the poems, songs and stories: for allowing the past to shape our reading while we remain aware that our recuperation of history is inevitably directed by present needs and ideologies. These ideas are explored through five chapters which consider, respectively, the songs and stories of the nineteenth-century /Xam Bushmen, the izibongo of Shaka, the hymns of the Messianic Zulu evangelist Isaiah Shembe, Ingoapele Madingoane's epic 'Soweto' poem "black trial", and the performance poetry of Mzwakhe Mbuli and Alfred Qabula in the 1980s. / Thesis (M.A.)-University of Natal, Durban, 1995.

Worship practice in Christian churches around the world has changed rapidly in the last two decades. The impact of contemporary Christian music on non-western churches has been little studied. The Filipino Churches of Christ of Central Luzon have utilized tools of a worship service order and a hymnbook provided by American missionaries in the early twentieth century to establish a consistent worship practice. As the new music has entered through international marketing and communication, the worship order has remained the same while the usage of the Tagalog himnario has declined. This research reviews Filipino history, the history of the Churches of Christ, missionary practice in the Filipino Churches of Christ, the translation of the himnario from the English, the impact of new Tagalog lyrics, and the importation of contemporary Christian music into the Churches of Christ.