Since the Greek phrase ἐγώ εἰµι has been used as a form of the divine name by God to reveal himself in the Septuagint, biblical scholars generally acknowledge that the appropriate interpretation of this phrase is important for understanding John’s unique presentation of Jesus. However, scholars have not reached a consensus on the interpretation of Johannine “I am” and there are several problems with contemporary interpretive works. First, the extant studies rely heavily on the background of the “I am” phrase and draw their conclusions almost on the basis of diachronic data only. Consequently, the significance of this phrase in the Gospel of John itself has not been fully understood. Second, the linguistic features that are actually essential for the appropriate interpretation of this particular linguistic structure have not been fully assessed in current biblical scholarship. Third, the existing research normally interprets the “I am” phrases individually but fails to explore the relationship between these uses. In the Gospel of John, the Greek phrase ἐγώ εἰµι and its variants occur in Jesus’ utterances in thirty-one verses, namely John 4:26; 6:20, 35, 41, 48, 51; 7:34, 36; 8:12, 18, 23, 24, 28, 58; 10:7, 9, 11, 14; 11:25; 12:26; 13:19; 14:3, 6; 15:1, 5; 17:14, 16, 24; 18:5, 6, 8. This study conducts a discourse analysis based on the theory of Systemic Functional Linguistics (SFL) to interpret these thirty-one occurrences of “I am” in Jesus’ utterances, concentrating on their interpretation and significance within the Johannine context. This new methodological framework can analyze the linguistic features of the New Testament text and may offer new insights into the current research of Johannine “I am” in most regards. Examining the function of this phrase through a functional-semantic analysis and a rhetorical-relational analysis, this study argues that the thirty-one occurrences of “I am” in Jesus’ utterances throughout the Gospel of John reinforce John’s portrayal of Jesus’ divinity. According to John’s construing of Jesus’ divinity, this study demonstrates how Johannine Christology is expressed through the narrative of John’s Gospel with various textual characteristics.

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This study looks at how media representations change regarding Somalis in Minneapolis, Minnesota, USA, under the course of a project called “I AM A STAR for Somalia”, launched in April 2011. A quantitative content analysis of print media is employed, concentrating on factors such as actors, subjects, patterns of quoting, involvement and article prominence. Various studies are used as a foundation, including Teun Van Dijk (1991), which introduce and explain theories such as Ideology and Racism, Agenda Setting, Minimal Effects and Integration. Ultimately, the analysis reveals a change in media portrayals correlating with the I AM A STAR project; Somalis are portrayed in roles and stories which normalise their representation in the year following the launch. In the second year, however, these positive effects are not as apparent.

Den relativt nya företeelsen BrandME – I am the brand är en eTjänst som fungerar som ett virtuellt provrum och därmed gör det möjligt att kunna prova på kläder virtuellt. Till sin hjälp har man bland annat använt sig av 3D-grafik samt databaser. BrandME är en produkt av det kanadensiska företaget My Virtual Model, ett företag som har arbetat med att sätta standarder för virtuell identitet sedan år 2000.Då denna företeelse är relativ ny, skapar detta utrymme för undersökning och bedömning om huruvida välutvecklad och välanpassad BrandME är. Undersökningens syfte är att utvärdera BrandME för att sedan kunna fastställa nyttan med denna eTjänst. Under utvärderingen koncentrerar vi oss dels på användbarheten hos BrandME och dels på utformningen av BrandME.

One of the distinctive features of the Fourth Gospel is the emphasis placed on the divine name (ὄνομα). The name occurs eight times (5.43; 10.25; 12.13, 28; 17.6, 11-12, 26), in key passages and in striking expressions such as “I have made known your name” (17.6) and “your name, which you gave me” (17.11). This thesis uses historical-critical methodology in a close reading of the Fourth Gospel to determine why John is so attracted to the name category. It is argued that, for John, the divine name was fundamentally an eschatological category with a built-in duality or “associative” significance, which he derives primarily from his reading of Isaiah. It is plausible that Isaiah was the primary impetus for John’s interest in the divine name, because name language is bound up with the “I am” expression and glory language in Isaiah— both of which more clearly underlie John’s “I am” sayings and glory motif. Furthermore, the significance of the name in Isaiah as the object of eschatological expectation (Isa 52.6), and as a concept by which God is associated with his Servant, attracted John to the name category as ideal for his nuanced presentation of Jesus. In John’s use of the name category, it is possible to distinguish the question of significance from that of referent, meaning, and function. This, in turn, facilitates a clear evaluation of possible catalysts for John’s name concept. It is demonstrated that a variety of Jewish and Christian background influences contributed to John’s name concept at the level of referent, meaning, and function. However, the eschatological and associative significance of the name in the Fourth Gospel is particularly indebted to the name concept in Isaiah. This is significant, in part, because Isaiah places such emphasis on the exclusivity of God. It may be that a zeal for God’s exclusivity had generated accusations against the community of believers known to John, that, by their allegiance to Jesus, they were guilty of blaspheming the name in particular. The name was, perhaps, a “flashpoint” for the community, and the text of Isaiah a key battle-ground for defining fidelity to God, and the identity of the people of God. By associating Jesus with the divine name, John legitimates the allegiance of believers to Jesus in the face of Jewish opposition, as well as comforts those who were troubled by the continued absence of Jesus, with the point that they were yet identified by the divine name (17.11), and that eschatological revelation of the name promised in Isaiah was extended to their own time as well (17.26b).

Denna studie undersöker hur unga transpersoner representeras i media, närmare bestämt inom genren reality tv. De två program som valts för ändamålet är amerikanska I am Jazz och ryska TransReality, där den första fokuserar på 15-åriga Jazz Jennings liv medan den andra följer ett antal unga transpersoners vardag. Valet av program bygger på att de båda släpptes under det gångna året, att samtliga huvudpersoner är ungdomar och att de har sitt ursprung i två vitt skilda kulturella kontext. Syftet är att granska hur serierna representerar transpersoner utifrån frågor som biologiskt kön, genus och könsidentitet. Frågeställningarna rör ungdomarnas sociala relationer och samhället, vad det är som serierna problematiserar och hur programmets utformning bidrar till att berätta deras historier. Inledningsvis förklaras olika definitioner av kön, samt genus och könsidentitet. För att närma mig materialet har jag valt teorier utifrån programmens utformning såväl som innehåll. Teorierna omfattar reality tv, stereotypier, Judith Butlers idéer om genus i kombination med transgender studier och transfeminism. De senare två är relativt nya akademiska ämnen/teorier i Sverige, men välbehövliga sådana då de tar transpersoners liv och erfarenheter på allvar. Studierna jag tagit del av inom tidigare forskning visar på att transpersoner ofta förbises även i queerteoretiska sammanhang. Feminismen har även inkorporerats i metodologin, för att bättre belysa det som studien avser att undersöka. Norman Faircloughs kritiska diskursanalys med sin politiska betoning utgör stommen för det analytiska arbetet. Detta har applicerats på tre avsnitt av varje program: det första, mittersta och sista. Genom att analysera dessa framkommer att bakom den överlag positiva framställningen av de unga transpersonerna i TransReality ligger konservativa värderingar om kön, genus och könsidentitet. I am Jazz är mer progressiv, men även den visar ibland på liknande tendenser som TransReality. De sociala relationerna är det som problematiseras, istället för de unga transpersonerna själva. Reality tv ger prov på att den vuxit till sig som genre i att den med dokumentär ambition berättar de unga transpersonernas historier. Denna autenticitet kan vara av vikt för samhällets förståelse av transpersoner.

This art historiographical study focuses on African American artist Elizabeth Catlett’s linocut series I Am the Negro Woman, composed of fifteen images and executed in 1947 while Catlett was a visiting artist at the Taller de Graphica Popular in Mexico City. The series was exhibited shortly thereafter at the Barnett Aden Gallery in Washington, D.C., only to be largely marginalized by the art historical discourse of the following twenty-five years; however, during the Civil Rights Movement, a renewed interest in Catlett and her works began to develop. Later Feminist and Post-colonial art historians, seeking to widen the narrow mid-twentieth century canon, incrementally began to address these images in accordance with their respective interests, expanding the scholarship and increasing the exhibition of the series. The reputation of these images continues to grow, moving I Am the Negro Woman out of the margins of the art historical discourse into a more valued and recognized position.

This essay is a study regarding the use of H.P. Lovecraft´s Shadow over Innsmouth, Richard Matheson´s I am Legend and Joel M. Sipress´s three step program when working along the theme of race in the classroom. The study supports the argument that it is possible to successfully incorporate these two Sci-fi/Horror novels in a pedagogical context when working with race. To further strengthen this argument I am going to look closer at three terms, which will serve as the essay´s theoretical focus points, and investigate how they can be used to explain the content of the works and their understanding of race. These three terms are racial identity, racial hierarchies and hybridity. I am going to discuss the possibilities regarding how and why one could practically apply the two novels when working with Joel M. Sipress´s three-step strategy in the classroom. The reason behind my decision to focus my essay on this is because I want to explore the possibility for meaningly using these less-mainstream genres in a pedagogical context.

Please read the abstract in the section 00front of this document / Thesis (PhD (New Testament Studies))--University of Pretoria, 2008. / New Testament Studies / unrestricted

La thèse « La force du religieux et du politique chez Madonna. Une approche de son expression à partir de ses trois documentaires : Madonna : Truth or Dare, 1991, I’m Going to Tell You a Secret, 2005, I Am Because We Are, 2008 » s'intéresse à la façon dont la culture populaire contemporaine utilise des concepts et des outils originaires des domaines du religieux et du politique pour s'exprimer et exercer son influence dans la société. La longévité de la carrière de la chanteuse Madonna fait de son corpus de travail un lieu privilégié pour saisir et analyser l'emploi de tels concepts depuis les années 1990, et offre ainsi l'occasion de mieux comprendre les formes du contemporain et les enjeux de la culture populaire. / This dissertation deals with the ways in which the contemporary popular culture uses concepts and tools coming from religion and politics in order to exert some influence on our society. The length of American singer Madonna’s career makes her decades-long artistic expression a privileged locus where such concepts can be grasped and analysed, starting in the 1990’s. This provides the opportunity to better understand the means of expression in our contemporary world, together with what is at stake in popular culture.