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The Creation and Manifestation of Reality-theory was developed for this study. This theory provides an answer to why high functioning people experience problems at work, develop relationship problems, and other dysfunctions that occur in their lives. It provides an explanation as to why this happens: at a certain point in our existence a critical incident (or Initial Sensitising Event) or a series of repeated incidents is perceived by the person as traumatic. During this time of high emotion the child forms a subconscious conclusion, followed by a subconscious decision. The Hypnotic Blueprint is an accumulation of all the different subconscious conclusions and decisions formed over time at a time of intense emotionality, during which the psyche feared for its survival, repressed, gated and banished into the borders of the person's subconscious mind. Numerous other incidents occur through life that reinforce and bolster the original Hypnotic Blueprint. Simultaneously, conflicting ego-states are formed, attempting to balance the state of disequilibrium. Later in life, the original Blueprint is triggered, through the Symptom Activating Event, at a sub-conscious level and starts to operate in the person's life, attracting the circumstances and people who best replay or re-enact the original trauma on a symbolic level. This pattern will be recreated in the person's life, and will most often be the reason why the person enters therapy, or the presenting problem. Life acts as a mirror of the inner world or the psyche of the person. The inner world is mirrored by the other world, or reality. By changing our inner reality, we impact or transform our outer reality. To complete the Creation and Manifestation of Reality-theory, the Imago Developmental Stages identified by Harville Hendrix, were integrated, namely Attachment, Exploration, Identity and Competence. The therapeutic modality suggested is de-hypnotising. The study does not intend to measure the success of the therapy, but rather to establish and test the validity of the Creation and Manifestation of Reality-theory on case studies, using the Life History approach. / Educational Studies / DED(PSYCHOLOGY OF EDUCATION)

The Creation and Manifestation of Reality-theory was developed for this study. This theory provides an answer to why high functioning people experience problems at work, develop relationship problems, and other dysfunctions that occur in their lives. It provides an explanation as to why this happens: at a certain point in our existence a critical incident (or Initial Sensitising Event) or a series of repeated incidents is perceived by the person as traumatic. During this time of high emotion the child forms a subconscious conclusion, followed by a subconscious decision. The Hypnotic Blueprint is an accumulation of all the different subconscious conclusions and decisions formed over time at a time of intense emotionality, during which the psyche feared for its survival, repressed, gated and banished into the borders of the person's subconscious mind. Numerous other incidents occur through life that reinforce and bolster the original Hypnotic Blueprint. Simultaneously, conflicting ego-states are formed, attempting to balance the state of disequilibrium. Later in life, the original Blueprint is triggered, through the Symptom Activating Event, at a sub-conscious level and starts to operate in the person's life, attracting the circumstances and people who best replay or re-enact the original trauma on a symbolic level. This pattern will be recreated in the person's life, and will most often be the reason why the person enters therapy, or the presenting problem. Life acts as a mirror of the inner world or the psyche of the person. The inner world is mirrored by the other world, or reality. By changing our inner reality, we impact or transform our outer reality. To complete the Creation and Manifestation of Reality-theory, the Imago Developmental Stages identified by Harville Hendrix, were integrated, namely Attachment, Exploration, Identity and Competence. The therapeutic modality suggested is de-hypnotising. The study does not intend to measure the success of the therapy, but rather to establish and test the validity of the Creation and Manifestation of Reality-theory on case studies, using the Life History approach. / Educational Studies / DED(PSYCHOLOGY OF EDUCATION)

當代基督教的人權觀 人權是當代人類地球村最為關切的議題之一，由於有關人權概念及其真義的徹底探討，早晚必會處理到人生與人類終極意義與價值等問題，因此引發宗教神學的討論，必然勢所難免。本論文試圖從基督教的面向來探究人權的立論基礎、人權的體系內容，及其對當前人權爭議的因應。 在人權的立論基礎部分，本論文認為，由於人類所致力規畫、促進及保護的人權，難免因參與者自身的侷限與偏見，而蒙受損害，甚至會使人權運動被認為只不過是權力鬥爭或意識形態戰爭的方便口號，各是其是。因此，將人權分析侷限在單純的社會內在的非超越性考量，似乎有所不足，進而指出「超越性」基礎的必要性。而當代基督教人權觀的立論基礎則以聖經神學、人類的上帝形象、自然法及整全的人類觀為論述重點。 在人權的體系與內容特色方面，則指出：人權內涵的歷史，反應了發展的認知，並顯示某種價值在不同的時代特別需要鼓勵和保護。而人權的完整，可視為如同福音之不可分割体。若有衝突時，優先原則必須用來恢復那些被忽視或壓制的人權上，並強調「窮人、被宰制者、邊際團體」等弱勢族群的人權優先於「富人、有權勢者」的人權。此外，也指明一切人權均連帶著特殊義務，權利與義務不可分割，權利未縱容特權之發生，義務亦不允許無知的要求。因此，個人與群體之間、個別群體與全人類之間、這代與來代之間、全人類與大自然之間，均有其相互的權利義務關連。 而在因應當代人權爭議方面，則嘗試發展出一套介於西方與非西方之間的「人類觀」來解決其衝突。基督教的「人類觀」認為人既是自由的超越歷史與文化的抽象物（abstract），但也是生存於其歷史及文化環境之中（cultural），因此，從「抽象─普世」與「歷史─文化」這兩者兼具的角度來定義人及人權，可以為「人權普遍性原則與文化相對主義」之間的衝突找到交會共通的出路；再者，基督教的「人類觀」同時認為，人既有善性仁慈（benevolent），也有墮落罪惡（sinful），由人所建構的國家政府在行使公權力時同樣具有這種雙面性，據此，一方面冀望以道德法律作為國際規範，而另一方面則認知權力和自保才是國家行為最根本的決定因素，從而為「普遍性人權與國家的主權」之間的爭議，尋覓一條中庸的出路。 當代基督教的人權觀 目 錄 第一章 緒論……………………………………………………………………1 第一節 研究動機及目的………………………………………………………1 第二節 概念界定與說明………………………………………………………3 第三節 研究途徑與研究架構…………………………………………………5 第四節 相關文獻評析…………………………………………………………7 第二章 基督教人權觀的立論基礎………………………………………11 第一節 人權的「超越性」基礎……………………………………………11 一、「超越性」之基礎的必要性…………………………………………11 二、質疑論者的觀點………………………………………………………15 三、對質疑論者的答辯……………………………………………………19 第二節 人權之聖經立論依據………………………………………………23 一、 聖經與人權……………………………………………………………23 二、 聖經可靠性之探討……………………………………………………33 三、 上帝形象作為人權之基礎……………………………………………40 第三節 自然法作為人權立論依據…………………………………………45 一、 自然法與上帝的形象…………………………………………………45 二、 肯定自然法作為人權根基……………………………………………48 三、 自然法作為人權基礎的斟酌…………………………………………52 第三章 基督教人權觀的體系……………………………………………58 第一節 完整不可分割之人權觀…………………………………………58 一、 三階段之人權觀………………………………………………………58 二、 人權如福音之不可分割………………………………………………65 第二節 人權與其優先順序………………………………………………74 一、 基督教人權觀之優先順序……………………………………………74 二、 人權優先順序之辨與調和……………………………………………81 第三節 權利與其相對之義務……………………………………………86 一、 個人與群體之權利義務的辨明………………………………………86 二、 來代的權利與這代的義務……………………………………………91 三、 自然的權利與人類的義務……………………………………………98 第四章 當代人權爭議與基督教人權觀…………………………………109 第一節 人權普遍性原則與文化相對主義…………………………………110 一、 爭議雙方的論點………………………………………………………110 二、 基督教的觀點…………………………………………………………114 第二節 普遍性人權與國家的主權…………………………………………121 一、 爭議的緣起與論點……………………………………………………121 二、 基督教的觀點…………………………………………………………124 第五章 結論…………………………………………………………………136 第一節 人權的立論基礎……………………………………………………136 第二節 人權的體系與內容…………………………………………………140 第三節 「解決當代人權爭議」芻議………………………………………143 第四節 綜合結語與省思……………………………………………………146 【參考書目】………………………………………………………………151

The aim of this dissertation is to undertake a study of the trinitarian ecclesiology of the North American evangelical theologian Stanley J. Grenz (d.2005), along with his imago Dei theology, revisioned social trinitarianism, narrative theology, incorporation of theosis, and theology of triune participation. This dissertation also utilizes the hermeneutical philosophy of Paul Ricoeur, in conjunction with Grenz’s trinitarian ecclesiology, to propose a missional and hermeneutical ecclesiology. Chapter one begins with an overview of Grenz’s theology and a discussion of the current state of Grenz scholarship. It then introduces Ricoeur’s hermeneutics of the self and theory of narrative identity. The chapter concludes with an overview of chapters two, three, and four. Chapter two traces the manner in which Grenz’s social trinitarianism and imago Dei theology yield a social imago. The first section overviews Grenz’s The Social God and the Relational Self, the social imago, the ecclesial self, his notion of ecclesial eschatological prolepsis, and his theology of triune participation. The second section responds to key criticisms of social trinitarianism, discusses Grenz and Ricoeur on the relational self, and outlines the manner in which Grenz’s theology of theosis and triune participation “in Christ” and through the Spirit yields an ecclesially oriented communal theo-anthropology. The final section takes up Grenz’s social imago and triune participation in relation to female/male mutuality in ecclesial participation and community. Chapter three discusses Grenz’s narrative theology and the development of a narrative imago. The first section overviews Grenz’s The Named God and the Question of Being and his development of the narrative of the divine name as the saga of the triune God, his further use of theosis, and the narrative imago arising within storied participation “in Christ” through the Spirit. The second section examines the continuity of Named God with Social God and argues that Grenz presents a revisioned social trinitarianism. The second section also considers Grenz and Ricoeur on the narrative self and proposes that Grenz’s ecclesial theo-anthropology now becomes a cruciform Christo-anthropology. The third section takes up the narrative imago and female/male mutuality and cruciformity as it arises from the ecclesial relation of storied and communal theotic triune participation. Chapter four treats the development of a Grenzian ecclesial imago and proposes a missional and hermeneutical ecclesiology. The first section presents Grenz’s ecclesiology as it is oriented towards mission and the connection of theosis, triune participation, and ecclesia. This section then proposes a missional grammar for the church as God’s ecclesial hermeneutics of community. The second section discusses potential charges of ecclesiological foundationalism, considers Grenz and Ricoeur on the summoned self, and extends Grenz’s theo-anthropology and Christo-anthropology into a missio-anthropology. The third section considers the mutuality and cruciformity of ecclesial “male and female” relation “in Christ” and through the Spirit, manifest in ecclesial friendship and hospitality, as the coming-to-representation and hermeneutics of community of the triune God. The conclusion offers a summary and possible avenues for further investigation.

This thesis provides an examination into the primary features in the theology of one of the turn of the century's leading evangelical theologians, Stanley J. Grenz. It begins by establishing the controversial nature of Grenz's project within evangelical theology, and how his aims were misread by a number of evangelical scholars. It then argues that the primary feature in his writings was the doctrine of the Trinity, giving shape to his methodology, theology, and ethical engagement. Accordingly, this thesis identifies the most significant features he adopted and adapted from Wolfhart Pannenberg, whose influence on Grenz is readily seen. These features include not only how Grenz derived particular methodological aspects from Pannenberg (chap. 2), but also those related to the shape of his trinitarian theology itself (chap. 3). Next, while realizing that Grenz's new-found emphasis on a trinitarian project was not placed on a tabula rasa, a wider account of his trinitarian background is considered (chap. 4), as is the particular developmental shape of his doctrine of the Trinity itself (chap. 5). Following this, an examination is made into how Grenz accessed this doctrine of the Trinity, through the imago Dei concept, informed by a theological hermeneutic, theological exegesis, and weaved through the traditional systematic loci (chap. 6). Finally, the shape of his trinitarian ethical work is considered in light of the overall coherence of his body of writings, both in its early form as a Christian ethic as well as in the test-cases that were part of his engagement (chap. 7). This is followed by a summary of the reception of Grenz's project, which is deemed consistent with his aims of being both a distinctly evangelical and trinitarian theologian.

Avec l’allongement de la durée de vie, les écrits sur la psychologie du vieillissement se sont développés à une moindre échelle que ceux concernant la clinique de l’adulte et de l’enfant. Il nous est donc apparu intéressant, passionnant et fécond de réfléchir à cette période de senescence en reprenant la dualité somat/psyché à travers l’événement chute. L’utilisation d’une méthodologie quantitative et qualitative permet d’aborder l’évènement chute comme une expérience traumatogène selon les données corporelles (sujet dit fragile ou valide, conséquences somatiques et psychomotrices…), temporelles (délai de la dernière chute, moment de la chute, âge objectif et subjectif de la chute…) et psychiques (défenses mises en place, réminiscence, travail du vieillir…). Nous nous sommes donc plus particulièrement penchés sur le point de bascule de cet événement dans un contexte de traitement coûteux des conflits issus de cette période pour y découvrir des défenses de type obsessionnel et une régression maternelle primaire. Par conséquent, le développement des réflexions psychologiques et psychanalytiques sur la clinique de la chute du sujet âgé ne peut être appréciable qu’à la condition de ne pas « tomber » dans le mythe d’un lien de causalité unique, dans une classe démographique indifférenciée dont l’âge serait vu comme un facteur étiologique. L’utilisation de l’analyse quantitative et qualitative du discours donne accès aux données réactionnelles post chute mais également aux modalités de traitement psychique des affects et conflits éveillés par cet événement. Nous avons associé le discours en libre association avec la technique du dessin pour avoir un aperçu des images mentales fixées dans le récit historien de la mémoire. La chute est alors exposée comme un agir, pour pallier la défaillance du système pare-excitation, des capacités d’élaboration et de liaison de la blessure narcissique de la sénescence. Cependant, elle peut également être appréciée comme un retour au corps pour une reprise élaborative des liens d’attachement en vue d’une fin inéluctable. C’est alors que « ce qu’on appelle une raison de vivre est en même temps une excellente raison de mourir » (Albert Camus). En effet, les communications sur la question de la psychologie de la chute du sujet âgé sont principalement étudiées dans le cadre de processus déficitaires ou psychopathologiques du sujet âgé fragile, hospitalisé, sans réellement prendre en compte les remaniements complexes individuels et groupaux inhérents au travail du vieillir. Nous nous sommes donc intéressés au mouvement psychique chez le sujet âgé valide afin d’en tirer de nouvelles réflexions cliniques sur le type d’angoisse et de relation d’objet. Le TAT/SAT proposé au sujet de notre étude a établi la constitution psychique d’un modèle interne de relation insécure du chuteur, en lien avec des expériences d’empiètement relationnel avec un objet maternel défaillant et décevant. / With the increase of life expectancy, psychological writings about ageing have not developed as much as those concerning adults and children. It seemed to us interesting, fascinating and fruitful to think about this senescence period by restating the « somat/psyche » duality throughout the deterioration event. The use of a quantitative and qualitative methodology allows us to tackle the fall event as a traumatic experience according to physical data (fragile ou valid subject, somatic or psychomotor consequences…), temporal (since the last fall, moment of the fall, objective and subjective age of the fall…) and psychic (defenses set up, reminiscence, the work of getting old…) So we specifically looked at the turning point of this event in the context of expensive treatment of conflicts emerging at that time to discover obsessive defense mechanisms and primary maternal regression. In consequence, the development of psychological and psychoanalytical reasoning on the observation of the fall of the ageing subject can only be appreciated by not « falling » in the belief of a unique link of casuality, within an indistinguishable demographic class where age would be seen as an etiological factor. The use of quantitative and qualitative analysis of the discourse gives access to postfall reactive data but also to psychic treatment methods of the conflicts and affects which emerged from this event. We combined verbal communication with the drawing technique to get an insight of the mental images set in the historical narrative of memory. The fall is then exposed as an action, to mitigate the failure of the protective shield system and the capacities of development and connection to the narcissistic injury of senescence. However, it can also be appreciated as a coming back an elaborative resumption of attachment that leads to an inevitable end. It was then that "what is called a reason for living is also an excellent reason for dying" (Albert Camus). Indeed writings on the subject of the psychological deterioration of the ageing person are mainly studied in the context of the psychopathological or deficient process of the frail person in question, hospitalized without really taking into account the individual and collective complex alterations common to the process of ageing. We therefore concentrated on the psychic process of a valid old subject in order to glean more clinical reflections on the type of anxiety and object interaction. The TAT/SAT proposed concerning our study has established the psychic constitution of an internal model of an insecure relationship of the ageing, linked with an infringing relational experience with a failing and disappointing maternal object.

The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a “holy field”, or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni’s Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern’s clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar—both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.

The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a "holy field", or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni's Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern's clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar--both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.