Thesis (M.T.S.)--Northwest Baptist Theological Seminary, 1991. / Abstract and vita. Includes bibliographical references (leaves 307-321).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1965. / Typescript. Vita. Abstracted in Dissertation abstracts, v. 25 (1965) no. 10, p. 5910. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 247-252).

Diss.--Freiburg im Breisgau. / "Der Text der Cod. St. Peter Perg. 41 der Bad. Landesbibliothek in Karlsruhe": p. [199]-376. Bibliography: p. [i]-xvii.

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In the course of the romantic movement, the vision of the poetic ministry has been expressed by several poets through the figure of Jesus at the Mount of Olives. While Lamartine appropriates the suffering of Christ in order to proclaim himself to be a poet-prophet, Vigny refuses the silence of God. He, thus, accomplishes his poetic mission against God. Whereas Hugo does not take into consideration the meaning of Jesus' agony in order to make the Gethsemane a place of glory, Nerval rejects the notion of a Christlike mission. Hence, by putting into words the death of God, he foretells what Hugo Friedrich will later call an "empty transcendence", which is the very sign of modern poetics. Romanticism carried within itself the signs of the end of transcendence of poetics. Therefore, we will analyse the transition of romanticism to modernity in these four poems1 through the representation of Jesus Christ at Gethsemane. / 1"Gethsemani ou la mort de Julia" d'Alphonse de Lamartine, "Le Mont des Oliviers" d'Alfred de Vigny, un extrait (strophes VI, VII et VIII du Chapitre intitule Jesus-Christ) de La Fin de Satan de Victor Hugo et "Le Jardin des Oliviers" de Gerard de Nerval.

Typological methods and a scheme of Protestant iconography constitute the fiction of Rudy Wiebe. This structure and style are the necessary consequences of an artistic vision that is self-consciously Christian and evangelical. After a brief discussion of the problem of belief and literature, the dissertation presents Wiebe's Anabaptist theology and examines the typological and parabolical means by which Christian beliefs can become a method of composition. Wiebe's project is to create a fiction in which realistically presented lives and actions exist consubstantially with the gospel of Jesus. A pervasive iconic imagery and ironic reference result in a carefully controlled evangelical "sentence," one which allows Wiebe a fictional re-enactment of the incarnation. In Peace Shall Destroy Many, First and Vital Candle, and The Blue Mountains of China. Wiebe experiments with retrospective typology and with analogical sacrificial actions. In the historical novels (The Temptations of Big Bear, The Scorched-Wood People, The Mad Trapper), he exploits typology proper, giving epistemological authority to his chronicles of faith by establishing the hermeneutical divide in history itself. The gospel is again present, but now it is almost entirely anticipatory and ironic. The dissertation concludes by speculating about Wiebe's latest experiment in evangelical fiction, the self-regarding dramatization of a Christian Wiebe-persona acting in a documentary present.

Thesis (Ph. D.)--Catholic University of America, 1933. / At head of title: The Catholic University of America. Bibliography: p. 85-89.

Thesis (Ph. D.)--Catholic University of America, 1933. / At head of title: The Catholic University of America. Bibliography: p. 85-89.