This dissertation seeks to cover the entire joy theme in Luke-Acts. The Gospel of Luke has been called the ‘gospel of joy', and the joy theme has been recognized in Acts. Although the joy theme is clearly present in Luke-Acts, it has received relatively little attention in New Testament scholarship. This study seeks to examine the joy theme from a socio-rhetorical vantage point. In order to facilitate a careful study of the persuasive use of the emotion of joy and its social impact, the distinct but interrelated textures of the Lukan tapestry are examined separately. From the wide vantage point of the Lukan corpus, the nature of the treads woven into the tapestry are clearly visible. In order to trace these threads, I examine: (1) the repetition of joy, (2) the use of intertextuality from Isaiah, (3) the relationship between joy and God, and (4) joy as an ideological tool amidst conflict. The thesis presented here demonstrates that the joy theme empowers the Lukan rhetoric of reversal. This study contributes to scholarship by connecting the well-known use of ‘reversal' with the emotion of joy. In other words, Luke's two-volume corpus is based on a worldview that is totally ‘upside-down'. Objectively, the joy theme provides the reader/auditor with evidence that YHWH has fulfilled or begun to fulfill his promises. Subjectively, the joy theme provides pathos or emotional power that draws the reader/auditor into the narrative and ultimately into the upside-down world. The emotion of joy is one of the primary ways that the narrative seeks to persuade the reader/auditor to enter into the values and beliefs that characterize this ‘upside-down' world in which YHWH has visited his people in Jesus. This stands in contrast to recent claims that Luke does not utilize emotion as a rhetorical tool.

Thesis (D. Min.)--Austin Presbyterian Theological Seminary, 1998. / Abstract. Includes annotated bibliographical references (leaves 161-165).

Thesis--Université de Paris.

Thesis--Université de Paris.

Thesis--Bonn. / Includes bibliographical references (p. 4-14).

The rose window is a bridge between heaven and earth, a spiritual encounter, and an expression from within to allow the love of joy. Ornament and beauty are the adoration of light. Layers of composition and layers of light allow form to follow feeling through the structural repetition and thought of light as a material itself. / Master of Architecture

Previous studies have shown that the experience of joy normally accompanies the experience of tenderness or love. Theorists have thus suggested that tenderness is not a distinct emotion, but rather a variety of joy. The present study explored whether it is possible to induce tenderness while inhibiting joy. Participants watched scenes designed to induce different emotions. Results showed that a scene could induce high levels of tenderness and low levels of joy if that scene also induced high levels of sadness. These findings suggest the need to reconsider theoretical assumptions regarding the distinction between tenderness and joy.

Thesis (S.T.M.)--Yale Institute of Sacred Music, 1990. / Includes bibliographical references (leaves 69-70).

Tesis (maestro en artes en español)--Universidad Nacional Autónoma de México. / Bibliography: leaves 110-117.

Thesis (D. Mus.)--University of Alberta, 2010. / Title from PDF file main screen (viewed on July 8, 2010). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Music, Department of Music ... Fall 2010, Edmonton, Alberta". The musical work is for band; duration: 23-25 min. The title comes from the 1950 Japanese movie directed by Akira Kurosawa. Includes score as Appendix A. Includes bibliographical references.