Diss.--Zürich, 1996. / Bibliogr. p. 110-114.

Thesis (M.A.)--Catholic Theological Union at Chicago, 1990. / Vita. Includes bibliographical references (leaves 111-118).

Diss. : Theologische Fakultät : Greifswald, [D.D.R.] : 1977. - Bibliogr. p. 137-151. -

This bachelor thesis in exegetics deals with the image of Judas Iscariot and how and why different depictions of him look different. The purpose of the thesis has been to create a broader and more complex picture of Judas by analysing the different gospels and the Acts of the Apostles, the Greek text and secondary literature. My aim has also been to try to understand the different motives that may lie behind the differences in the various texts. I have also looked at what the image of Judas looks like today, both in society and in popular culture. In my essay, I have concluded that the image of Judas has become a strong metaphor in modern society and culture, both positive and negative. In terms of the four evangelists, I have concluded that the Gospel of Mark is the gospel that portrays Judas in the most neutral way, the Gospel of Matthew that portrays Judas in the most humane and forgiving way, and the Gospel of Luke, Acts and John that portrays Judas most harshly and shows him as the biggest villain. In my paper I argue that this may be due to when the gospels were written and that the image has become worse over time. According to my thesis, this can be explained by eschatological beliefs.

Zugl.: Bochum, Univ., Diss., 2007

Thesis (S.T.D.)--Catholic University of America, 1946. / Bibliography: p. 193-206.

The purpose of this essay is to identify the criticism that has been directed towards the traditional description of Judas Iscariot as a traitor. After a survey and analysis of the critical revisionists' arguments, a discussion follows regarding the possible effects this may have on future ways of describing Judas Iscariot. Based on the results that have been elucidated, this essay concludes that the traditional description of Judas in recent times has been forced to endure fairly strong criticism. To summarize this criticism, the main argument raised by today’s revisionists consists of linguistic and historical phenomena. According to these Judas Iscariot has been subject to a, according to some, deliberate demonization; where he over time has become portrayed as more blameworthy. This representation has been rejected by the revisionists in favor of an alternative version, which instead emphasizes Judas as a faithful and obedient servant; the one closest to Jesus. Another primary argument from the revisionists' is the misuse of the Greek verb paradidomi. Based on this linguistic argument, Judas should be regarded as a (obedient) servant when he handed over Jesus, rather than a traitor. The motive behind Judas's actions is in this context considered to be good - although this version did not become known and rewarded for the posterity; which probably explains why Judas's negative attributes all the way back since this era are fairly negative, and then developed in the same track. Through this criticism, an alternative interpretation of the historical Judas Iscariot has been introduced. Based on the arguments that have been discussed in this essay, it is possible that we will eventually get to see this alternate interpretation given more legitimacy; but for the time being it seems rather unlikely that something so radically that a paradigm shift is imminent. As this discussion has intensified, combined with the increasing number of discoveries within this field that today are revealed, the revisionist critique, however, has gained more legitimacy - something that probably may proceed for some time to come.

This paper will discuss the presentations of Judas Iscariot in the Gospel of Matthew and in Jesus Christ Superstar, a musical written by Andrew Lloyd Webber and Tim Rice in 1970. To do this, I will compare the two sources and evaluate what modern reception history has done with Judas as a character. I will be using a film version of the musical from 2000, which is available on YouTube. Mainly this study will examine the Matthean pericope and scene of Judas’ death to try to get an understanding of the presentation of the disciple Judas in biblical times and today. Because of the different types of material, the analyses of Matthew and the Musical will differ somewhat. A central argument is that Judas alone is responsible of his acton, betraying Jesus and taking his own life. I will in this paper argue that the presentation of Judas is not black or white. We need both the biblical and the modern presentation to create a credible presentation of the historical Judas. / I begynnelsen var berättelsen. Jag var tretton år när jag hade mitt första möte med Judas. Jag hade tidigare läst och hört om honom, men jag hade aldrig mött honom, förrädaren. När jag var tretton år introducerades jag till Jesus Christ Superstar. Rockoperan som visar Jesu sista vecka utifrån Judas perspektiv. Vad händer när den mörke förrädaren istället blir en bekymrad vän? Vem var Judas och hur har han presenterats genom tiderna? Berättelsen om Judas Iskariot, känd som förrädaren, bär på något speciellt och välbekant. Jag vill med denna uppsats undersöka bilden av Judas. Bilden av den bibliska Judas men också hur bilder av honom har kommit att se ut i modern receptionshistoria. Denna uppsats kommer att jämföra presentationen av Judas utifrån hans sista tid på jorden. Detta görs genom att jämföra Judas död i Matteusevangeliet och rockoperan Jesus Christ Superstar från 1970 av Andrew Lloyd Webber och Tim Rice. Jag uppfattar att Bibeln överlag ger en platt bild av Judas och endast svartmålar honom. Denna bild vill jag mena att Jesus Christ Superstar arbetar emot och istället gör till en levande och mänsklig Judas som vi kan känna igen oss i. Detta är den argumentation jag kommer att föra i denna uppsats.

Made available in DSpace on 2014-12-17T13:54:44Z (GMT). No. of bitstreams: 1 AndreiaRMM.pdf: 1264174 bytes, checksum: 36576f57be31a0ed884258a64c2742b6 (MD5) Previous issue date: 2007-08-29 / This work is about representations around the Mockery of Judas rite in the neighborhood of east zone at Natal city and the relationships between residents of neighborhood with the ritual object. The most important objective in the work is to present anthropological analysis about the mockery of Judas rite and the ritual process beyond local interpretations to rite. The concept presents in studies of Marcel Mauss, Henry Hubert and Ren? Girard about the sacrifice are very important to this paper. We work with this hypothesis that the Mockery of Judas is sacrifice done to residents of Rocas neighborhood to many purpose, since symbolic punishment to traitor apostle till the sacrifice of victm of conflicts and tensions inside the neighborhood / Esta disserta??o trata das representa??es elaboradas em torno do ritual da Malha??o do Judas num bairro da zona leste da cidade do Natal e das rela??es constru?das pelos moradores locais com o objeto ritual. O principal objetivo da disserta??o ? apresentar uma an?lise antropol?gica do rito da Malha??o do Judas e explicitar o processo ritual e as interpreta??es locais dadas ao rito. Para este trabalho s?o muito importantes os conceitos desenvolvidos pelos estudos de Marcel Mauss, Hebert Hubert e Ren? Girard sobre o sacrif?cio. Trabalhamos com a hip?tese que a Malha??o do Judas ? um rito sacrifical feito pela comunidade das Rocas com diversas finalidades, desde a puni??o simb?lica do ap?stolo traidor, at? a imola??o de v?timas focos das tens?es e conflitos estabelecidos dentro do bairro

Despite its generally agreed importance, very little has been written about The Apostles. Even among the extant publications that address The Apostles, scholars have focused on its history and development, its reception, or analytical descriptions of its surface themes. The aim of this study will therefore be to provide neither a biography of Elgar, nor an account of the genesis of the work, but to analyze The Apostles in a manner that will achieve a deeper understanding of the oratorio. Chapter 1 explores the complexities that surround Judas and the different ways in which he was perceived throughout history. Then, through my analysis of the surface motives in Chapter 2 and their significance in relation to the large-scale harmonic structure in Chapter 3, I will suggest that Elgar does not denigrate Judas as the betrayer of Christ in The Apostles, but rather depicts him as a tragic yet crucial figure in achieving the redemption of mankind, and through this Judas himself is redeemed.