The aim of this study is to examine the image of Judas Iscariot in popular culture with the help of two movies, The Last Temptation of Christ and Son of God. This study is based on a film analysis where a characterization is in focus. The method has also chosen to include intertextuality. This is because it is relevant to show how writers and filmmakers used the previous materials to create their own versions. Survey theory was based on a mediatisation-theory. This theory holds that the media's influence increases, so that now they can influence what religious beliefs people should have by viewing the version they want on TV. The surveys were done by transcribing parts of the movies, and describe what the character used for body language, how he looked and how he spoke. The study shows that both films chose to portray Judas in completely different ways. One chose to give a more biblical version of Judas, while the other created an alternative image. It was clear to see influences from past stories about Judas and especially the Bible, but also the Gospel of Judas. The results also show that both films chose to portray their version of Judas. This may be in relation to mediatisation creating different images of Judas with the viewers, and then also create new perceptions of him.

Judas Iscariot has been and remains to this day one of the most hated persons in human history. The goal of this project is to examine the evolution Judas as he appears, first within the pages of the Christian canon, then moving over to literature outside the canon, into Apocrypha. Moreover, consulting ancient and modern sources allows for the ability to raise questions regarding the possibility of redemption for Judas as well as an analysis on whether this person was real or simply a literary construct by ancient authors in order to strengthen the core of the Christian belief system. With the inclusion of a clear and present villain in the narrative, the early Christians or proto-Orthodox were able to separate themselves from the initial Jewish community and labelled Judas as the ultimate example of what not to do when it came to being a “true” Christian. The discovery of the Gospel of Judas and its subsequent publication brought mainstream attention to the early years of Christianity, with its many different structures. The exploration of its pages reveal an entirely different message in which Judas Iscariot is a central figure, amidst a more “gnostic” tradition. The character of Judas Iscariot has since travelled through the centuries and it is this project’s mission to demonstrate the evolution of this character, showing how he first appears as merely one of twelve men who follow Jesus to a personification of evil. The project will also demonstrate how a possible misunderstanding of literature could have created a literary scapegoat, resulting in Judas Iscariot’s use as a tool to foster hatred and animosity towards the Jews. The end result leaves the reader with the question of whether Judas deserves absolution for his actions, who may have been an important part of God’s plan for humanity’s salvation.

This thesis looks at the role of Peter and Judas in the four canonical gospels, seeking to answer the question of why two such dramatic examples of failure in discipleship became, from so early on, an established and central part of the gospel narrative. The first chapter discusses the literary context of the gospels, considering issues such as the oral medium, the gospel communities, and the genre of the gospels. The second chapter examines the historical Peter and Judas, discussing the evidence in the rest of the New Testament and elsewhere in Christian tradition, followed by a range of parallel disciple figures in ancient literature, from the followers and debate partners of Plato’s Socrates to the students of the neo-Platonic philosopher Plotinus, making the case that a literary archetype for a disciple exists and is made use of in all of these texts. The third, fourth, fifth and sixth chapters look at each of the gospels in turn, discussing the way in which Peter and Judas correspond to the literary archetype and the ways that this archetype interacts both with the actual events of Jesus’ career and arrest, and potentially ongoing or recent events in each evangelist’s own community.

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Cette thèse interroge le destin de Judas chez cinq écrivains : Paul Claudel (Mort deJudas), Marcel Pagnol (Judas), Jean Ferniot (Saint Judas), Armel Job (Judas le bien-aimé)et Eric-Emmanuel Schmitt (L’Évangile selon Pilate). Passant du cadre général à celuiparticulier, la recherche se propose d’envisager la figure de Judas dans les transpositionsbibliques contemporaines et d’évaluer les nouvelles visions que le siècle a inventées.L’analyse comprend des approches s’appuyant sur les contributions du domaine du mythe,de l’exégèse biblique, historique, de la sociologie, de la psychanalyse. La plupart des récitscontemporains font de Judas un sujet moderne très complexe : il devient figure de l’artiste,du philosophe et de l’acteur.Les problématiques d’ordre social et politique se révèlent primordiales : dans uncontexte succédant à l’Holocauste, Judas renoue avec l’univers judaïque. Retranscrivant lemythe du Juif errant, Judas devient figure de la scission, du départ et de l’errance ; lesrelations au sein de la famille sont vivement remises en cause. La figure du traître devientaussi le support d’une parole restitutive. L’idiotie de filiation dostoïevskienne attribuée àJudas fait bon ménage avec le contexte littéraire contemporain ainsi qu’avec celuilégendaire réévalué.Constamment hésitant entre la réhabilitation de Judas proposée par Pagnol, Ferniot,Job, Schmitt et la réprobation du personnage par Claudel, le parcours propose un richeréseau construit autour de thématiques communes mais différemment évaluées. / This doctoral dissertation questions Juda's destiny in five authors: Paul Claudel(The Death of Juda), Marcel Pagnol (Juda), Jean Ferniot (Saint Juda), Armel Job (TheBeloved Juda) and Eric-Emmanuel Schmitt (The Gospel according to Pilate). Fromgeneral to specific, this research aims at outlining the image of Judas within thecontemporary biblical renditions and to evaluate new perspectives on it. This analysistouches upon myth, biblical and historical exegesis, sociology and psychoanalysis. Mostcontemporary stories make Juda a very complex and modern subject: he embodies theartist, the philosopher, the actor.Social and political issues prove to be crucial: in a context which follows theHolocaust, Juda reconnects with the Judaic universe. By rewriting the myth of thewandering Jew, Juda becomes the figure of the scission, of the departure and of the roving;family relationships are strongly questioned. Furthermore, the figure of the traitor becomesthe repository for a restitutive speech. The idiocy, in the Dostoievskian sense, associatedwith Judas, blends well both with the contemporary literary context as well as with thereconsidered mythical one.Constantly hesitating between Judas' redemption that Pagnol, Ferniot, Job andSchmitt adopt and the condemnation of Claudel's character, this thesis focuses on aconvoluted network built around common themes that are tackled differently.

O presente trabalho tem como propósito refletir sobre a questão da identidade do sujeito de Os cus de Judas, de Lobo Antunes, a partir do momento em que há um deslocamento espacial do narrador-personagem. Em tempos de guerra colonial, tal deslocamento para o continente africano faz com que o sujeito da narrativa se depare com o outro; isso reflete em sua existência provocando uma crise de identidade a partir da qual ele passa a questionar sua nacionalidade, sua pátria. Ao contestar seu país e suas raízes, o personagem-narrador acaba por macular a identidade portuguesa sustentada tantos séculos por um imaginário que já não mais existe.Obrigado a participar da guerra como combatente, o narrador-personagem observa que aqueles que estão do outro lado, os colonizados, também sofrem com o sistema de governo instituído por Salazar. O processo de alteridade é rasurado e/ou quase desfeito à medida que os laços entre colonizado e colonizador se tornam mais estreitos e se rasuram.Na obra Os cus de Judas, a experiência traumática da guerra instiga o narrador-personagem ao autoexílio, pois o sujeito, ao retornar da guerra na África, torna-se um refugiado dentro de si mesmo e de sua própria nação, ensimesmado e expatriado. Tais considerações colocam em cena os conceitos de identidade do sujeito e da nação revisitados pela memória / El presente trabajo tiene como objetivo reflexionar sobre la cuestión de la identidad en el tema de Los culos de Judas, de Lobo Antunes, desde el momento en que hay un desplazamiento espacial del narrador-personaje. En tiempo de guerra colonial, el desplazamiento para el continente africano hace que el sujeto de la historia cumple con el outro; eso refleja en su existencia provocando una crisis de identidad de la que empieza a cuestionar su nacionalidad, su tierra natal. Al contestar su país y sus raíces, el narrador convierte el significado de la identidad portuguesa, la deshonra , una identidad sostenida a lo largo de siglos, un imaginário que ya no exite más. Con la obligación de participar como combatente de la guerra, el narrador-personaje observa los que están al outro lado, los colonizados, pues también sufren con el sistema de gobierno instituído por Salazar. El proceso de alteridad se desarolla al modo que los vínculos entre el colonizador y el colonizado se vuelven más estrechos. En la obra Los culos de Judas, la experiencia traumática de la guerra le instiga al autoexilio, le convierte en un refugiado en su propia nación, y él se percibe un expatriado cuando regresa a Portugal. Tales consideraciones ponen en juego los conceptos del sujeto y de la nación revisitados por la memória

O presente trabalho tem como propósito refletir sobre a questão da identidade do sujeito de Os cus de Judas, de Lobo Antunes, a partir do momento em que há um deslocamento espacial do narrador-personagem. Em tempos de guerra colonial, tal deslocamento para o continente africano faz com que o sujeito da narrativa se depare com o outro; isso reflete em sua existência provocando uma crise de identidade a partir da qual ele passa a questionar sua nacionalidade, sua pátria. Ao contestar seu país e suas raízes, o personagem-narrador acaba por macular a identidade portuguesa sustentada tantos séculos por um imaginário que já não mais existe.Obrigado a participar da guerra como combatente, o narrador-personagem observa que aqueles que estão do outro lado, os colonizados, também sofrem com o sistema de governo instituído por Salazar. O processo de alteridade é rasurado e/ou quase desfeito à medida que os laços entre colonizado e colonizador se tornam mais estreitos e se rasuram.Na obra Os cus de Judas, a experiência traumática da guerra instiga o narrador-personagem ao autoexílio, pois o sujeito, ao retornar da guerra na África, torna-se um refugiado dentro de si mesmo e de sua própria nação, ensimesmado e expatriado. Tais considerações colocam em cena os conceitos de identidade do sujeito e da nação revisitados pela memória / El presente trabajo tiene como objetivo reflexionar sobre la cuestión de la identidad en el tema de Los culos de Judas, de Lobo Antunes, desde el momento en que hay un desplazamiento espacial del narrador-personaje. En tiempo de guerra colonial, el desplazamiento para el continente africano hace que el sujeto de la historia cumple con el outro; eso refleja en su existencia provocando una crisis de identidad de la que empieza a cuestionar su nacionalidad, su tierra natal. Al contestar su país y sus raíces, el narrador convierte el significado de la identidad portuguesa, la deshonra , una identidad sostenida a lo largo de siglos, un imaginário que ya no exite más. Con la obligación de participar como combatente de la guerra, el narrador-personaje observa los que están al outro lado, los colonizados, pues también sufren con el sistema de gobierno instituído por Salazar. El proceso de alteridad se desarolla al modo que los vínculos entre el colonizador y el colonizado se vuelven más estrechos. En la obra Los culos de Judas, la experiencia traumática de la guerra le instiga al autoexilio, le convierte en un refugiado en su propia nación, y él se percibe un expatriado cuando regresa a Portugal. Tales consideraciones ponen en juego los conceptos del sujeto y de la nación revisitados por la memória

Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2007. / Recent studies, especially since the Nag Hammadi discoveries, indicate that “Gnosticism” often functions as a constructed “Other” in attempts to define Christian orthodoxy, as well as a catch-phrase for a range of diverse religious phenomena in late Hellenism. If the unity of Gnosticism is a construct, the search for a single origin of Gnosticism is probably also futile. Rather, the influence of several sources – Platonic, Christian, Iranian, existential and Jewish – to the Gnostic phenomena should be studied. Texts labled Sethian by modern scholars show strong traces of a Jewish cosmology, vocabulary and mythology. Five possible routes for the transmission of Jewish motifs to Sethian Gnosticism are pointed out: failed apocalyptic expectations (Grant); allegorical interpretations of the Law among Philo and Alexandrian Jews (Pearson); Christianity as vehicle for transmission (Pétrement); Palestinian and Samaritan speculation (Perkins); and the influence of the Jewish Wisdom tradition (Rudolph and MacRae). Traces of Judaism in Gnostic Sethian texts can be located using a motif study. Fallon has done such a study of the so-called Sabaoth pericopes. In this thesis a similar study is done of the “Gospel of Judas”. The study shows that this text is Christian, preoccupied with a sectarian Christian debate. The apostolic church is denounced and a Sethian Gnosticism (noticeably influenced by Judaism) is posited as alternative. To that end a Sethian cosmological sermon, with strong Jewish motifs, is attributed to Jesus in which he holds forth Sethian cosmology as an alternative to a discredited rival form of Christianity. The most prominent of Jewish motifs in the cosmological passage of the Judas text are the names, functions and descriptions of angels, but it also includes numerological speculation and figures such as Seth.

Denna uppsats är en kvalitativ litteraturstudie som ämnar undersöka  framställningen av två bibliska gestalter, Judas Iskariot och Pontus Pilatus, i den populärkulturella TV-serien ”The Bible” och hur framställningen förhåller sig till de bibliska utsagorna. Fokus ligger på hur man karaktäriserat och framställt dem i förhållande till den skuld de tillskrivits i evangelierna för Jesu korsfästelse. Det övergripande syftet med uppsatsen är att utreda vilka konventioner som styr bibliska adaptioner och om det kan finnas ett missionerande syfte med TV-serien. Det hela härleds till Wiktorin (2010) tes om att religionsutövare kan använda populärkulturella framställningar som en del i en missionen och att populärkulturen är en stark pjäs vid förmedling av livsfrågor och grundläggande värderingar. Metoden som använts är en litteraturvetenskaplig metod; narrativanalys och den teoretiska ramen som omgärdar framställningen är adaptiosnteori, enligt McFarlane (1996) och Leitch (2007). Undersökningen visar att de populärkulturella konventionerna ifråga om berättandet och framställning av karaktärerna påverkar framställningen mycket. Processen, att adaptera en karaktär från litterär bibliskkälla till visuellt medium bidrar till att det blir mer komplexa karaktärsbeskrivningar och skuldfrågan blir svårare att förhålla sig till, eftersom det presenteras bakomliggande orsaker till handlingarna som Judas och Pilatus tillskrivs. Vidare kan man också hävda att författarna Downey och Burnett har haft ett missionerande syfte med serien, eftersom de såg skapandet av den som ett kall, en idé given av gud (CBSnews.com). Ytterligare tecken på missionen är att produktionen på något sätt är kopplat till ett företag, eller samfund som har den kristna missionen som huvudsyssla.

(in English): The figure of Judas Iscariot is one of the most controversial ones in Christianity and Christian reception. Traditionally Judas used to be synonymous for the ultimate sinner, who would not deserve any compassion at all. He was first and foremost conceived as the traitor of Jesus and was judged and damned accordingly. In every period he attracted attention, was commentated upon and interpreted anew. The paper at hand deals with one of the latest interpretations of Judas: Uwe Saeger's novel Die gehäutete Zeit: Ein Judasbericht (The skinned time: A Judasreport). Published in 2008, this novel is a retelling of the gospel, as seen through Judas' eyes. Uwe Saeger re-interprets the founding story of Christianity and casts a new light on Judas. Saeger disengages himself from a simple black and white perspective on Judas, which was popular for many centuries not only among laymen, but also among theologians. The author does not divide the characteristics into a pure and good Jesus on the one hand, and a bad and dishonest Judas on the other hand, but rather merges the two into one figure, expressed by making up the name Je-Judas-us at one point of his book. Saeger describes the two as an inseparable couple, where each of them has his special task to fulfil. Throughout the novel, Judas is being...