Thesis (Th. M.)--Holy Cross Greek Orthodox School of Theology, 1997. / Includes bibliographical references (leaves [61]-66).

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 1995. / Vita. Includes bibliographical references (leaves 58-60).

Thesis (Th. M.)--Dallas Theological Seminary, 2007. / Includes bibliographical references (leaves [53]-56).

Thesis (doctoral)--Uppsala Universitet, 1940. / Added t.p. with series statement and imprint: Leipzig : Alfred Lorentz, 1940. Includes bibliographical references (p. [202]-221) and index.

Thesis (M. Div.)--Talbot School of Theology, Biola University, 2005. / "June 2005." Includes bibliographical references (leaves 116-122).

Thesis (M. Div.)--Talbot School of Theology, Biola University, 2005. / "June 2005." Includes bibliographical references (leaves 116-122).

My dissertation focuses on the making of Chinese female martyrs to explore how representations serve as a strategy to either justify or question the normalization of the horrors of untimely death. It examines the narratives of female martyrdom in Chinese literature from late imperial to modern China in particular, explores the shift from female chaste martyrs to revolutionary female martyrs, and considers how the advocacy of female martyrdom shapes and problematizes state ideologies. Female martyrdom has been promoted in the process of the cultivation of loyalty throughout Chinese history. The traditional chastity cult continues to shape the contemporary meanings and conceptions of martyrdom, a value that is still promoted by the Chinese state. My dissertation explores the reasons that female martyrdom has remained a constant value and discuss how the state and print culture have cultivated it and adapted it to construct notions of gender, self, and identity in different time periods. I argue that female chaste martyrdom functions as a bonding agent that holds male community together and consolidates the patriarchal system. The literary narratives of female martyrs simultaneously grant women agency while presenting female martyrs as objects of consumption, which reveals the instability in the role of women as agents/objects. I analyze flesh and stone as metaphors for two different discourses on female martyrdom. Flesh refers to the literary representations of flesh and blood bodies of female martyrs that work to disrupt the state discourse on martyrdom by introducing the embodied individual. From a larger socio-political perspective, the state attempts to lock in the meaning of the sacrifice as enhancing the power of the state by fixing the meaning of female martyrdom in stone monuments. The state-sponsored monuments work to erase the individual in service to an ideology of martyrdom that reduces the messiness of history to myth. This dissertation includes previously published material.

This study considers the processes by which film and play-texts engage with the mythic figure of Joan of Arc. Chapter One provides an overview of the vast body of work that has been inspired by Joan's history. Chapter Two addresses the tragic configuration of Joan's story, especially with regard to ethical conflict and culpability. In Chapter Three, I discuss the displacement of notions of innocence onto Joan's virginity, youth, illiteracy, and rusticity and examine the ideologically-loaded textual constructions and uses of these elements of her myth. Chapter Four is a consideration of her textually-constructed exclusion from the ordinary run of humanity and of the implications of her strangeness and estrangement. Chapter Five is focused upon representations of Joan's condemnation trial. I consider the processes of narrativisation by which means documentary records become historical accounts. I consider fictional reenactments of Joan's trial as 'texts within texts, ' engaged in a double process of interrogation which allows Joan to be both persecuted for her transgressiveness and elevated to the status of a saint. Chapter Six examines the central importance of Joan's transgressiveness, exploring the disciplinary strategies employed by a variety of film and play texts as they attempt to counter her troublesome ambiguousness, to identify and define her, and to effect her epistemological assimilation. Chapter Seven is a consideration of the similarities and differences between the myths of Joan of Arc and of Christ and their representation in film. It explores the semantic association between transgression and transcendence, between the 'unnatural' and the 'supernatural, ' with regard to their crucial relation to the limits of discourse and epistemology. In Chapter Eight, I explore myth as a discursive practice and examine the operations of myth and of ideology in relation to the obsessive cultural reiteration of the myth of Joan of Arc.

Quel rapport entre Petőfi et Martí, deux poètes du XIXème siècle, et l’apocalypse? Sándor Petőfi (1823-1849), poète, écrivain et orateur hongrois, fut le fer de lance de la révolution hongroise de mars 1848, contre le régime des Habsbourg. José Martí (1853-1895), poète, écrivain et homme politique cubain, fut le créateur du Parti Révolutionnaire Cubain, en 1892, en exil, depuis New York, d’où il organisa la lutte armée contre les troupes espagnoles qui occupaient alors Cuba. Leurs écrits, fortement engagés dans le sens commun d’une lutte pour libérer leur peuple opprimé par une force tyrannique - les Habsbourg, en Hongrie, l’Espagne coloniale, à Cuba -, et pour la création d’une « république parfaitement égalitaire », selon les visées de Petőfi, et d’une « république juste », selon celles de Martí, contiennent un grand nombre de termes, d’expressions, de symboles et d’allusions apocalyptiques, dont la majorité appartient en propre au texte de l’Apocalypse mais également à d’autres livres de la Bible. Comment Petőfi et Martí ont-ils utilisé tout ce « réservoir » de mots et de symboles spécifiques, qui forme un « lexique de la fin des temps » ? Les deux poètes se présentent comme des visionnaires et parlent comme des prophètes. Pour son époque, Petőfi a prédit la fin désastreuse de la guerre d’indépendance hongroise en 1849, mais aussi a désigné un point final de l’histoire, quand surviendra le grand combat du bien contre le mal, après une « mer de sang », avec la victoire finale du bien, qui permettra l’avènement de la société idéale. Selon lui, le renouveau ne pourra se réaliser sans effusion de sang : la Révolution française fut le premier pas de la marche de l’humanité vers son âge adulte, quand elle a abandonné ses anciens jouets, les rois ; suivront d’autres révolutions, encore plus sanglantes – on peut penser à la révolution bolchevique de 1917 -, jusqu’à l’arrivée d’une ultime révolution. Martí a prédit la naissance de « Babylone la Grande » d’ Apocalypse 17, 5, la société moderne de consommation où tout va très vite et où l’amour est désacralisé, où la vie n’a plus aucun sens et où l’idée de Dieu devient confuse, ce qu’il a appelé le « démembrement de l’esprit humain » et la « décentralisation de l’intelligence », soit la société désacralisée alors émergente à la fin du XIXème siècle, avec le début de ses dérives actuelles : les monopoles économiques et les premiers démons de la mondialisation. Martí critique même le libéralisme et tous ses excès, déclarant que les hommes, de même qu’ils furent pendant longtemps les esclaves des tyrans, sont désormais devenus les esclaves de la liberté. Ainsi, Petőfi et Martí ont construit une véritable eschatologie, avec trois temps forts : la crise, le jugement et la justification. / What is the relation between Petőfi and Martí, two poets of the 19th century, and the apocalypse ? Sándor Petőfi (1823-1849), hungarian poet, writer and speech-maker, was the spearhead of the hungarian revolution of March 1848, against the Habsbourg’s regime. José Martí (1853-1895), cuban poet, writer and politician, was the creator of the Revolutionary Cuban Party, in 1892, in exile, from New York, where he organized the armed struggle against the spanish troops which occupied Cuba, at that time. Theirs writings, strongly committed in the sense of a fight to free their people oppressed by a tyrannical force, - the Habsbourg, in Hungary, the colonial Spain, in Cuba -, and for the creation of a « perfectly egalitarian republic », according to the designs of Petőfi, and a « right republic », according to those of Martí, contain an important number of apocalyptical words, expressions, symbols and allusions, of which majority belong exclusively to the text of the Book of Revelation but also to others books of the Bible. How did Petőfi and Martí use this « reservoir » of specific words and symbols, which forms a lexicon of the end of the times ? The two poets present themselves as visionaries and speak as prophets. For his time, Petőfi foreshowed the disastrous end of the hungarian independance war in 1849, but also indicated a final point of the history, when will occur the big fight between the good and the bad, after a « sea of blood », with the final victory of the good, which will allow the advent of the ideal society. According to him, the revival can not be realized without bloodshed : the French Revolution was the first step of the march of humanity to its adult age ; others revolutions will follow, more bloody – it is possible to think about the Bolshevik revolution of 1917 -, till the final revolution. Martí foreshowed the birth of « the Great Babylon » of the Book of Revelation 17, 5, the modern society of consumption where everything go quickly and where the love is deconsecrated, where the life has got no sense and where the idea of God is vague, all those early warning signs of the end, which he had called the « dismemberment of the human spirit » and the « decentralization of the intelligence », namely the emergent society at the end of the XIXth century, with the begining of its current excesses : the economic monopolies and the first hellkites of the globalization. Martí criticizes even the neo-liberalism, declaring that the men, like in the past when they were the slaves of the tyrants, are now the liberty’s slaves. Thus, Petőfi and Martí built a true eschatology, with three important times : the crisis, the judgement and, at the end, the justification.

Thesis (S.T.D.)--Catholic University of America, 1945. / "Select bibliography": p. xv-xviii.