Matthew’s Jewish audience was looking for continuity in the newly revealed kingdom.Thus, Matthew needed to connect faith in Jesus to the covenant ideal that was the foundation of their heritage. However, the Matthean community was blended to include formative, common, and Hellenized Jews along with non-Jewish believers. Within this context, Matthew used the concept of plēróō to connect this varied audience to the Jewish heritage. An examination of Matthew’s use of plēróō determines that it reveals the Christological characteristics that endorse Jesus’ divine initiative of proclaiming the coming reign of heaven within the hermeneutics of covenant. After the introduction to the aim, objectives, and methodology, chapter two evaluated the cultural influences on the form and structure of Matthew’s Gospel, demonstrating how this may have motivated his use of plēróō to support the Jewish heritage of covenant, Christology, and kingdom. This study contends that the concept and historical background of Greek drama is the most suitable structure for Matthew to relate the story of Jesus. The Matthean community would be familiar with this literary form and its capacity to depict the drama of Jesus’ life. Chapter three sets the story of Jesus in the dramatic context of his contemporary, Jewish culture. The drama builds on conflict, with many characters taking part in the story. The most prominent is the conflict between Jesus and the Pharisees that demonstrates Matthew’s intent that Jesus is the only logical choice to satisfy (fulfil) the requirements of righteousness, law, and prophecy. Prior to the investigation of the plēróō statements, chapter four examines the foundation of the cultic background for the Matthean milieu through the study of the prophets to whom Matthew referred in his plēróō statements. The final chapter is an exegesis of the plēróō statements, dividing them into contextual and prophetic perspectives. The former are statements regarding righteousness and law (Matthew 3:15 and 5:17-20, respectively) in which Matthew speaks to Jesus’ ontological essence set in the events of his baptism and the Sermon on the Mount. The latter reveals the key prophetic fulfilment passages (2:17, 8:17, 12:17, 13:35, 21:14), supporting the Matthean them of Jesus, son of David, son of Abraham. This study concludes that Matthew structured his Gospel like a Greek drama in order to attract both Jew and Gentile to Jesus, who is God’s anointed for both groups. Matthew uses the plēróō statements to confirm Jesus’ ontological nature, which was important to his Hellenized audience, and to confirm Jesus as the fulfilment of the Jewish (messianic) hope of Israel. This bonded both elements of the Matthean community to the nature and purpose of Jesus. / Thesis (PhD (New Testament))--North-West University, Potchefstroom Campus, 2013.

Matthew’s Jewish audience was looking for continuity in the newly revealed kingdom.Thus, Matthew needed to connect faith in Jesus to the covenant ideal that was the foundation of their heritage. However, the Matthean community was blended to include formative, common, and Hellenized Jews along with non-Jewish believers. Within this context, Matthew used the concept of plēróō to connect this varied audience to the Jewish heritage. An examination of Matthew’s use of plēróō determines that it reveals the Christological characteristics that endorse Jesus’ divine initiative of proclaiming the coming reign of heaven within the hermeneutics of covenant. After the introduction to the aim, objectives, and methodology, chapter two evaluated the cultural influences on the form and structure of Matthew’s Gospel, demonstrating how this may have motivated his use of plēróō to support the Jewish heritage of covenant, Christology, and kingdom. This study contends that the concept and historical background of Greek drama is the most suitable structure for Matthew to relate the story of Jesus. The Matthean community would be familiar with this literary form and its capacity to depict the drama of Jesus’ life. Chapter three sets the story of Jesus in the dramatic context of his contemporary, Jewish culture. The drama builds on conflict, with many characters taking part in the story. The most prominent is the conflict between Jesus and the Pharisees that demonstrates Matthew’s intent that Jesus is the only logical choice to satisfy (fulfil) the requirements of righteousness, law, and prophecy. Prior to the investigation of the plēróō statements, chapter four examines the foundation of the cultic background for the Matthean milieu through the study of the prophets to whom Matthew referred in his plēróō statements. The final chapter is an exegesis of the plēróō statements, dividing them into contextual and prophetic perspectives. The former are statements regarding righteousness and law (Matthew 3:15 and 5:17-20, respectively) in which Matthew speaks to Jesus’ ontological essence set in the events of his baptism and the Sermon on the Mount. The latter reveals the key prophetic fulfilment passages (2:17, 8:17, 12:17, 13:35, 21:14), supporting the Matthean them of Jesus, son of David, son of Abraham. This study concludes that Matthew structured his Gospel like a Greek drama in order to attract both Jew and Gentile to Jesus, who is God’s anointed for both groups. Matthew uses the plēróō statements to confirm Jesus’ ontological nature, which was important to his Hellenized audience, and to confirm Jesus as the fulfilment of the Jewish (messianic) hope of Israel. This bonded both elements of the Matthean community to the nature and purpose of Jesus. / Thesis (PhD (New Testament))--North-West University, Potchefstroom Campus, 2013.

Thesis (M.A.)--Cincinnati Bible Seminary, 1998. / Includes Abstract and Vita. Bibliography: leaves 114-117.

This thesis presents extended program notes for a sixty-minute vocal graduate recital consisting of the following repertoire for soprano: “How Beautiful are the Feet of Them” and “He Shall Feed His Flock” from Messiah and “Lascia ch’io pianga” from Rinaldo by George Frederick Handel; “La morte d’Ophélie” by Hector Berlioz; the Swedish art songs “Vingar i natten” by Ture Rangström and “Jung fru Blond och jung fru Brunette” by Wilhelm Stenhammar; the contemporary art song “Animal Passion” by Jake Heggie; and the following arias and duets by Wolfgang Amadeus Mozart: “Mi tradi quell ‘alma ingrata” from Don Giovanni, “Bei Männern, welche liebe fuhlen” and “Papageno, Papagena” from Die Zauberflöte, “Deh vieni, non tardar o gioja bella,” “Venite inginochiatevi,” and “Via resti servita” from Le nozze di Figaro, and the Concert Aria “Ch’io mi scordi di te?...non temer, amato bene,” K.505. These works encompass a variety of styles, musical periods and forms spanning over four centuries. The recital itself is documented on the accompanying compact disc, while these program notes contain discuss historical context, musical analysis, and performance practice for this repertoire.

Made available in DSpace on 2016-07-27T13:49:45Z (GMT). No. of bitstreams: 1 CARLOS AUGUSTO SANTOS RODRIGUES.pdf: 1128081 bytes, checksum: 43d38171f76a95e10658f1861258a956 (MD5) Previous issue date: 2009-06-18 / In this dissertation on the pericope Mt1,1-17, we seek to prove the fact that according to genealogy in Matthew, Jesus is the Messiah announced in the Old Testament understood from foreign, prostitutes, adulterous and sinner women. Suggesting that he is the Messiah of the excluded. We are studying the concept of messianism. We are looking for the semantic origins of Messiah. We also are studying the development of messianism in ancient Judaism, both as a social phenomenon as doctrine. We have done the exegesis of perícope and the sociological and theological reading. Finally, we are presenting the arguments that our hypothesis: as the pedigree in Matthew, Jesus is the Messiah understood from foreign prostitutes, adulterous women and sinner women. In fact the Jesus of Matthew is the Messiah of the poor and marginalised. / Nesta dissertação sobre a perícope de Mt 1,1-17 buscamos a constatação de que conforme a genealogia em Mateus, Jesus é o Messias anunciado no Antigo Testamento, compreendido a partir das mulheres estrangeiras, prostitutas, adúlteras e pecadoras. Sugerindo que ele é o Messias dos excluídos. Pesquisamos a conceituação de messianismo. Procuramos as origens semânticas da palavra messias, bem como o desenvolvimento do messianismo no Judaísmo Antigo, tanto como fenômeno social quanto como doutrina. Fizemos a exegese da referida perícope, a leitura sociológica e a leitura teológica. Por fim, apresentamos as argumentações que comprovam a nossa hipótese: conforme a genealogia em Mateus, Jesus é o Messias compreendido a partir das mulheres estrangeiras, prostitutas, adúlteras e pecadoras. O Jesus de Mateus é, na verdade, o Messias dos pobres e marginalizados.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-04-18T12:54:52Z No. of bitstreams: 1 DAVÍ LOPES PEREIRA.pdf: 8308276 bytes, checksum: a3ccac72167f526db81133ce23ef91db (MD5) / Made available in DSpace on 2018-04-18T12:54:52Z (GMT). No. of bitstreams: 1 DAVÍ LOPES PEREIRA.pdf: 8308276 bytes, checksum: a3ccac72167f526db81133ce23ef91db (MD5) Previous issue date: 2018-01-29 / This dissertation presents a study proposal on the oratory genre, with Händel as one of its main composers and its practice in the Baroque period in England, especially in the city of London. The purpose of this dissertation is to present the circumstances that involved the composition of the Messiah Oratory and to explain how these circumstances influenced it. We are based in an intense research work consulting several bibliographical sources and versions of the oratory, whose objective was to present an opinion based on authors that are referential in the subject. We present succinctly the phases of Händel's life, trying to show the main facts and how they influenced him in the composition of the Messiah. We also clearly portray the pretensions of Charles Jennens in his selection of the text for the Oratory. We include in the appendix the first part of the Messiah that will help in understanding the dissertation presented here, corroborating the truth of the facts presented in it. Finally, we conclude at the end of the dissertation that the Messiah Oratory is the best known of humanity, making its presentation a tradition at Easter, Christmas and other events that so require. With this, he became a patrimony of humanity for those who enjoy classical music. / Esta dissertação apresenta uma proposta de estudo sobre o gênero oratória, tendo Händel como um dos seus compositores principais e sua prática no período Barroco na Inglaterra em especial na cidade de Londres. O objetivo desta dissertação é apresentar as circunstâncias que envolveram a composição do Oratório Messias e explicitar como essas circunstancias o influenciaram. Embasamo-nos em um intenso trabalho de pesquisa consultando diversas fontes bibliográficas e versões do oratório, cujo objetivo foi de apresentar opinião embasada em autores que são referenciais no assunto. Apresentamos de forma sucinta, as fases da vida de Händel, procurando mostrar os principais fatos e como estes o influenciaram na composição do Messias. Retratamos também de forma clara as pretensões de Charles Jennens na seleção que ele fez do texto para o Oratório. Incluímos no apêndice, a primeira parte do Messias que irá ajudar na compreensão da dissertação aqui apresentada, corroborando para a veracidade dos fatos nela apresentados. Por fim, concluímos ao final da dissertação que o Oratório Messias é o mais conhecido da humanidade, tornando sua apresentação uma tradição na época da Páscoa, Natal e outros eventos que assim o requeiram. Com isto, ele se tornou um patrimônio da humanidade para quem aprecia musica clássica.

Handel's Messiah occupies a unique position in the musical life of South Africa. No item from the canon of 'classical' European choral music has been performed more often, over a longer period of time, and in a wider range of social contexts. This thesis seeks to answer two broad and interrelated questions: what were the social processes which brought this situation about; and how were perceptions of Messiah's meaning affected by its performance in social contexts markedly different from those of its origins? I concentrate on the two South African choral traditions for which Messiah has been central- those of the 'English' and 'African' communities - and on the period from the first documented performance of any item from Messiah until the emergence of a pattern of annual performances, which I take as a significant indicator of the historical moment at which the music could be regarded as firmly established in its new context. The history of Messiah's performance and reception in South Africa is traced using previous research on South African musical history and my own archival research and interviews. Following the broad outline of 'depth hermeneutics' proposed by John Thompson, I regard performances of Messiah as symbolic forms in structured contexts, and I interpret them through an analysis of relevant aspects of Jennens's libretto and Handel's music, of the discourse that surrounded the performances (where examples of this have survived), and of the social contexts and processes in which the performances were embedded. In examining the interactions of these different aspects, I draw on a variety of theoretical and methodological strands within musicology, cultural studies, and South African historical research. The cultural value accorded to Messiah emerges as a central theme. As a form of symbolic capital highly valued by dominant groups (the 'establishment') in the relevant South African contexts, it became an indicator of 'legitimate' identity and therefore of status. For both the English settlers and the emerging African elite (the primary agents in the establishment of Messiah in South Africa), it could represent the cultures in relation to which they defined themselves, towards which they aspired and within which they sought recognition: respectively, those of the metropole and of 'Western Christian civilization'. In political terms, this had the potential both to reinforce existing patterns of domination and to challenge them. Examples are given of the ways in which, at different moments in its South African history, Messiah was mobilized to support or to subvert an established political order, as a result of the specific meanings that it was understood to convey. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2008.

Thesis (D. Miss.)--Western Seminary, Portland, OR, 2005. / Abstract. Includes bibliographical references (leaves 127-131).

Thesis (D. Miss.)--Western Seminary, Portland, OR, 2005. / Abstract. Includes bibliographical references (leaves 127-131).

Thesis (D.W.S.)--Institute of Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 302-318).