No description available.

Thesis (Ph. D.)--University of Virginia, 1997. / Includes bibliographical references (leaves 248-252). Also available online through Digital Dissertations.

Thesis (Ph. D.)--Dropsie College, 1922. / Includes bibliographical references.

Thesis (Ph. D.)--Dropsie College, 1922. / Includes bibliographical references.

Thesis (M.A.)--Boston University

This study examines Book IV ofthe Hebrew Psalter to understand the editorial purpose ofthe book in itsfinal canonical form. After Wilson, many scholars have agreed that the Psalms is the result ofintentional editorial activity and that Book IV provides an answer to the failure ofthe Davidic covenant illustrated in Ps 89: exalting YHWH’s exclusive kingship over the world and diminishing Davidic kingship. Against the prevailing notion that David is deemphasized in Book IV, I argue that the editors ofthe Psalter anticipate an ideal messianic figure by amalgamating the imageries of Moses, the great intercessor, and David, the great king. This thesis employs canonical and literary approaches to explore the seventeen psalms within Book IV (Pss 90-106), with a special interest in how the book responds to the issue ofthe seemingly broken Davidic covenant in Ps 89. / Thesis / Master of Arts (MA)

The question of how the Evangelists of the first century want about their tasks has always been open. Source study gained a major place uncer the Formgechichte school and the impact continues today. We consider also today the community in which the Evangelist stands. The redaction-critical investigation does not give us information concerning the Sitz im Leben Jesu, but it can lead us to a better understanding of the Sitz im Lebeft Kirche. Besides the sources (written or oral) at the disposal of the writer we must reckon with his own outlook tnd theology, not forgetting those for whom he is writing. H. Conzelmanr, C.K. Barrett and others today have helped us to the position thai Luke was a skilled theologian. If we regard Luke as a theologian we s ould be able to detect some of his theological positions and suppositions. The Lukan corpus is the most extensive of New Testament writ ngs. Behind what Luke set down oh parchment was the preaching, witness ind experience of the sub-apostolic Church. What we have in Luke-Acts i a kind of double projection. It Is a picture of the. Church of the apost lie period superimposed by the picture of the Church of the sub-apostoli period. What is the relationship of the Old Covenant to this Ne Covenant people? How are the Scriptures of the Old Testament relat .d to that compilation of writings of the "many" to whom Luke refer- in his preface? More specifically, what is the relationship of Deuteronomy to Luke and his sources? C. F. Evans has contributed much to the genesis of our paper through his essay, "The Central Section of St. Luke's Gospel". A careful study of Evans' hypothesis that the Central Section of Luke's Gospel follows Deuteronomy by way of correspondence and contrast, has grown into a dissertation. We concur that Evans has found a connection between Luke and Deuteronomy. The argument that the connection is based on the order of contents Is difficult to support adequately. We propose an alternative. Starting from the Prophet Like Moses emphasis of Acts 3 and 7 we perceive a consistent typology. Jesus is preached, according to Luke, as a type of Moses-the fulfilment of the Prophet Like Moses of Deut.18:15, 18. We observe that Luke emphasizes the prophetic elements very strongly n-tq Christology. Tha sides of the character of Jesus emphasized by Luke are precisely those wuich die Pentateuch portrays of Moses; the prophetic, priestly, kingly and servant features. The mediatorial role of the dying Christ is presented more clearly by Luke than by the other Evangelists. Luke alone records the "Father forgive them" passage. (23:24). This attitude is parallel to the tradition of Deut. 9 where Moses three times makes intercession for Israel. In the record of the Transfiguration Deut. 18:15 plays a paramount part. The whole of the Journey Teaching Section follows, as it were^ under the 'hear you him' imperative. Luke alone introduces the word^o&oSin describing Jesus* death which was to take place in Jerusalem. From this point of view it is argued that the "journey to Jerusalem" which many believe to be a literary device is also a theological expression. It is a Wilderness Teaching Journey. It begins with a Mosaic act - the sending out of the Seventy Throughout the 'Journey', moreover, the figure of Moses is nearly always present along with Deuteronomic traditions and teaching. Aliusions to Deuteronomy are so plentiful that we concede that the Section is a kind of Christian Deuteronomy. The predicted end of Jerusalem as described by Luke 21:20-34 parallels at several points the predicted end of the nation as recorded in Deut. 28. There appears to be a correspondence in relating the and of the nation with the death of Moses, the end of Jerusalem with the death of Jesus. When the verses of Mark are taken out of Luke 21:20-34 there remains a narrative which coheres. In the latter we find many Deuteronomic insights and traditions. When we examine the Temptation narrative we note the order moving from Galilee to Jerusalem which is the order of Jesus' ministry, according to St. Luke. There appears to be more of Deuteronomy behind the narrative than the mere quotation of the Deuteronomic texts. Here is re-enacted the temptation of Israel in the Wilderness. The temptations which caused Israel to fail in time past met their conqueror in Jesus. According to Luke, Jesus moves toward Jerusalem to make the 'exodus' which Israel could not.

No description available.

This study shows that William Faulkner's Go Down, Moses is a unified prose narrative. The various themes in this book are patterned so that they tie the work's seven chapters together into a coherent whole. Because of the thematic complexity of this book, only one set of themes, the acceptance or rejection of love and understanding, is examined. Characters demonstrate their acceptance of these values through their association with traditionally successful families. Characters reveal their rejection of these values through their association with unsuccessful families, if they are connected with families at all. Since literary criticism has no terminology for describing thematic patterning, this study employs terms used in musical composition. By constructing a model similar to the fugue form in music, we can show how the acceptance or rejection of love and understanding functions as one of the unifying elements in Go Down, Moses. The musical fugue has two parts, the exposition and the development. In the exposition, the fugue's major theme, called the subject, is introduced. In counterpoint to the subject, the fugue's minor theme, the countersubject, is also introduced. The full exploration of the subject and the countersubject's thematic possibilities is the province of the fugue's development. Between the sections of the development are short passages called episodes, in which portions of the subject and countersubject are used to shift the fugue's thematic emphasis. Finally, fugues often have a short, concluding section, the coda, in which there is a thematic summation. In the fugue-analog model for Go Down, Moses, the rejection of love and understanding corresponds to the subject, the major theme of the fugue. The acceptance of these values corresponds to the countersubject, the minor theme of the fugue. The fugal counterpoint is achieved through the actions of the book's characters in relation to successful and unsuccessful families. We can describe "Was," Chapter One of Go Down, Moses, as the exposition of the fugue-analog. The subject is developed through the actions of the McCaslin twins and Sophonsiba Beauchamp and through the initial three paragraph description of Isaac McCaslin. The countersubject appears through the actions of Tomey's Turl. "The Fire and the Hearth," Chapter Two, becomes the first section of the fugue-analog's development. The subject is seen through much of Lucas Beauchamp's activities as well as those of Roth Edmonds. The countersubject arises out of Lucas's loyalty to his family. This developmental section ends on the countersubject. "Pantaloon in Black," Chapter Three of Go Down, Moses, corresponds to the episode of the fugue-analog. Rider's strong attachment to his dead wife presents the countersubject, while the portrait of the marriage of the deputy sheriff develops the subject. The fugue-analog's episode shifts the thematic emphasis from countersubject to subject in preparation for the second section of development. The Isaac McCaslin chapters, "The Old People," "The Bear," and "Delta Autumn," are the fugue-analog's second development sections. Isaac's unsuccessful relations with his wife, his black cousins, and Cass Edmonds develop the subject, while Isaac's successful relationship with Sam Fathers presents the countersubject. The emphasis of this section of Go Down, Moses is on the subject. The book ends with "Go Down, Moses," the last chapter, which corresponds to the fugue-analog's coda. By ending with the description of the successful "family" of Miss Worsham and Molly Beauchamp, Go Down, Moses ends on the countersubject.

No description available.