Mishkan ha-‘Edut, la Résidence du Témoignage, est le dernier ouvrage important écrit par le kabbaliste castillan R. Moshe de Leon (1240-1305). On peut considérer cet ouvrage comme une œuvre de couronnement et de maturation de la pensée de l’auteur. Connu à travers plusieurs ouvrages écrits en hébreu, R. Moshe de Leon est, d’après les jugements des historiens, l’un des auteurs principaux du prestigieux Sefer ha-Zohar, rédigé en araméen, et que la tradition rabbinique et populaire attribue à R. Shim’one bar Yohaï, rabbin galiléen ayant vécu entre le premier et le deuxième siècle de l’ère chrétienne. Le Mishkan ha-‘Edut traite de plusieurs questions fondamentales : la raison de l’existence du monde et son fondement dans la divinité ; la place de l’homme dans ce monde, la signification théologique profonde et la raison de son parcours terrestre; la nature de la transgression du commandement divin et la possibilité de repentir pour l’homme en tant qu’être psycho-physique doté d’une âme d’origine divine ; l’eschatologie de l’âme : le sort de chacune de ses composantes après la mort, sa purification dans la géhenne et la nature de son séjour dans le jardin de l’Eden. R. Moshe de Leon reprend, de manière plus structurée, plusieurs sujets abordés dans ses précédents écrits, en particulier, une théorie de l’âme et de ses « revêtements » (malbushim) après la mort. L’auteur insiste sur le caractère ésotérique des sujets développés en se considérant détenteur d’un savoir reçu. A plusieurs reprises, l’auteur insiste sur son hésitation à dévoiler « les secrets de la sagesse redoutable et intérieure ». Il ne cessera de préciser qu’il s’adresse à une élite, à ceux qui sont à la recherche de cette intériorité indispensable pour entendre le message de la transmission fondée sur l’enseignement ésotérique. Nous retrouvons dans cet ouvrage quelques-unes des idées les plus fascinantes de la Kabbale : que l’existence de Dieu n’est une que dans l’union des différents monde, le divin, le céleste et le terrestre ; que la relation entre Dieu et le monde est assimilable à la respiration. Ceci renvoie à la tâche de l’homme pendant son court parcours terrestre, qui n’est pas le caprice d’un créateur cruel mais correspond au projet d’unification des mondes. Naturellement, R. Moshe de Leon s’inspire du texte biblique pour confirmer ses idées, et bien d’autres. Le Mishkan ha-‘Edut est émaillé de citations bibliques, ses arguments sont construits comme un commentaire de la Bible, dont on exclut comme superficiel et fourvoyant le sens obvie. Les affirmations des rabbins du Talmud sont également très présentes, ainsi que celles des « anciens » (qadmonim), qui sont en réalité les kabbalistes de son époque ou des générations précédentes. / Mishkan ha-‘Edut, is the last important work written by Castilian cabalist R.Moshe de Leon (1240-1305). One can consider this work as an oeuvre of maturation of the author’s thought. Known by several works written in Hebrew, R.Moshe de Leon is, according to historians, one of the main authors of the prestigious Sefer ha-Zohar, written in Aramean, that the popular and rabbinic tradition attributes to R. Shim’one bar Yohaï, Galilean rabbi living in the first and second century of the Christian era. The Mishkan ha-‘Edut addresses several fundamental questions: the reason of the existence of the world and its foundation in divinity; the place of man in this world, the profound theological signification and the reason of its path on earth; the nature of transgression of divine commandment and the possibility of repentance for men as psychological beings carrying a divine derived soul; eschatology of the soul, the fate of each of its components after death, its purification in the géhenne and the nature of its stay in the garden of Eden. R.Moshe de Leon goes over, in a more structured way, several topics addressed in his previous writings. In particular, a theory of the soul and its “protections” (malbushim) after death. He insists on the esoteric aspect of the developed topics considering himself as owning a given knowledge. On several occasions, he also insists on his hesitation to disclose “the secrets of formidable and interior wisdom”. He stresses he addresses an elite, those who are seeking this necessary interiority to listen to the message of transmission based on esoteric teaching. One can find in this work some of the Kabbalah’s most fascinating ideas: that god existence is only one in the context of the merging of different worlds, the divine, the celestial and terrestrial; that the relationship between god and the world mimics breathing. This reflects to the task of man during his path on earth, not being directed by a cruel creator but that corresponds to the project of unification of these worlds. Naturally, R. Moshe de Leon takes inspiration in the bible text to confirm his ideas and many others. Mishkan ha-‘Edut is dotted with biblical citations, its arguments are built as a biblical commentary, from which is excluded, as if superficial, the spontaneous interpretation. Talmudic rabbi’s affirmations are equally present, as well as the “old”( qadmonim), who are in reality the kabbalists of his time or previous generations.

The central idea of this study is an examination of the transformation of the image of the poet in different generations. My thesis problem is that the poet is dynamic, reflecting both the self-image and reception of society at different times. I collected data from many different sources- the primary sources were memoirs, poetry, short stories, novels and original documents from the Canadian Jewish Congress Archives and by speaking with historians about A.M. Klein, Irving Layton and Leonard Cohen. The secondary sources used were scholarly books about the poets articles from the Canadian Jewish press and documentaries. I used literary analysis for the poetry and I took a social-historical approach in the examination of the poets' relationship to the community and biography. The social historical approach and the literary approach were both used in this study to analyze the succession of Canadian Jewish poets. As an original contribution to the field, this study categorizes the three poets in a succession: Klein is the Jewish poet, Layton is the Canadian Jewish poet and Cohen is the spiritual guru, all reflecting the changing situation for Canadian Jews. I examine the first generation poet in this succession of gifted Canadian Jewish poets, A.M. Klein, the second generation, Irving Layton and the third generation poet, Leonard Cohen. Specifically, I argue that the roles and the reception to these poets have changed in the Jewish press as a result of changing times. As the years progress and the situation for worldwide Jewry becomes more stable with greater tolerance in a multicultural society, the poet moves away from the identification as a Jewish poet. In Klein's generation he is labeled as a Jewish poet. Layton fights the label of a Jewish poet and through controversy and celebrity he is recognized as a Canadian Jewish poet. Leonard Cohen re-defines the category of a Canadian Jewish poet in favor of a spiritual guru. This study provides an overview of the times and the issues that each poet faced in their generation. The first part of each chapter is devoted to a brief biography and an exploration of the way the Jewish community responded to the poets in terms of roles that they wanted them to undertake and the own reception to the poets in the local Jewish press. It is interesting that each poet served a different function in different generations as a response to the needs of the community. The second section of each chapter is an examination of the poets' self-image as depicted in their writing. All of the poets viewed themselves in the same manner, as spokesmen, controversial figures and as modern poets similar to ancient biblical figures. This section includes the ways the poets viewed their relationship with the community and their relationship to Judaism as a way of shaping their self-perception.

This study of Faulkner's Go Down, Moses uses the reader-response theories of Wolfgang Iser to examine the affective impact of strategically-arranged folk conventions and mythopoeic devices upon a textually-based, white "civilized" reader. Using the devices of Southwestern humor, the trickster, and the tragic Black folk tale, "Was" through "Pantaloon in Black" repeatedly sidetrack the reader into unconscious participation in the white-code attitudes he was invited to criticize. When this hypocritical participation is discovered at certain "points of significance" in "The Fire and the Hearth" and "Pantaloon in Black," the reader's rationally-humanistic norms are rendered ineffectual, setting the stage for the undermining of a second idealism based on primitive myth. In "The Old People" and "The Bear" the reader is induced by mythopoeic devices to adopt Isaac McCaslin's unifying mythical norms and, thereby, to criticize his own failures in "Was" through "Pantaloon in Black" along with Southern civilization's socially-fragmenting rational-empiric concept of progress. "Delta Autumn," however, will undermine the reader's attempts to create moral unity using Isaac's natural hierarchy. With mythopoeic devices withdrawn, the wilderness destroyed by civilization, and Isaac McCaslin's reversion to white-code attitudes regarding Roth's Black/white offspring, the reader can see Isaac's experience in "The Bear" for what it really is, not an introduction into Sam Fathers's immutable cyclic unity but an initiation into fragmenting Cavalier forms and values. Once again the reader faces the hypocritical ineffectuality of his own idealism. For by emotionally and intellectually identifying with Isaac's misperception of the wilderness experience, he has aligned himself with socially-alienating rather than socially-unifying values. Now confronting the fragmentation dramatized in Isaac's terror-motivated racism and experienced in his own textual failures, the reader is ready for "the existential norm of "Go Down, Moses," where he is encouraged to construct meaning out of non-meaning by negating the "bad faith" of Gavin Stevens, who in fear chooses stable but racially-fragmenting Cavalier values, and by affirming the "good faith" of Molly Beauchamp and Miss Worsham, who choose the temporal unity of shared suffering in the face of chaos. / Department of English

This dissertation constitutes a fresh interpretation of Exodus 34:29-35 and analyzes how the passage is used in both the Old and New Testaments. Chapter 1 is a historical overview of how this passage has been interpreted through the centuries. Chapter 2 provides an exegetical discussion of Exodus 32-34, which makes up the context of the passage in question. Chapter 3 argues that the primarily exegetical problem within this passage, the identification of the meaning of the verbal form of "qrn," is resolved by the recognition that it means "to shine" or "emanate light/rays" as opposed to "had horns" or other interpretations. The function of the entire phrase--"the skin of his face shone"--is fourfold: as a reminder or extension of Yhwh's presence at Sinai, to distinguish Moses in terms of status, to communicate Yhwh's "goodness," and to transition from the rebellion narrative in chapters 32-34 to the building of the tabernacle in 35-40. Knowing the function of the phrase sheds light on the concomitant matter of Moses' veil ("masweh"), which is more akin to a scarf than to a mask, and which functions simply to hide Moses' face when he is uninvolved with his role as mediator because his face was frightening and disturbing to the Israelites. The exegetical study in chapter 3 culminates in an explanation of the theology of Exodus 34:29-35, focusing on God's presence, glory, grace/compassion, and life/light. This thesis is developed in chapter 4, which shows that how certain OT passages highlight the image of a shining face as a theological metaphor for grace and compassion. Many later biblical texts (e.g., Num 6:24-27, portions of the Psalter and the book of Daniel) also echo this language in prayers and songs. In addition, idiomatic expressions about the "face" or the brightness of the face are found in some extrabiblical sources and ANE inscriptions, which confirm and validate the interpretation in chapter 3. Three further texts are examined with relation to the role of Sinai theophanies (1 Kgs 19), the "veiling" of God's presence in the future (Hab 3:1-4), and images of God's eschatological glory (Isa 60:1-5, 19-20). Chapter 5 applies the OT study to the NT, where special attention is given to three passages: the narrative of the transfiguration of Jesus in Matthew 17:1-8, Paul's statements in 2 Corinthians 3:7-18 about the old and new covenants, and the prologue to John's Gospel in John 1:1-18. Chapter 6 summarizes the study and concludes the work.

Malgré une iconographie proliférante au XVIIe siècle en France, le prophète iconoclaste a peu attiré l’attention des historiens de l’art. À travers des études de cas menées selon une démarche attentive à la spécificité matérielle et médiale de ces images, et soucieuse de les replacer dans un contexte historique, ce travail explore leur pouvoir transformateur. Par le format de leur œuvre, le choix de l’échelle, du cadrage, de la disposition de ses éléments figuratifs et d’un moment narratif comme par l’imagination du paysage et des parerga, les artistes chrétiens réinventent l’histoire de Moïse au gré d’impératifs tour à tour formels, théologiques et politiques. Sujet de prédilection pour les prix dans les académies, l’histoire de Moïse constitue un opérateur formel identitaire et agonistique qui permet aux artistes de se distinguer de leurs pairs et des littérateurs, et suscite un rééquilibrage de l’ut pictura poesis au profit des beaux-arts dont la singularité commence d’être dégagée théoriquement dans la Kunstliteratur à partir d’images de la vie de Moïse jugées canoniques. Le système de commande prévalant alors, l’iconographie du fondateur du monothéisme juif est captée par les Églises catholique et protestante, en âpre concurrence jusqu’à l’édit de Fontainebleau. Les images destinées aux églises et couvents ou aux temples font alors de Moïse un héros biblique au service de la chrétienté dont il est l’ancêtre prestigieux. Dans des commandes de circonstance, les puissants s’approprient aussi les vertus de celui que Philon d’Alexandrie tenait pour l’archétype du roi-philosophe, du législateur, du grand-prêtre et du prophète élu pour consolider leur autorité personnelle. / So far, art historians have paid little attention to the iconography of the iconoclastic prophet, although it proliferated in 17th century France. This research explores its transformative power through a range of case studies aiming at bestowing attention to the material and medial specificities of the images as well as to their historical context. Through the format of their works, the scale of their figurative elements, their framing and disposition, the chosen narrative moment as well as by imagining their landscapes and parerga, Christian artists reinvented the history of Moses according to formal, theological and political concerns. As a favorite subject for academic prize competitions, it proved to be a formal and agonistic operator that allowed artists to define their identity in relation to their peers and to literary sources. This provoked a re-balancing of the ut pictura poesis doctrine in favor of the visual arts, whose singularity starts to be theoretically defined in the 17th centuryFrench Kunstliteratur on the base of images of Moses’ life. The iconography of the founder of Judaism was employed by Catholics and Protestants alike, who strongly competed right up to the Edict of Fontainebleau providing a framework for which many images were commissioned. The pictures intended for churches, convents, and temples thus present Moses as a biblical hero in the service of Christianity, of which he was a prestigious ancestor. Occasionally, mighty private patrons tried to assume the virtues of one whom Philo of Alexandria used to consider the archetype of the king-philosopher, of the legislator, the high priest and the prophet, to consolidate their personal authority.

The central idea of this study is an examination of the transformation of the image of the poet in different generations. My thesis problem is that the poet is dynamic, reflecting both the self-image and reception of society at different times. I collected data from many different sources- the primary sources were memoirs, poetry, short stories, novels and original documents from the Canadian Jewish Congress Archives and by speaking with historians about A.M. Klein, Irving Layton and Leonard Cohen. The secondary sources used were scholarly books about the poets articles from the Canadian Jewish press and documentaries. I used literary analysis for the poetry and I took a social-historical approach in the examination of the poets' relationship to the community and biography. The social historical approach and the literary approach were both used in this study to analyze the succession of Canadian Jewish poets. As an original contribution to the field, this study categorizes the three poets in a succession: Klein is the Jewish poet, Layton is the Canadian Jewish poet and Cohen is the spiritual guru, all reflecting the changing situation for Canadian Jews. I examine the first generation poet in this succession of gifted Canadian Jewish poets, A.M. Klein, the second generation, Irving Layton and the third generation poet, Leonard Cohen. Specifically, I argue that the roles and the reception to these poets have changed in the Jewish press as a result of changing times. As the years progress and the situation for worldwide Jewry becomes more stable with greater tolerance in a multicultural society, the poet moves away from the identification as a Jewish poet. In Klein's generation he is labeled as a Jewish poet. Layton fights the label of a Jewish poet and through controversy and celebrity he is recognized as a Canadian Jewish poet. Leonard Cohen re-defines the category of a Canadian Jewish poet in favor of a spiritual guru. This study provides an overview of the times and the issues that each poet faced in their generation. The first part of each chapter is devoted to a brief biography and an exploration of the way the Jewish community responded to the poets in terms of roles that they wanted them to undertake and the own reception to the poets in the local Jewish press. It is interesting that each poet served a different function in different generations as a response to the needs of the community. The second section of each chapter is an examination of the poets' self-image as depicted in their writing. All of the poets viewed themselves in the same manner, as spokesmen, controversial figures and as modern poets similar to ancient biblical figures. This section includes the ways the poets viewed their relationship with the community and their relationship to Judaism as a way of shaping their self-perception. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

The motif of “the Prophet like Moses” plays an important role in John’s Gospel. This motif is from the promise of God about the eschatological Prophet who will disclose God’s will to the people in Dt 18:15, 18. The background of this motif is basically to be found in Dt 18:15, 18. The promise of God about this Prophet has a deep relationship with the Word of God. The reason, firstly, is that Dt 18:15, 18 indicates it. Secondly, the definition of a prophet is not a miracle worker or a soothsayer, but the deliverer of the Word of God. It is also used in the OT. Various people (Elijah, Jeremiah, Isaiah and Ezekiel) used the prophetic fomula of Dt 18:15, 18. The next step to study this motif is to find allustions to Dt 18:15, 18 in John’s Gospel. It can be divided into two groups. The one group is concerned with the word “prophet” that might presume “the Prophet like Moses” (Jn 1:21, 25, 45, 5:46, 6:14, 7:40, and 52). The other is concerned with the prophetic formula that was related to the Word of God (Jn 3:34, 5:19, 30, 8:26, 28, 40, 12:49, 14:10, 31, 16:13, 17:8, and 17:14). These allusions indicate that this motif is related to several Christological titles (the Christ, the Logos, the Son of God). The Christ was used in juxtaposition with the Prophet in John’s Gospel. The concept of the Christ is joined to the concept of the Prophet. In the case of the Logos, Jesus is the perfect “Prophet like Moses”, because he is a deliverer of the Word of God as well as the Word of God himself. In the case of the Son of God, Jesus knows the Father face to face like Moses, but perfectly, because the Son and the Father is one in John’s Gospel. John uses the motif of “the Prophet like Moses” in Dt 18:15, 18 as the connecting link between the Christological titles. The reason is firstly that it is the Prophet promised by God. Secondly, in the history of redemption, many people expected this Prophet. Lastly in Jesus’ era, this Prophet was considered to be the eschatological figure who would clarify the Son’s coming into the world as the Word of God. / Dissertation (MTh)--University of Pretoria, 2009. / New Testament Studies / unrestricted

The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.

Dans cette thèse, nous traitons de l’antisémitisme comme un symptôme à déchiffrer à partir des enseignements de Freud et Lacan. Il ne s’agit donc pas de psychanalyse appliquée à l’antisémitisme mais de cerner ce qu’enseigne l’antisémitisme à la psychanalyse. Deux questions nous orientent : Pourquoi le Juif est-il la cible d’une haine séculaire ? Comment se met-elle en place ? Autrement dit, quels sont les mécanismes psychiques à l’œuvre dans la haine. Ce que signifie être Juif devient alors essentiel pour notre recherche. Pour Freud, ne renoncer à rien et suppléer à ce qui a été perdu, est l’essence du Juif. Et c’est cette ténacité qui lui attire une haine éternelle. Pour Lacan, le sujet Juif, c’est celui qui sait lire dans l’intervalle, et celui qui par l’acte de la circoncision, noue les trois registres du symbolique, de l’imaginaire et du réel et représente l’objet a en tant que reste ; ce qui a pour effet de diviser le champ de l’Autre. Et c’est cela qui lui attire cette haine éternelle. Il n’y a pas de haine sans le surmoi. Chez Freud la haine à l’égard de l’Autre se retourne sur soi. Chez Lacan, le surmoi est sacrifice aux Dieux obscurs qui conduit à l’anéantissement du prochain et de soi-même. Avec Lacan, nous voyons aussi que l’universel, le tout, produit la ségrégation qui est rejet de l’Autre. Il y a là une équivalence signifiante entre le Juif et la femme situés à la fois dans le tout et en dehors, donc pas tout dedans. Nous appréhendons, prenant appui sur le discours du maître forgé par Lacan, comment l’antisémitisme traverse le discours contemporain, comment il se glisse dans la langue. Nous laissons une voix logique, Jean-Claude Milner, une voix philosophique, Bernard-Henri Levy, une voix psychanalytique, Gérard Wajcman, déplier ce que signifie être Juif et démontrer comment l’être Juif est le symptôme du manque à être de celui qui hait. / In this thesis, we aim to present antisemitism as a symptom that can be deciphered using the writings of Freud and Lacan. Its intention is not to apply psychoanalysis to antisemitism, but rather to identify what psychoanalysis has to learn from antisemitism. Two main questions serve to orient this discussion: Why did Jews become an object of a secular hatred? And what are the psychic mechanisms that are at the origin of this kind of hatred? In order to address these questions, it is essential initially to define the significance of being Jewish. According to Freud, the essence of the Jew is to concede nothing, and to compensate for what has been lost. It is this tenacity that provokes an eternal hatred. For Lacan, the Jew is the one who knows how ‘to read between the lines’, and also the one who, through the act of circumcision, represents the Objet a as a remnant (according to Lacan’s Register theory) and binds together the three registers: the symbolic, the imaginary, and the real. Thereby, the Jew produces a division in the field of the Other – and it is this that attracts eternal hatred. There is no hatred without the existence of a superego, and Freud demonstrates how hatred towards the Other redounds upon the self. Lacan, argues that the superego is a form of sacrifice to obscure Gods that results in annihilation of the Other and the self. Lacan also shows that the Universal, the all, causes segregation and rejection of the Other. There is a significant equivalence between Jews and women as they are at one and the same time part of the ‘all’ and outside it; they are therefore not all inside. In the present work, we try to grasp, by employing the Discourse of the Master as developed by Lacan, how antisemitism is assimilated into contemporary discourse and insinuates itself into language. We call upon the logical voice of Jean-Claude Milner, the philosophical voice of Bernard-Henri Levy and the psychoanalytical voice of Gérard Wajcman, to unfold the significance of being a Jew, and to demonstrate how the Jew is the symptom of a lack-of-being of the one who hates.

i Sanders (1977:114) contends that “[s]in comes only when man actually disobeys; if he were not to disobey he would not be a sinner.” This thesis was thus motivated to critique Sanders’s contention in relation to sin and human accountability in Second Temple Judaism. Before delving into various understandings of sin and human accountability of Second Temple Judaism, in Chapter 2, I deal with the Weltanschauung of Second Temple Judaism. It was observed that Israel’s covenantal history is far from discontinuous with creation at a time of severe theological, sociological, and political plights in spite of the presence of sin and evil. In Chapters 3, I deal with how the authors of 1 Enoch and Jubilees understood the presence of sin and evil. Even though the Watcher story in these Enochic traditions serves to attribute the origin of sin to the fallen angels, it was observed the Watcher story cannot quench Second Temple Jews’ uneasiness in relation to the presence of sin and evil. In Chapter 4, I deal with Qumran literature. By focusing on the term yetzer ra both in pre-Qumran and in Qumran writings, it is worth noting that Qumran literature shows a tendency to realize the severity of the sinfulness of humanity in a complicated and radicalized manner. When looking at first century Jewish (4 Ezra and 2 Baruch) and early Christian (Romans and James) literature in Chapter 5, it was observed that the authors of 4 Ezra and 2 Baruch came to develop further pessimistic anthropologies distinct from their predecessors in the Second Temple period. However, for them, a possibility is open for the few righteous remnants to obey divine commandments. It can be said that their understandings of sin and human accountability appear to be synergistic. For Paul and James, however, the paradigm of the relationship between divine agency and human agency is shifted from synergism to monergism in terms of the Jesus Christ event. / Thesis (PhD)--University of Pretoria, 2017. / Old Testament Studies / PhD / Unrestricted