Detta är en uppsats som tar sig an, på ett semantiskt sätt, ordet Gud och människors syn på vad ordet Gud har för betydelse. Genom att göra en idéanalys av Jonna Bornemarks analys av Nicolas Cusanus för att se om detta kan vara en väg för att ge en mera mångfasetterad bild och värde av ordet Gud och gudsbilden till den scientistiska människan i Sverige. Uppsatsen tar avstamp i att försöka visa på de nycklar Cusanus filosofi ger genom Jonna Bornemarks tolkning av Cusanus i Det omätbaras renässans. / Nicholas Cusanus levde mellan åren 1401 och 1464. Cusanus var astronom, matematiker, teolog och filosof. En verklig renässansmänniska. Cusanus var en man som var på gränsen mellan skolastiken på medeltiden och renässansens mera kosmopolitiska livshållning som tiden gav. Cusanus var starkt influerad av den mystiken som bland annat Mäster Eckhart stod bakom. Den mystika negativa teologin som talade om att det är enklare att beskriva vad den kristna Gud inte är, än att berätta vad som Gud är. Cusanus studerade både Aristoteles och den Plotinos nyplatonska filosofin. Denna filosof kom jag kontakt med genom Cusanus lilla bok Gudsseendet med stort innehåll, vilket han skrev som en guide till munkarna i Tegernsee. Den behandlar den sinnliga bilden och de begrepp som gör att man kan se det som kan finnas bakom den ikoniska bilden. Den ikoniska bilden uppfattar Cusanus vara det djup som en bild kan vara bärare av. Det symboliska värdet på den bild som väcker åskådarens reflektion och reaktion. Den ikoniska bilden är bärare av detta djup som kan vara en utlösande av det personliga symboliska värdet för den specifika bilden. I Gudseendet är det en ikon som Cusanus kallar för ”Guds ikon”. Cusanus öppnade dörrar för mig i hur man kan tänka om att inte ser med de fysiska sinnena, utan måste använda sitt inre öga för att kunna se det som är större än det jag bara kan med de fysiska sinnena erfara. Startpunkten till denna uppsats är att kanske kunna förstå hur människan kan komma närmare det som inte sinnligt kan erfaras, den kunskapen menar Cusanus behöver människan för att vara en hel människa. Bornemark tar Cusanus filosofi till dagens samhällsproblem med att samhället alltid vill mäta allting. Studiens inriktning är att försöka svara på de frågor som uppsatsen ställer inför Bornemarks tolkning av Cusanus filosofi. / <p>På grund av corona utfördes framläggningen online.</p>

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Die Arbeit besteht aus 17 Einzelstudien, die in engem Zusammenhang mit den vom Verfasser bearbeiteten Editionsbänden der ‚Acta Cusana‘ entstanden. Basierend auf den Materialien und Kommentaren der Edition analysieren sie vielfältige Probleme der spätmittelalterlichen Lebenswelt und erschließen oft kaum bekannte Quellenbestände. Ein zentrales Anliegen verbindet die Studien: Es geht vor allem darum, die in der Forschung oft entrückte Figur des historischen Cusanus in die Kontexte seiner Lebenswelt zurückzuführen. Übersteigerte Exzeptionalität und vielfach behauptete Lebensfremdheit des genialen Denkers verstellten oft den Blick auf das Typische und zeitbedingt Repräsentative an den cusanischen Lebensbildern. Die Studien stellen sich damit oft gegen tief verwurzelte Forschungstraditionen, die bis weit ins 19. Jh. zurückreichen und Nikolaus von Kues als einen in seiner kirchenpolitischen und administrativen Praxis intellektuell unterforderten und gleichzeitig menschlich überforderten Kardinal und Bischof erscheinen lassen, dessen überstrenge und rücksichtslos unrealistische Reformvorstellungen aus dem Rahmen der eigenen Zeit fielen. Der chronologische Schwerpunkt der Studien liegt in den Brixner Jahren des Nikolaus von Kues (1452–1458), wobei Rückblenden in die früheren Lebensjahre stärkeres Gewicht zukommt als Vorgriffen auf die späteren römischen Jahre. Die Diözese Brixen unter Nikolaus von Kues darf als Musterfall einer spätmittelalterlichen geistlichen Landesherrschaft gelten. Der vielerorts spürbare Überlebenskampf gegenüber den weltlichen Nachbarn zeigt sich hier in besonderer Schärfe. Dabei verfolgte Cusanus keineswegs das unrealistische Ziel, den Grafen von Tirol aus dessen ererbten Machtpositionen zu drängen, sondern strebte vielmehr eine starke Verflechtung der geistlichen und weltlichen Herrschaftsbereiche an, die das bislang gängige Bild von der konfrontativen Arrondierung und Einkapselung geistlicher Territorien an der Schwelle zur Neuzeit in Frage stellt. / The volume consists of 17 individual studies, produced in close connection with the edition volumes of the 'Acta Cusana' edited by the author. Based on the materials and commentaries of the edition, they analyze diverse problems of late medieval life and explore often barely known sources. The studies are united by a central concern: above all, the aim is to return the figure of the historical Cusanus, who has often appeared remote in research, to the contexts of his lifeworld. The exaggerated exceptionalism and frequently claimed alienation from life of the brilliant thinker often obscured the view of what was typical and representative of the time in the Cusanian life portraits. The studies thus often challenge deeply rooted research traditions that reach far back into the 19th century and make Nicholas of Cusa appear as a cardinal and bishop who was intellectually underchallenged in his church political and administrative practice and at the same time overtaxed as a human being, whose excessive and ruthlessly unrealistic ideas of reform fell outside the framework of his own time. The chronological focus of the studies lies in the Brixen years of Nicholas of Cusa (1452-1458), whereby flashbacks to the earlier years of his life are given greater weight than forwards to the later Roman years. The diocese of Brixen under Nicholas of Cusa can be regarded as a model case of late medieval ecclesiastical dominion. The struggle for survival against the secular neighbors, which was noticeable in many places, is particularly evident here. Cusanus was by no means pursuing the unrealistic goal of forcing the Count of Tyrol out of his inherited position of power, but rather strived for a strong interweaving of the ecclesiastical and secular domains, which calls into question the previously common image of the confrontational consolidation and encapsulation of ecclesiastical territories on the threshold of the modern era.

This dissertation examines the different interpretations of the secondary sources for Alexander the Great by three modern historians, Nicholas Hammond, Peter Green and Mary Renault. The Introduction looks briefly at the lost primary Alexander-histories, the extant works of Diodorus Siculus, Quintus Curtius, Plutarch and Arrian and includes an abbreviated curriculum vltae of each modern author. Chapter X concerns modern interpretations of the controversial circumstances surrounding the accession of Alexander and the assassination of Philip. Chapter II covers the elimination of possible rivals, Attalus, Alexander Lyncestes and Amyntas son of Perdiccas, two major conspiracies - the Philotas Affair and the death of Parmenio, the conspiracy of the Royal Pages and death of Callisthenes - and the killing of Cleitus the Black. Chapter III deals with modern explanations of the death of Alexander. The Conclusion highlights significant theories and trends presented by the modern historians, which influence their interpretations of the ancient sources. / History / M.A. (Ancient History)

Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.

This dissertation examines the reconfiguration of the limits of representation in reference to the intermediary function of angels. The Modernist engagement with the figure of the angel entailed, primarily, a reconsideration of the problem of representation as well as an attempt to trace the contours of a poetics that plays itself outside the mimetic understanding of representation. My contention is that this transformation of literary referentiality was not simply a disengagement of art from reality but, rather, from the truthfalsity, reality-fiction, subject-object dichotomies. The angel, defined as the figure of passage par excellence, but also as the agency that induces the transformation of the visible in the invisible and vice versa, appears both as a model/archetype and as a guide towards the illumination of this intermediary aesthetic. Working with the joined perspectives from angelology, contemporary phenomenology, and poetics, this dissertation is an extended overview of the notion of intermediary spaces, as well as an attempt to probe the relevance of this concept for the field of literary studies. In the first case, this dissertation offers a theoretical background to the concept of intermediality, seen in its theological, phenomenological, aesthetic and ethical significances. In the second case, it presents the reader with a heuristic apparatus for approaching this problematic in the field of literary interpretation and provides examples of ways in which such an analysis can become relevant. The primary texts discussed here are all examples of attempts to redefine the notion of representation away from the truth-falsity or subject-object oppositions, as well as to create an aesthetic space with its own particularities, at the limit between visibility and invisibility, excessive presence and absence. Nicholas of Cusa’s “Preface” to The Vision of God proposes an ethics of reading defined by admiratio (the consubstantiation of immediacy and distance) under the aegis of the all-seeing icon of God. Louis Marin’s reading of the episode of the Resurrection reveals that history and narrative arise from the conjunction of the excessive absence of the empty tomb of Jesus and the excessive presence announcing the resurrection of Christ. Sohravardî’s “Recital of the Crimson Angel” is a presentation of the space-between of revelation, between cognitio matutina and cognitio vespertina. Walter Benjamin’s “Agesilaus Santander” restores the connections between the exoteric and the esoteric under the patient gaze of “Angelus Novus”. Paul Valéry’s Eupalinos, ou l’Architecte explores the aesthetic of “real appearance” in the space-between the image and the perceiving eye. Poe and Malamud’s short stories reveal the affinities between poetic language and angelophany. Elie Wiesel’s Les portes de la forêt expands the apophatic itinerary from the self to the radically other in a hermeneutical gesture which has the angel as its initial and final guide. Finally, Rafael Alberti’s Sobre los ángeles shows that the aphaeretic function of poetic language is very similar to the apophatic treatment of the world as representation; in this last sense too, the angels are indispensible guides.

基於生理、心理與社會因素，女性愉悅較男性複雜。本論文試圖藉由美國當代暢銷作家尼克拉斯‧史派克的愛情小說為文本，結合許多性別相關的理論去探討女性愉悅。史派克的羅曼史是當代文本，唯美的純愛是其特色，然而，這些帶來美好感受的愛情故事，是否是讀者們真心嚮往的美好愛情? 讀者在享受閱讀文本的當下，或許也默默地被一種僵化的愛情公式所限制，所謂的快樂，也許只是一種暫時的麻痺。 本篇論文從幾個不同角度切入去分析女性愉悅和羅曼史的關聯，第一章以丁尼斯坦的理論為切入點，就心理與社會層面探究為何女性在選擇伴侶上比男性有著更多限制，其理論也連結到嬰兒期由母親養育對於不同性別成年後伴侶關係有影響 ; 第二章以史派克這三本羅曼史<<手札情緣>><<瓶中信>><<分手信>>文本為主，並結合性別理論去分析羅曼史，探討其女性在羅曼史中的真相為何，文本裡也有許多部份展現出女性的許多壓抑；第三章以讀者回應為主要分析，藉由社群網站臉書的讀者真實回應，並結合過去其他做過相關讀者回應的理論與實際田野調查，分析不同時候讀者都藉由羅曼史得到快樂，不同的讀者群有共同與相異的讀者回應；第四章從這三本羅曼史的書信體形式，研究他者的缺席如何帶來快樂與痛苦，遠距離的愛情造就書信的存在，這其中的等待與期待，盼望與失望，主體不斷找尋失落客體的過程，都不斷創造失落與愉悅；第五章結論綜合前四章論點，提出女性要真正愉悅的努力方向。 / Due to biological, psychological and social reasons, female pleasure is seen as much more complicated than male pleasure. In this thesis, I try to analyse female pleasure by applying gender theories to the romances of Nicholas Sparks. Sparks is a contemporary writer mainly producing pure love stories. Are these love stories the ideal that readers pursue? When readers get pleasure from reading romance, they may be brainwashed unconsciously and limited by a fixed pattern of love. So-called happiness might be a temporary escape. This thesis attempts to analyse the relationship between female pleasure and romance from several perspectives. Chapter 1 assesses Dorothy Dinnerstenin’s viewpoint that women face more psychological and societal constraints when choosing a partner. The mother takes care of children when they are infants, leading to differentiation of the opposite sex as they grow up. Chapter 2 examines three of Sparks’ romances – The Notebook, Message in a Bottle and Dear John – in the context of various theories to analyse the truth in romance and how repression is reflected in these texts. In Chapter 3, readers’ responses are the main focus. I have used readers’ responses gathered from Facebook and have made a connection with other romance reader responses. I have also attempted to combine both the similar and different viewpoints in Radwan’s Reading Romance and Linda K. Christian-Smith’s Becoming a Woman through Romance with my own analysis. In Chapter 4, I have used the epistolary form of these three romances to research how the lack of the other brings pleasure and pain. The epistolary form stems from long distance relationships, and during the process of waiting letters, the subject keeps finding the lost object and acquires pleasure and pain again and again. Chapter 5 is my conclusion and proposes a way for women to find real pleasure.

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