Habil. : Théologie : Tübingen : 199? / Includes indexes. Bibliogr.: p. 190-207. Index.

Thesis (M.T.S.)--Catholic Theological Union at Chicago, 1990. / Vita. Includes bibliographical references (leaves 63-64).

Thesis (D. Min..)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2008. / Abstract. Description based on microfiche version record. Includes bibliographical references (leaves 337-339).

Thesis (D. Min..)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2008. / Abstract. Includes bibliographical references (leaves 337-339).

No description available.

Thesis (Ph. D.)--UCLA, 2010. / Vita. Illustrations not reproduced. Includes bibliographical references (leaves 219-245).

This dissertation consists of an interpretation of the Parable of the Prodigal Son (Luke 15: 11-32) from the perspective of Greco-Roman moral philosophy. It is divided into three parts. Part 1 traces the history of relating the New Testament to Greco-Roman literature and philosophy. Despite the importance of this perspective for the study of Luke-Acts, the relationship between Luke 15: 11-32 and Greco-Roman moral philosophy has not been investigated before. The legitimacy of this approach is demonstrated by a literary analysis of the parable, which demonstrates the formal emphasis placed upon the liberal and compassionate words and actions of the father. The strong moral orientation of the parable is further illustrated by the formal, linguistic and thematic features which it shares with the other L parables. Part 2 consists of a study of the Greco-Roman moral topos On Covetousness. The use of the Greco-Roman topos as a critical tool for the study of the New Testament is evaluated, the term is defined, and the influence of the topos On Covetousness upon representative works of moral philosophy is studied. This part ends with a summary of the characteristic features of the topos and its use by writers with differing philosophical affiliations. Part 3 reads the whole parable in terms of the topos On Covetousness,with the emphasis being placed on the relationship between the Lukan text and works of Greco-Roman moral philosophy. The parable is seen to be structured according to the influential Peripatetic doctrine of the mean, with the father representing the virtue of liberality, and his two sons the opposing vices of prodigality and meanness. The comparison with the topos reveals Luke's strong rejection of the two vices, and his endorsement of the Greco-Roman virtue of liberality, which is modified by his emphasis upon the Christian virtue of compassion. The approach affirms and demonstrates the internal unity of the parable and its close relationship to the Lukan theme of the correct use of possessions.

Thesis (M.A.E.T.)--Covenant Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 88-90).

Thesis (M.A.E.T.)--Covenant Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 88-90).

Alors que la parabole du Fils Prodigue fut un support aux vives controverses religieuses du XVIe siècle qui touchèrent Anvers, les productions artistiques (peintures, gravures, dessins) restituèrent une image plus consensuelle de cette histoire. Au lieu de matérialiser les nombreuses exégèses théologiques (contradictoires) sur le message du Christ, les artistes préférèrent puiser dans la culture profane (comme les pièces de théâtre) et mettre l’accent sur la scène de la dissipation avec les courtisanes ou insister sur des détails triviaux.Cette thèse étudie les nombreuses raisons qui les ont conduits à de tels choix (poids de la censure, recherche d’une vaste clientèle, flatterie du spectateur…) et analyse les choix de mise en scène, épisode par épisode. Elle démontre comment les ateliers d’artistes ont reproduit des formules répétitives ; comment les choix iconographiques favorisèrent tour à tour la méditation spirituelle, la délectation visuelle ou les pensées condescendantes envers autrui. / While the parable of the Prodigal Son was a support in the deep religious controversies which affected Antwerp during the 16th century, the artistic productions (paintings, prints and drawings) gave back a more consensual image of this history. Instead of representing the numerous contradictory theological exegeses about the message of Christ, the artists preferred to drawn their inspiration from profane culture (as plays) and to emphasize the scene of the waste with the courtesans or to insist on everyday and coarse details.This thesis studies the numerous reasons which led them to such choices (weight of censorship, search for a vast clientele, flattery of the spectator…) and analyses the choices of setting, episode by episode. It demonstrates how artist studios reproduced repetitive formulae and how the iconographic choices facilitated alternately the spiritual meditation, the visual enjoyment or the condescending thoughts to others.