The artist discusses the process of discovery that led to her Master of Fine Arts exhibition at Slocumb Galleries, East Tennessee State University, from March 19 to 23, 2007. Investigations in printmaking, mixed media, and symbol are highlighted. The work for the thesis show consists of nineteen, 30" hand pulled works on paper. All works are oriented vertically and floated in the frame. Of this collection, thirteen are monotypes, four are collographs, and one is a collage. Insertions include intaglio, brayer marking, encaustic wax, paper, oil paint, pen, and sumi ink. Topics included are the artist's thinking into the nature of creativity and the potential for art to speak into culture. The artist discusses some of her own process in this discovery exploring landscape, symbol, and abstraction. Included are a few contextual earlier landscapes of the artist's, some examples of discovery, and a catalogue of the final thesis show.

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För nutida läsare av Nya Testamentet kan referenser till ”Kristi blod” upplevas som märkliga och rentav obehagliga – de flesta människor idag associerar ju blod till något negativt. I denna uppsats studeras två passager i Första Petrusbrevet som innehåller just motivet ”Kristi blod” – detta utanför en nattvardskontext. Utifrån den svenska översättningen och sekler av teologiska läror är det lätt att tänka att motivet anspelar på en försoningstanke kring rening och frigörande från synd. Men stämmer det verkligen? Uppsatsförfattaren utforskar både innebörden av ”Kristi blod” i dessa passager samt vilken funktion de har i Första Petrusbrevet som helhet. Analysen görs genom en historisk-kritisk metod inriktad på ordstudium utifrån den grekiska grundtexten, intertextualitet och metaforik. Bland annat kan författaren visa att ”Kristi blod” utgör en del av en argumentation som handlar om att adressaterna ska härda ut i den sociala utsatthet de upplever som kristna. Genom att följa Kristus i hans lidande kommer de även få del i hans förhärligande och uppståndelse. Förutom de kända referenserna i Första Petrusbrevet till bl.a. Jes 53 och Ps 34 kan författaren här även visa på en intertextualitet med Ps 89. Denna ger ytterligare en dimension av temat ”Herrens lidande tjänare” som finns i brevet samt förstärker argumentationen om en Kristus-identifikation för adressaterna. / For modern New Testament readers, references to “the blood of Christ” can be perceived as strange and even unpleasant, since most people today associate blood with something negative. In this bachelor’s thesis, two passages in the 1 Peter are studied, which contain the motif of "the blood of Christ" - this outside a communion context. Based on the Swedish Bible translation and centuries of theological teachings, it is easy to think that the motif alludes to atonement theory and an idea of ​​purification and liberation from sin. But is this really the matter? The author here explores both the meaning of "the blood of Christ" in these passages and what function they have in 1 Peter as a whole. The analysis is made through a historical-critical method focused on word study based on the Greek text, intertextuality and the many metaphors in the letter.  Among other things, the author can show that "the blood of Christ" is part of an argumentation that is about helping the addressees to endure the social vulnerability they experience as Christians in the Greek-Roman society. By following Christ in his suffering, they will also be able to take part in his glorification and resurrection. In addition to the well-known references in 1 Peter to e.g. Isaiah 53 and Psalm 34, the author can also point to an intertextuality with Psalm 89. This deepens the theme of "The Lord's suffering servant" in the letter and strengthens the idea of identification in Christ for the addressees.

The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles. / Cristian Spirituality, Church History and Missiology / M. Th. (New Testament)

Dans cette dissertation, je présente trois pièces sur des thèmes religieux composées au cours de ma maîtrise, ainsi que leur analyse : Psalmus 150 pour chœur de jeunes à trois voix, chœur d'adultes à huit voix et orgue ou piano ; Quatuor à Cordes sur la vie de Saint Jean-Paul II ; et la Symphonie « La Rédemption » pour orchestre et chœur. Malgré les particularités de chacune, elles présentent des aspects communs. L'idée principale des compositions fut d'éviter la rupture avec la tradition tout en apportant des nouvelles idées aux pièces, et de souligner l'importance de ma recherche sur la beauté. À cet égard, certaines techniques contemporaines, ainsi que les sonorités médiévales des quintes et octaves parallèles, furent utilisées en accord avec un langage tonal / modal qui demeure la base des trois compositions. Le chant Grégorien fut aussi une importante caractéristique de ces compositions. Pour mieux comprendre les analyses des œuvres, deux techniques seront expliquées, la douce toile de dissonances linéaires et l'harmonie d'accords parfaits majeurs. L'analyse de chaque pièce est divisée en deux parties. La première est une vision générale et la deuxième est plus détaillée. À la fin, les connaissances acquises par la composition des ces œuvres seront résumées et l'importance intemporelle de la beauté sera réaffirmée. / In this dissertation, I present three pieces on religious themes composed during my master’s degree as well as their analysis: Psalmus 150 for three-voice youth choir, eight-voice adult choir and organ or piano; String Quartet on the life of Saint John Paul II; and Symphony “The Redemption” for orchestra and choir. Despite the particularities of each one, they present common aspects. The main compositional idea was to avoid rupture with tradition, whilst bringing new ideas into the pieces, as well as to highlight the importance of my research on beauty. For this purpose, some contemporary techniques as well the medieval sonorities of parallel fifths and octaves were used in consonance with a modal/tonal language, which remains the framework of the three pieces. Gregorian chant is also an important characteristic of these compositions. In order to better understand the analysis of the pieces, two techniques are explained, the soft web of linear dissonances and the perfect major chord harmony. The analysis of each piece is divided into two parts. The first is an overview and the second a more detailed analysis. At the end, the knowledge obtained from composing these pieces will be summarized, and the timeless importance of beauty will be reaffirmed.

Made available in DSpace on 2016-04-29T14:27:21Z (GMT). No. of bitstreams: 1 Tonyglei Suave.pdf: 1388240 bytes, checksum: 2cca166039c8bc922a0aaa6d67177d3c (MD5) Previous issue date: 2012-05-30 / The objective of this dissertation is to present an exegetic study of a biblical poem: Psalm 42 43. This undertaking is justified in the measure that the search for the original meaning of a text which is inspired by God and is the bearer of a universal message of salvation can favor reflection on one of the problems that most disturbs the human conscience: human suffering and faith in a God who is omnipotent and filled with benevolence. Due to the particular position of this poem [at the start of the section of the Psalter which proportionally speaks most of human suffering] and certain stylistic traces [the striking comparison at the beginning of the poem; the name of God mentioned 22 times; the tetragram in the middle of it to call attention to a particular attitude of the person praying] this research has as a hypothesis that these Psalms throw some light on the subject of God s presence in the lives of people who suffer. In the style of commentary, the research continues following the steps of synchronic analysis with some reference to diachronic analysis when necessary. It analyzing the literary beauty and certain cultural, historical and theological aspects of one of the sacred texts which was chosen as a model of prayer for Israel because it deals with one of the vital problems of the human being in a realistic and beautiful manner. As a result of this work five essential elements were discovered which appear to contribute towards reflection on the presence of God next to the suffering human person: 1) the importance of trust in God; 2) how the presence of God appears to be experienced as absence; 3) worship as a privileged manner of communication and communion with God; 4) the misunderstanding of God as one of the causes of the difficulty to deal with suffering; 5) confining the presence of God to only the Temple in Jerusalem as a theological limitation of this poem / A presente dissertação tem como objetivo apresentar um estudo exegético de um poema bíblico: Sl 42 43. Tal empreendimento se justifica na medida em que a busca pelo sentido original de um texto, que foi inspirado por Deus e é portador de uma mensagem universal de salvação, possa favorecer a reflexão sobre um dos problemas que mais perturba a consciência humana: o sofrimento humano e a crença em um Deus cheio de bondade e onipotente. Dada a singular posição deste poema encabeça a parte do Saltério que, proporcionalmente, mais fala de sofrimento humano e certos indícios estilísticos a impactante comparação no início do poema, o nome de Deus citado 22 vezes, o tetragrama no centro do poema para chamar a atenção a uma determinada atitude do orante esta pesquisa tem como hipótese que estes Salmos lançam alguma luz sobre a questão da presença de Deus junto ao ser humano sofredor. No estilo de comentário, a pesquisa avança seguindo os passos de uma análise sincrônica com acenos à diacronia, quando necessário, analisando a beleza literária e certos aspectos culturais, históricos e teológicos de um dos textos sagrados que foi escolhido como modelo de oração para Israel por ele tratar de um dos problemas vitais do ser humano de maneira realista e bela. Como resultado deste trabalho foram encontrados cinco elementos essenciais que parecem contribuir na reflexão sobre a presença de Deus junto ao ser humano que sofre, a saber: 1) a importância da confiança em Deus; 2) o modo da presença de Deus parece ser sua ausência sentida; 3) o culto como uma maneira privilegiada de comunicação e comunhão com Deus; 4) a incompreensão de Deus como uma das causas da dificuldade de se lidar com o sofrimento; 5) o confinamento da presença de Deus apenas ao Templo de Jerusalém como uma limitação teológica deste poema

The goal for this dissertation was to research the music in liturgy and daily life of early Christians (of the first two centuries AD) and to reveal the main factors affecting the fornation of music and liturgy in the early church. Therefore the music backgrounds of the early Christians (the Jewish and Hellenistic music cultures) together with the evidences from early Christian literature (New Testament and some of the Church Fathers) have been examined. On the strength of the investigations done, the author concludes that Christianity inherited musical traditions first of all from Judaism, and later on, as it was extended to the entire Roman Empire, it was influenced by Hellenism as well. Consequently, there was not a united form of worship in early Christian church, and from the very beginning the music of different communities could vary depending on their cultural backgrounds.Thus, music life of Jewish Christianity differed from the churches consisting mainly of Christians from the Gentiles. / Cristian Spirituality, Church History and Missiology / M. Th. (New Testament)

Made available in DSpace on 2016-08-03T12:18:59Z (GMT). No. of bitstreams: 1 Elcio V S Mendonca.pdf: 938537 bytes, checksum: 5c2862b0c25ee6bf58d1c47c44fb8074 (MD5) Previous issue date: 2012-02-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The Theology of Zion by the tradition of sons of Korah is somewhat curious. Tease is entertaining the idea of a canaanite influence in the Theology of Zion. There isn t denying that fact, because Psalm 48 seems to really have this influence. It is a canaanite influence and also the traditions of South Judahite. This research aims analyze the existing Theology of Zion in Jerusalem and presented in Psalm 48. This is to arrive at an answer about the influence that the sons of Korah may been the canaanite religion, using elements of canaanite myths in the composition of Psalm 48 and other psalms of this collection. Terms like Saphon, sea, death and Mount Zion, and concepts like mythology, sacred mountain, end of the world, Olympus, etc., make us think that really wanted to override the canaanite myths presenting a new reading from the faith in Yahweh. The sons of Korah had were North Israelite traditions, the cities where they lived were located in Ephraim, Manasseh and Dã. Some cities of Manasseh and Ephraim were canaanites cities. The kings of North were mostly promoter of the canaanite Religion. This was the environment where the sons of Korah lived and served your levitical minitstry. / A Teologia de Sião expressa pela tradição dos filhos de Corá é de certa forma curiosa. É implicante admitir a idéia de uma influência cananeia na Teologia de Sião. Não há como negar esse fato, pois o Salmo 48 parece realmente possuir esta influência. É uma influência cananeia e também das tradições do Sul judaíta. Esta pesquisa tem por objetivo analisar tal teologia de Sião existente em Jerusalém e apresentada no Salmo 48. Isto para chegar a uma resposta acerca da influência que os filhos de Corá podem ter sofrido da religião cananeia, ao utilizar elementos dos mitos cananeus na composição do Salmo 48 e de outros salmos de sua coleção. Termos como Safon, mar, morte, Monte Sião e outros, e conceitos como mitologia, montanha sagrada, extremidade do mundo, Olimpo, etc, fazem pensar que eles de fato queriam sobrepor os mitos cananeus apresentando uma nova leitura, a partir da fé em Javé. Os filhos de Corá possuíam tradição do Norte israelita. As cidades onde eles habitaram estavam situadas em Efraim, Manassés e Dã. Algumas cidades de Manassés e Efraim eram cananeias. Os reis do Norte eram em sua maioria promotores da religião cananeia. Este era o ambiente onde os filhos de Corá habitaram e cumpriram seu ministério levítico.

Cette thèse s’inscrit dans le débat actuel relatif au monothéisme biblique et au pluralisme religieux. Ces dernières décennies, ce débat a été influencé par des auteurs comme Jan Assmann pour lequel le monothéisme vétérotestamentaire constitue une racine importante de l’intolérance dont les trois religions monothéistes se seraient rendues coupables. Le but de notre thèse n’est pas d’entrer dans ce débat mais d’approfondir un sujet négligé par la recherche : qu’en est-il des tendances inclusives du monothéisme vétérotestamentaire ? Cette thèse ne se veut pas une contribution historique mais son but est d’étudier les principes théologiques permettant de concevoir des rapports positifs entre le Dieu d’Israël et des individus ou des peuples étrangers. En particulier, nous cherchons à analyser trois textes, le Livre de Jonas, le Psaume 33 (TM et LXX) et le roman Joseph et Aséneth. Bien qu’il s’agisse de trois textes différents en ce qui concerne le genre littéraire, l’origine et la datation, ils ont en commun d’aborder le problème du rapport entre le Dieu d’Israël et les non-Israélites. Plus concrètement, chacun de ces trois textes présente le Dieu d’Israël comme un créateur universel qui, en tant créateur, a pitié de toutes ses créatures. / The starting point of this study is the current debate on monotheism and religious pluralism. In recent decades, this debate has been strongly influenced by some authors such as Jan Assmann for whom the monotheism originating in the Old Testament is the root of the intolerance and violence of the three monotheistic religions. Rather than participating at this debate, the intention of this study is to answer the following questions: what about inclusive tendencies in Old Testament monotheism? Thus, this thesis is aimed at looking into the theological principles motivating and supporting the possibility of an approach by individuals and peoples to the God of Israel. With this aim, our objective is to analyse three texts where the relationship between YHWH, Israel and the non-Israelites is examined: the book of Jonah, Psalm 33 (MT and LXX), and the novel, Joseph and Aseneth. Although these three texts are different concerning their genre, period and provenance, they have the following ideas in common: the relationship between the God of Israel and non-Israelites as well as the concept of God as an universal creator who has pity of all his creatures.

The history of European psalm paraphrases begins in late ancient Greek literature. Greek interest in combining poetic content and metre is documented in the paraphrase of Psalm 102 from the 4th century preserved in the Codex visionum and the paraphrase of the whole psalter from the mid-5th century called Metaphrasis psalmorum or "Homeric psalter", both composed in dactylic hexameters. They share some features with early modern paraphrases: use of artistic language, application of christological interpretation, relation to singing, various approaches in terms of the degree of dependence on the biblical text. The Hebrew text of the Psalms shows no signs of the metric arrangement that is characteristic of traditional European poetry. Some Hebrew verses tend to be regularly organized on a tonic basis, but this arrangement is not binding or regular, unlike the standard of traditional European poetry. In the European environment, however, there has been since ancient times a strong conviction that the Hebrew verse is regularly arranged on a quantitative principle, and this belief lasted until the early modern period. Renaissance translations of ancient poetry into vernacular languages use syllabic or accentual-syllabic verse, and the same type of verse is also used in early modern psalm paraphrases when...