Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1983. / Bibliography: leaves [50-51]

Thesis (M.A.)--Trinity Evangelical Divinity School, Deerfield, Ill., 1999. / Abstract. Includes bibliographical references (leaves 102-105).

<p>In the essay “William Kennedy’s Ironweed: Francis Phelan’s Purgatorial Journey Back Home” I intend to show that William Kennedy has borrowed his narrative structure and symbolic language in the novel Ironweed from The Divine Comedy. I will also try to show how William Kennedy has used these allusions to enhance the imagery of Ironweed and the protagonist Francis Phelan’s wandering through the novel, and his return home. To accomplish this I will present a detailed comparative analysis of William Kennedy’s Ironweed and Dante Alighieri’s The Divine Comedy.</p><p>I will begin by showing that Kennedy establishes the protagonist Francis Phelan as a Dante-like figure and a sinner who needs to go through purgatory to redeem himself. Moreover, Kennedy uses Dante Alighieri’s Divine Comedy’s landscape to enhance the imagery of a journey back home, and by showing that each chapter represents a different level on Mount Purgatory Kennedy makes Albany a symbol of the mountain itself. Details such as the mentioning of the seven deadly sins are also there to make the reader think of Dante and thereby reinforcing the image of The Divine Comedy’s landscape in Francis Phelan’s New York, Albany.</p><p>I also demonstrate that Kennedy borrows his symbolic structure from Dante Alighieri’s Divine Comedy. For example, the intricate ending of Ironweed where several parallels can be drawn to Purgatory and Paradise reinforces the impression of Francis Phelan’s happiness, that is, a reader who is familiar with The Divine Comedy will appreciate and understand Francis Phelan’s happiness and the journey he has accomplished even more.</p>

<p> </p><p>Skärseldens uppkomst, komplicerad som den må vara, grundar sig i mångt och mycket på kyrkans behov att skapa ett mellantillstånd mellan helvetet och paradiset. Med hjälp av texter från bibeln, då främst Paulus brev, kunde den dogmatiska frågan om skärselden bryta igenom.</p><p>Skärselden är en medveten skapelse av det som kom att bli den katolska kyrkan.</p><p>Frågan om vart syndarna tog vägen efter döden besvarades i och med skapandet av skärselden. Människan behövde säkerställa sin väg upp till himlen och om hon inte lyckats göra det i livet så fick hon nu chansen att göra det efter döden. Själva tanken med straffet i skärselden är att kunna rena själen, till skillnad från helvetet där straffet är evinnerligt.</p><p> </p><p>I och med att tanken på skärselden föddes och så småningom institutionaliserades, började även bikten få en större betydelse. Bikten kom att bli en del av den botgöring som färdigställdes i skärselden. I och med att kyrkan erbjöd människan försoningsvägar genom bikt och bot så stärktes dess inflytande över människan, detta i stark relation till skärseldstanken. Kyrkan skapade bestämmelser i och med skärselden som gällde för livet efter detta.</p><p>Skärseldens uppkomst går också att härleda till det individuella behovet hos människan för jämställdhet. Det fick gensvar i frågan om det individuella straffet i skärselden.</p><p>Detta förstärkte också kyrkans roll som medlare genom bot och bikt, vilket i sig också stärkte kyrkans makt över folket då den ensam höll i nycklarna till himlen och helvetet.</p><p>Förutom behovet av jämställdhet så fanns även behovet av rättvisa snarare än behovet av vetskapen om att det kommer att ske en frälsning efter döden. Rättvisan gestaltade sig på så sätt att den rättade till de orättvisor och den ojämlikhet som ägde rum i det jordliga livet genom skärseldens kval i livet efter detta.</p><p> </p><p>Tron på skärselden spreds genom predikningar av präster för den stora massan. Tanken på skärselden födde en rädsla hos folket som översteg den de hyste för helvetet och värdet i att leva på jorden sammanlänkades med förskräckelsen i tanken på att lämna det.</p><p>Tanken på skärselden utvecklades i takt med samhället under medeltiden och genom skärselden uppkom också tankar som förändrade tanken på tid och rum då man upptäckte att det fanns mellanstadium mellan liv och död.</p><p> </p><p>Hoppet som kom med skärselden berodde också delvis på det faktum att själarna i skärselden var utsedda till slutgiltig frälsning detta trots att straffen i skärselden påminde om de i helvetet med den skillnaden att det var tidsbestämda. Tiden i skärselden påverkas inte bara av Guds nåd utan även av de personliga meriter man skaffat sig under sin tid på jorden och de offer som görs av släktingar och vänner till den avlidne genom kyrkan.</p><p> </p><p>Möjligheten för skärseldstankens fortlevnad påverkades mycket av människans föreställnings förmåga, vilken i sig påverkades av berättelser som handlade om skärselden vare sig de kom från präster eller lekmän. Eftersom kyrkan inte själv skapade en imaginär värld kring skärselden i sin trosartikel så var det upp till folket själva att skapa den bildliga delen. Detta gjordes delvis genom prästers exempel på upplevelser i skärselden, målningar föreställandes skärselden samt litterära verk som behandlade skärselden. De litterära verken kunde vara historiska, teologiska, filosofiska och skönlitterära. Ett av de verk som påverkade bilden av skärselden i allra högsta grad var Dante Alighieris <em>Divina Comedia.</em> Detta verk har kommit att bli till vilket man hänvisar allra mest när det gäller den imaginära föreställningen om skärselden.</p><p>Skärselden spelar en av de viktigaste rollerna i föreställningen om livet efter detta.</p><p> </p> / <p><p>The rise of purgatory, complicated as it may be, is much based upon the churches need to create a state between hell and paradise. With the help of writings from the bible, first and foremost the letters of Paul, the dogmatic question of purgatory was able to break through. Purgatory is a conscious creation made by what came to be the Catholic Church.</p><p>The question of where the sinners went after death was answered by the creation of purgatory. Man needed to secure its way to heaven an if she wasn’t able to do so in life, she was no given the chance to do so after death. The whole idea of the punishment in purgatory is to purify the soul, in contrast to hell where the punishment is eternal.</p><p> </p><p>As the idea of purgatory was born and later came to be institutionalised, the confession came to be of greater importance. The confession came to be a part of the penance that was completed in purgatory. Seeing that the church offered man a way of redemption through confession and penance, the churches influence over man also increased, this in a great relation to the idea of purgatory. With the idea of purgatory the church created regulations for the afterlife.</p><p>You can also derive the rise of purgatory to mans individual need for equality. The response to this need was met by the question of the individual punishment in purgatory.</p><p>This also strengthened the churches role as a intercessor by offering penance and confession, which in itself also empowered the churches influence over the people because the church alone held the keys to heaven and hell.</p><p>Except the peoples need for equality there was aloes a need for justice rather than a need for the knowledge of a salvation after death. Justice took form in the way that it corrected all the injustice and inequality that was made in the earthly life by the torments in purgatory in the afterlife.</p><p> </p><p>The belief in purgatory spread through the sermons held by priests to the people. The thought of purgatory bore a fear among the people that exceeded the fear of hell, and the value of living on earth was linked with the terror of the idea of leaving it.</p><p>The idea of purgatory evolved in pace with society during the middle ages and through purgatory new thoughts concerning time and place arose, because a intermediate state between life and death was found.</p><p> </p><p>Because of the fact the souls in purgatory was chosen for ultimate salvation, even though the punishments in purgatory resembled the ones in hell, hope also became connected with purgatory. The time spent in purgatory is not only affected by the grace of God, but also by the merits you have obtained during your time on earth and the sacrifices made by the church after requests from family and friends to the deceased.</p><p> </p><p>The continuation of the idea of purgatory was made possible by mans capacity to imagine it, which was influenced by the stories told about purgatory, be as it may told by priests or laymen. Because the church itself didn’t create a imaginary world surrounding purgatory in their article of faith, it was up to the people themselves to create it. This was partially made by priests examples of experiences from purgatory, paintings envisaging purgatory and literary works about purgatory. One literary work, which had a particular influence on the idea of purgatory, was Dante Alighieris <em>Divina Comedia. </em>This work has become the one to which the most references to purgatory are made.</p><p>Purgatory plays one of the most important parts in the conception about the afterlife.</p><p> </p></p>

Skärseldens uppkomst, komplicerad som den må vara, grundar sig i mångt och mycket på kyrkans behov att skapa ett mellantillstånd mellan helvetet och paradiset. Med hjälp av texter från bibeln, då främst Paulus brev, kunde den dogmatiska frågan om skärselden bryta igenom. Skärselden är en medveten skapelse av det som kom att bli den katolska kyrkan. Frågan om vart syndarna tog vägen efter döden besvarades i och med skapandet av skärselden. Människan behövde säkerställa sin väg upp till himlen och om hon inte lyckats göra det i livet så fick hon nu chansen att göra det efter döden. Själva tanken med straffet i skärselden är att kunna rena själen, till skillnad från helvetet där straffet är evinnerligt.   I och med att tanken på skärselden föddes och så småningom institutionaliserades, började även bikten få en större betydelse. Bikten kom att bli en del av den botgöring som färdigställdes i skärselden. I och med att kyrkan erbjöd människan försoningsvägar genom bikt och bot så stärktes dess inflytande över människan, detta i stark relation till skärseldstanken. Kyrkan skapade bestämmelser i och med skärselden som gällde för livet efter detta. Skärseldens uppkomst går också att härleda till det individuella behovet hos människan för jämställdhet. Det fick gensvar i frågan om det individuella straffet i skärselden. Detta förstärkte också kyrkans roll som medlare genom bot och bikt, vilket i sig också stärkte kyrkans makt över folket då den ensam höll i nycklarna till himlen och helvetet. Förutom behovet av jämställdhet så fanns även behovet av rättvisa snarare än behovet av vetskapen om att det kommer att ske en frälsning efter döden. Rättvisan gestaltade sig på så sätt att den rättade till de orättvisor och den ojämlikhet som ägde rum i det jordliga livet genom skärseldens kval i livet efter detta.   Tron på skärselden spreds genom predikningar av präster för den stora massan. Tanken på skärselden födde en rädsla hos folket som översteg den de hyste för helvetet och värdet i att leva på jorden sammanlänkades med förskräckelsen i tanken på att lämna det. Tanken på skärselden utvecklades i takt med samhället under medeltiden och genom skärselden uppkom också tankar som förändrade tanken på tid och rum då man upptäckte att det fanns mellanstadium mellan liv och död.   Hoppet som kom med skärselden berodde också delvis på det faktum att själarna i skärselden var utsedda till slutgiltig frälsning detta trots att straffen i skärselden påminde om de i helvetet med den skillnaden att det var tidsbestämda. Tiden i skärselden påverkas inte bara av Guds nåd utan även av de personliga meriter man skaffat sig under sin tid på jorden och de offer som görs av släktingar och vänner till den avlidne genom kyrkan.   Möjligheten för skärseldstankens fortlevnad påverkades mycket av människans föreställnings förmåga, vilken i sig påverkades av berättelser som handlade om skärselden vare sig de kom från präster eller lekmän. Eftersom kyrkan inte själv skapade en imaginär värld kring skärselden i sin trosartikel så var det upp till folket själva att skapa den bildliga delen. Detta gjordes delvis genom prästers exempel på upplevelser i skärselden, målningar föreställandes skärselden samt litterära verk som behandlade skärselden. De litterära verken kunde vara historiska, teologiska, filosofiska och skönlitterära. Ett av de verk som påverkade bilden av skärselden i allra högsta grad var Dante Alighieris Divina Comedia. Detta verk har kommit att bli till vilket man hänvisar allra mest när det gäller den imaginära föreställningen om skärselden. Skärselden spelar en av de viktigaste rollerna i föreställningen om livet efter detta. / The rise of purgatory, complicated as it may be, is much based upon the churches need to create a state between hell and paradise. With the help of writings from the bible, first and foremost the letters of Paul, the dogmatic question of purgatory was able to break through. Purgatory is a conscious creation made by what came to be the Catholic Church. The question of where the sinners went after death was answered by the creation of purgatory. Man needed to secure its way to heaven an if she wasn’t able to do so in life, she was no given the chance to do so after death. The whole idea of the punishment in purgatory is to purify the soul, in contrast to hell where the punishment is eternal.   As the idea of purgatory was born and later came to be institutionalised, the confession came to be of greater importance. The confession came to be a part of the penance that was completed in purgatory. Seeing that the church offered man a way of redemption through confession and penance, the churches influence over man also increased, this in a great relation to the idea of purgatory. With the idea of purgatory the church created regulations for the afterlife. You can also derive the rise of purgatory to mans individual need for equality. The response to this need was met by the question of the individual punishment in purgatory. This also strengthened the churches role as a intercessor by offering penance and confession, which in itself also empowered the churches influence over the people because the church alone held the keys to heaven and hell. Except the peoples need for equality there was aloes a need for justice rather than a need for the knowledge of a salvation after death. Justice took form in the way that it corrected all the injustice and inequality that was made in the earthly life by the torments in purgatory in the afterlife.   The belief in purgatory spread through the sermons held by priests to the people. The thought of purgatory bore a fear among the people that exceeded the fear of hell, and the value of living on earth was linked with the terror of the idea of leaving it. The idea of purgatory evolved in pace with society during the middle ages and through purgatory new thoughts concerning time and place arose, because a intermediate state between life and death was found.   Because of the fact the souls in purgatory was chosen for ultimate salvation, even though the punishments in purgatory resembled the ones in hell, hope also became connected with purgatory. The time spent in purgatory is not only affected by the grace of God, but also by the merits you have obtained during your time on earth and the sacrifices made by the church after requests from family and friends to the deceased.   The continuation of the idea of purgatory was made possible by mans capacity to imagine it, which was influenced by the stories told about purgatory, be as it may told by priests or laymen. Because the church itself didn’t create a imaginary world surrounding purgatory in their article of faith, it was up to the people themselves to create it. This was partially made by priests examples of experiences from purgatory, paintings envisaging purgatory and literary works about purgatory. One literary work, which had a particular influence on the idea of purgatory, was Dante Alighieris Divina Comedia. This work has become the one to which the most references to purgatory are made. Purgatory plays one of the most important parts in the conception about the afterlife.

In the essay “William Kennedy’s Ironweed: Francis Phelan’s Purgatorial Journey Back Home” I intend to show that William Kennedy has borrowed his narrative structure and symbolic language in the novel Ironweed from The Divine Comedy. I will also try to show how William Kennedy has used these allusions to enhance the imagery of Ironweed and the protagonist Francis Phelan’s wandering through the novel, and his return home. To accomplish this I will present a detailed comparative analysis of William Kennedy’s Ironweed and Dante Alighieri’s The Divine Comedy. I will begin by showing that Kennedy establishes the protagonist Francis Phelan as a Dante-like figure and a sinner who needs to go through purgatory to redeem himself. Moreover, Kennedy uses Dante Alighieri’s Divine Comedy’s landscape to enhance the imagery of a journey back home, and by showing that each chapter represents a different level on Mount Purgatory Kennedy makes Albany a symbol of the mountain itself. Details such as the mentioning of the seven deadly sins are also there to make the reader think of Dante and thereby reinforcing the image of The Divine Comedy’s landscape in Francis Phelan’s New York, Albany. I also demonstrate that Kennedy borrows his symbolic structure from Dante Alighieri’s Divine Comedy. For example, the intricate ending of Ironweed where several parallels can be drawn to Purgatory and Paradise reinforces the impression of Francis Phelan’s happiness, that is, a reader who is familiar with The Divine Comedy will appreciate and understand Francis Phelan’s happiness and the journey he has accomplished even more.

Thesis (Ph.D.)--Brown University, 2008. / Vita. Advisor : Amy Remensnyder. Includes bibliographical references (leaves 226-238).

This work examines particular attributes of the purgatorial phenomena from pre-Christian history of the Indo-European world to the Early Modern Period of England. An attempt has been made to identify and concentrate attention upon examples which provide the most significant and penetrating look into this evolution. For example, a portion of this paper attempts to determine just how widespread purgatorial customs were throughout England and the various types of community that supported these beliefs pre and post Reformation. By comparing life before and after the reigns of Henry and Edward a conclusion is reached that reveals the Protestant Reformation in England stripped the laity of a fundamental instrument they needed to support their religiosity and custom. This becomes evident in further years as some of those same customs and rituals that had been considered anathema by Protestants, slowly crept back into the liturgy of the new religion. Strong evidence of this is provided, with a strong emphasis placed upon late seventeenth and early eighteenth century death eulogies, with a section of this paper being devoted to the phenomena of the Sin-Eater.

Thesis advisor: Yvette D. Kuiper / Crystallographic Preferred Orientations (CPO) are common in deformed rocks, and usually result from crystal plastic deformation by dislocation creep. Whether deformation mechanisms that occur at lower differential stress and lower temperature than dislocation creep, such as Dissolution-Precipitation Creep (DPC), may result in the development of a CPO is less certain. DPC, a process also known as pressure-solution creep or dissolution creep, has caused substantial removal and reprecipitation of quartz within the Purgatory Conglomerate of Rhode Island. The conglomerate is exposed within the southeastern region of the Pennsylvanian Narragansett basin and experienced folding during the Alleghanian orogeny. Strain within the southeastern portion of the Narragansett basin increases from west to east and is associated with a metamorphic gradient from very low grade greenschist facies in the west to the lower biotite zone in the east. Within the Pugatory Conglomerate DPC has led to the dissolution of quartz along cobble surfaces perpendicular to the shortening direction, and to be precipitated as overgrowths at the ends of the cobbles (strain shadows), parallel to the maximum extension direction. This offers a unique opportunity to study the effects of dissolution and precipitation separately, because the quartz grains within the cobbles experienced dissolution only, while precipitation occurred in the strain shadows. Cathodoluminescence (CL) analysis was conducted on regions within the strain shadow in order to determine what amount of the quartz was formed authigenically. The results suggest that quartz-rich areas of the strain shadow were comprised primarily of authigenic quartz and formed channels or wedges. Electron Backscatter Diffraction (EBSD) analysis was used to test whether quartz dissolution processes within the cobbles and/or quartz precipitation within the strain shadows resulted in CPO development. Quartz grain c-axis orientations of various domains within the cobbles and strain shadows indicate that CPO patterns are absent in both domains of dissolution and of precipitation irrespective of the degree of strain or metamorphic grade. The existence of discrete mica selvages along the cobble margins suggests that quartz dissolution only occurred along the cobble surface and did not affect the grains, or result in a CPO, within the cobble's interior. Quartz precipitation within the strain shadows did not result in a CPO, probably because the strain shadows are truly localized regions of low strain with little to no differential stress, allowing quartz grain growth in random orientations. / Thesis (MS) — Boston College, 2010. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Geology and Geophysics.

"Impossible Voices: Phenomenologies of Sound in Beckett" is the first sustained exploration of sound in the prose and drama of Samuel Beckett. Bringing the field of sound studies to bear on Beckett's works, this dissertation argues that Beckett's treatment of inner speech--the sounds and voices in the "mind's ear"--is implicated in an aesthetics not only of failure, but of impossibility. The "impossible voices" of the dissertation's title are the "dead voices" or "human murmurs" of Beckett's purgatorial soundscapes. These sounds, qua manifestations of inner speech, cannot be fully exteriorized. This unbridgeable gap between inner speech and sounded speech within the self finds it analogue in a breakdown of communication between self and other, as shown in the three major plays: Waiting for Godot, Endgame, and Happy Days. Where conversation in these purgatorial worlds often asserts or provides mere presence, meaning is found by apophatic means such as noise, catachresis, and the ineffable. The organization of the chapters of this dissertation indicates a move from embodied voices--speaker and listener in two separate, functioning bodies--to a dynamic in which a disembodied voice speaks to a body in a "listening posture." The listener's vocal expression, moreover--if it exists--is secondary to that of the voice. This study thus makes a case for the importance of sound in the Beckett canon, using phenomenological readings to show that the impossible in Beckett is bound up with sound. / Romance Languages and Literatures