No description available.

Thesis advisor: Andrew R. Davis / The figure of Saul became the focus of exilic reflection on election, rejection, obedience, and repentance. The Saul rejection accounts became, more broadly, about the election and seeming rejection of Israel because of infidelity to the Horeb covenant. The accounts became part of a wider deuteronomistic attempt to persuade an exilic audience of the importance of obedience centered on the YHWH-Israel bond articulated in Deuteronomic law. The Saul rejection accounts were placed at strategic points late in the development of the text of 1 Samuel. Both accounts appeal for obedience to the commands and words of YHWH (13:13-14; 15:1). In the end, these commands and words share the same referent—the book of the law—the priority of the final editors (DtrN). Following an introduction describing context, model, and method (Chapter One), this work focuses on the positive contribution—and shortcomings—of some synchronic approaches, identifying the need for an appropriate biblical poetics (Chapter Two). The value of a careful synchronic reading is complemented by a diachronic reading contributing to an understanding of the text’s development and final shaping (Chapter Three). Four stages are identified, ranging from 1) older, positive, Saul stories, to 2) prophetic tradition, to 3) a Deuteronomistic History expressive of preexilic hope informed by Davidic promise (Josianic), to 4) exilic, deuteronomistic thought, grappling with the crisis of exile while attempting to understand and articulate a response. The response of this final redactor (DtrN) consists of a call to renewed obedience to the book of the law expressive of the YHWH-Israel bond. These diachronic stages are also identifiable in the rejection of Saul passages. Both passages (1 Sam 13:7b-15 and 15:1-35) are carefully studied, synchronically and diachronically, resulting in several theological conclusions (Chapter Four). These conclusions are then compared and contrasted with a classic articulation of “Deuteronomistic Theology” (Noth and Von Rad), leading to even further refinement (Chapter Five). This is followed by a General Conclusion offering a final methodological, theological, and pastoral reflection. Out of exilic reflection, DtrN prioritizes the Deuteronomic law: it is, after all, expressive of the incomparable YHWH-Israel relationship in covenant. There can be no compromise. Yet one of the great strengths of Deuteronomistic Theology, modified by the theological conclusions drawn here, is that the prophetic voice still speaks through the final deuteronomistic text. The embedded call to repentance (šûḇ) tempers the final urgent call to obedience with hope of return to and renewed acceptance by YHWH. Awareness of the diachronic stages allows the later reader to hear, not only the voice of the final DtrN redactor, but also earlier voices. The multi-voiced model, about which concerns are raised in Chapter Two, contributes in its own way to a greater appreciation of the rich theological depth of these texts (Chapters Four and Five). It is the synchronic-diachronic methodological combination adopted that permits the theological message to emerge more clearly in its fullness. A debt is owed to the Deuteronomistic writers for the preservation, transmission, and adaptation of earlier strands. This dynamic of interacting traditions recalls the often overlooked vibrancy of Deuteronomistic Theology, suggesting a renewed appreciation. The Deuteronomistic writers formulated their own vision through interaction with received traditions. On the one hand, Deuteronomistic Theology is robust and uncompromisingly challenging: “Obey the words of YHWH!” (1 Sam 15:1). On the other hand, it is realistic, reconceptualizing, and compassionate: people will fail, but there is a way back. I suggest that the Deuteronomistic theologians offer a biblical foundation for the pastoral model of accompaniment. / Thesis (STD) — Boston College, 2020. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

My dissertation investigates questions of boredom and architecture in the middle decades of the twentieth century through the work of two figures: the American-Italian architect Robert Venturi (b. 1925) and the Romanian-born American architect and artist Saul Steinberg (1914-1999). The topic of boredom in architecture, and specifically within this timeframe, has been largely ignored in architectural history, theory, and criticism where, with the exception of a few articles, there is no consistent body of scholarship on this issue. Looming large in the sterile iterations of various –isms, boredom remains critical in contemporary architectural practice as the production and obsolescence of images becomes ever faster with new technologies. Quickly saturated with information presented in fleeting displays that are easy to produce, easy to delete, and easy to consume, as soon as our expectation for novelty and change fails to satisfy us, we fall back into the loop of boredom. While boredom as the dissociation of person from place has raised architects' interest especially during the middle decades of the twentieth century, there is no significant scholarship on this topic. In this context, my research looks at the work of two architects who go beyond the attractive rhetoric of boredom and explore its potential as both a critical and a generative tool. / PHD / My dissertation investigates questions of boredom and architecture in the middle decades of the twentieth century through the work of two figures: the American-Italian architect Robert Venturi (b. 1925) and the Romanian-born American architect and artist Saul Steinberg (1914-1999). Although the topic of boredom as a disease of modernity has been studied in various fields, such as philosophy, literary studies, sociology, and visual arts, it does not have a presence in architectural scholarship. We live in a world where images are short lived, their production and obsolescence becomes faster with new technologies, and we become quickly bored with everything. In this context, boredom remains critical in contemporary architectural practice where we are quickly saturated with information presented in fleeting displays that are easy to produce, easy to delete, and easy to consume. As soon as our expectation for novelty and change fails to satisfy us, we fall back into the loop of boredom. My research looks at the work of two architects who go beyond the rhetoric of boredom and explore its potential both as a tool of criticism and as a design tool.

Argues that Bellow purposefully creates ambiguity and deception using impersonal narration and free indirect discourse in order to present Herzog and The Dean's December as reflections of an ambiguous and deceptive world. The discussion of impersonal narration is based on Wayne Booth's theories about the confusion of distance resulting from impersonal narration; the discussion of free indirect discourse is drawn from a number of definitions. Utilizes a number of specific references to the texts and to criticisms of the texts to demonstrate the absence of norms and the effect that the ambiguity and deception may have on readers.

<p>In this paper, I have examined if and how Saul Bass adapts his title sequences to the respective film in the matter of genre, plot, milieu, feeling and appearance. Saul Bass was really a graphic artist who has made himself a long career in film production, foremost as a creator of title sequences. Of all the films Bass has created title sequences to, I’ve chosen six films, whose title sequences I analyse more thoroughly. I do this to point out the differences between them and thus also show how Bass adapt them to the individual work. To do this I’ve used an auteuristic perspective. The analysis I’ve made of the six films points to that Bass adapts his title sequences to the respective films. I have for instance found that certain title sequences is an integrated part of the film itself, others work as a prologue to the plot of the movie, and others present the genre, the plot or a specific theme. Most of the title sequences also introduce a fundamental feeling, that follows the viewer throughout the whole film. However, it has also come forth certain likenesses in his work, certain images and themes. Despite this, I believe that Saul Bass designs his title sequences according to the specific work and not according to his personal style.</p> / <p>I denna uppsats har jag undersökt om och hur Saul Bass anpassar sina förtexter till respektive film ifråga om genre, handling, miljö, känsla eller utseende. Saul Bass var i grunden en grafisk designer som har gjort sig en lång karriär inom filmproduktionen, och då främst som skapare av förtexter. Av alla filmer som Bass har gjort förtexter till har jag valt ut sex filmer, vars förtexter jag analyserar mer ingående. Detta gör jag för att belysa olikheterna dem emellan och därmed också hur Bass anpassar dem efter det individuella verket. Till detta använder jag mig av ett auteuristiskt perspektiv. De analyser jag har gjort av de sex filmerna pekar på att Bass verkligen anpassar sina förtexter till respektive film. Jag har till exempel funnit att vissa förtexter är en integrerad del av själva filmen, vissa fungerar som prologer till filmens handling och vissa presenterar genren, handlingen eller ett specifikt tema. De allra flesta av förtexterna introducerar även en grundläggande känsla, som sedan följer med åskådaren genom hela filmen. Dock har det även dykt upp vissa likheter i hans arbeten, vissa bilder och teman. Detta till trots anser jag att Saul Bass utformar sina förtexter med tanke på det specifika verket och inte med tanke på hans personliga stil.</p>

In this paper, I have examined if and how Saul Bass adapts his title sequences to the respective film in the matter of genre, plot, milieu, feeling and appearance. Saul Bass was really a graphic artist who has made himself a long career in film production, foremost as a creator of title sequences. Of all the films Bass has created title sequences to, I’ve chosen six films, whose title sequences I analyse more thoroughly. I do this to point out the differences between them and thus also show how Bass adapt them to the individual work. To do this I’ve used an auteuristic perspective. The analysis I’ve made of the six films points to that Bass adapts his title sequences to the respective films. I have for instance found that certain title sequences is an integrated part of the film itself, others work as a prologue to the plot of the movie, and others present the genre, the plot or a specific theme. Most of the title sequences also introduce a fundamental feeling, that follows the viewer throughout the whole film. However, it has also come forth certain likenesses in his work, certain images and themes. Despite this, I believe that Saul Bass designs his title sequences according to the specific work and not according to his personal style. / I denna uppsats har jag undersökt om och hur Saul Bass anpassar sina förtexter till respektive film ifråga om genre, handling, miljö, känsla eller utseende. Saul Bass var i grunden en grafisk designer som har gjort sig en lång karriär inom filmproduktionen, och då främst som skapare av förtexter. Av alla filmer som Bass har gjort förtexter till har jag valt ut sex filmer, vars förtexter jag analyserar mer ingående. Detta gör jag för att belysa olikheterna dem emellan och därmed också hur Bass anpassar dem efter det individuella verket. Till detta använder jag mig av ett auteuristiskt perspektiv. De analyser jag har gjort av de sex filmerna pekar på att Bass verkligen anpassar sina förtexter till respektive film. Jag har till exempel funnit att vissa förtexter är en integrerad del av själva filmen, vissa fungerar som prologer till filmens handling och vissa presenterar genren, handlingen eller ett specifikt tema. De allra flesta av förtexterna introducerar även en grundläggande känsla, som sedan följer med åskådaren genom hela filmen. Dock har det även dykt upp vissa likheter i hans arbeten, vissa bilder och teman. Detta till trots anser jag att Saul Bass utformar sina förtexter med tanke på det specifika verket och inte med tanke på hans personliga stil.

Thesis (B.A.)--Haverford College, Dept. of Political Science, 2003. / Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 2009. / Includes bibliographical references (leaves 220-231) Also available in print.

Inaug.-Diss.--Frankfurt am Main. / Vita. Bibliography: p. 155-158.

Thesis (Ph. D.)--Universität Hamburg, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 217-245).