Univ., Diss. u.d.T.: Petersen, Hans-Christian: Peter-Heinz Seraphim (1902 - 1979)--Kiel, 2006, eine Karriere zwischen Bevölkerungsökonomie und Ostforschung.

Zugl.: Kiel, Univ., Diss., 2006 u.d.T.: Petersen, Hans-Christian: Peter-Heinz Seraphim (1902 - 1979) - eine Karriere zwischen Bevölkerungsökonomie und Ostforschung

A Companhia Teatro de Seraphim (CTS) surge em 1990, no Recife, Pernambuco, e logo se notabiliza pelo requinte artístico de seus espetáculos e pela abordagem polêmica de questões como sexualidade, loucura, religião e família, enfocando em geral grupos excluídos da sociedade brasileira. Seu teatro dá ênfase à teatralidade e à metalinguagem. Tomando, portanto, como eixo teórico a metateatralidade, esta tese examina os valores estéticos do grupo, em um primeiro momento, para em seguida analisar sua realização cênica, especificamente em um espetáculo: A filha do teatro. Análise que, por sua vez, se desdobra sobre dois espetáculos posteriores, encenados fora do âmbito da CTS: Thy name e A morte do artista popular. As três montagens constituem uma espécie de trilogia sobre o teatro, com textos de Luís Augusto Reis, encenados por Antonio Cadengue. Por meio deste estudo, tem-se o objetivo de apresentar a metateatralidade como uma das matrizes da poética teatral da CTS e, por extensão, de Antonio Cadengue, fundador e principal encenador do grupo. / In 1990, the Companhia Teatro de Seraphim (CTS) is founded in Recife, Pernambuco, and soon earns recognition for the artistic finesse of its productions and its controversial approach of issues such as sexuality, madness, religion, and family, generally focusing on excluded groups in Brazilian society. Its theatre gives emphasis to theatricality and metalanguage. Therefore, taking metatheatricality as theoretical basis, this thesis examines the group\'s aesthetic values, at first, to then analyze its scenic attainment, specifically observing one of its productions: A filha do teatro. Analysis which, in turn, is unfolded into the subsequent examination of two other spectacles, though not formally produced by the CTS: Thy name and A morte do artista popular. These three plays, all written by Luís Augusto Reis and staged by Antonio Cadengue, form a kind of trilogy about theatre. This study aims to present metatheatricality as one of the main poetic tenets of the CTS - and, by extension, of Antonio Cadengue, founder and leading director of the group.

A Companhia Teatro de Seraphim (CTS) surge em 1990, no Recife, Pernambuco, e logo se notabiliza pelo requinte artístico de seus espetáculos e pela abordagem polêmica de questões como sexualidade, loucura, religião e família, enfocando em geral grupos excluídos da sociedade brasileira. Seu teatro dá ênfase à teatralidade e à metalinguagem. Tomando, portanto, como eixo teórico a metateatralidade, esta tese examina os valores estéticos do grupo, em um primeiro momento, para em seguida analisar sua realização cênica, especificamente em um espetáculo: A filha do teatro. Análise que, por sua vez, se desdobra sobre dois espetáculos posteriores, encenados fora do âmbito da CTS: Thy name e A morte do artista popular. As três montagens constituem uma espécie de trilogia sobre o teatro, com textos de Luís Augusto Reis, encenados por Antonio Cadengue. Por meio deste estudo, tem-se o objetivo de apresentar a metateatralidade como uma das matrizes da poética teatral da CTS e, por extensão, de Antonio Cadengue, fundador e principal encenador do grupo. / In 1990, the Companhia Teatro de Seraphim (CTS) is founded in Recife, Pernambuco, and soon earns recognition for the artistic finesse of its productions and its controversial approach of issues such as sexuality, madness, religion, and family, generally focusing on excluded groups in Brazilian society. Its theatre gives emphasis to theatricality and metalanguage. Therefore, taking metatheatricality as theoretical basis, this thesis examines the group\'s aesthetic values, at first, to then analyze its scenic attainment, specifically observing one of its productions: A filha do teatro. Analysis which, in turn, is unfolded into the subsequent examination of two other spectacles, though not formally produced by the CTS: Thy name and A morte do artista popular. These three plays, all written by Luís Augusto Reis and staged by Antonio Cadengue, form a kind of trilogy about theatre. This study aims to present metatheatricality as one of the main poetic tenets of the CTS - and, by extension, of Antonio Cadengue, founder and leading director of the group.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaf 62).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaf 62).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaf 62).

The Hebrew words (cherub) and (seraph) are well-known terms, but it is unclear exactly to what they refer. Many sources agree that the word cherub refers to a composite creature such as a griffin, sphinx or winged bull. Less research has been done on the meaning of the word seraph. This study employs a textual and iconographic analysis to attempt to reconstruct a picture of what the authors of the Hebrew Bible had in mind when they wrote about cherubim and seraphim. Every text in the Hebrew Bible mentioning one of these words is listed, translated and analysed with the aid of various sources. Special attention is paid to texts that discuss cherubim or seraphim at length, such as the description of the Ark of the Covenant in Exodus, the visions of cherubim in Ezekiel and the reference to seraphim in Isaiah. Artefacts from certain cultures and dating within a specific timeframe, depicting composite creatures, are studied and analysed. Possible depictions of seraphim are identified, using information from the texts of the Hebrew Bible and through analogy with widely-accepted depictions of cherubim. The study contends that where cherubim were seen as winged composite creatures with parts of two or more of the eagle, lion, ox/bull and human, seraphim was a term used to describe winged composite creatures including parts of the serpent. It is also argued that seraphim are generally not associated with dragonlike composite creatures because of the negative connotations that modern symbolism has of snakes and dragons, and that the ancient Hebrews did not necessarily share this view. / Afrikaans: Die Hebreeuse woorde (gerub) en (seraf) is bekende terme, maar dit is onduidelik waarna hulle verwys. Baie bronne is dit eens dat die woord gerub verwys na ‘n gedierte met buitengewone en verskillende saamgestelde liggaamsdele soos ‘n griffioen, ‘n sfinks of ‘n gevleulde bul. Minder navorsing is al gedoen oor die betekenis van die woord seraf. In hierdie studie word ‘n tekstuele en ikonografiese analise benut om te poog om ‘n beeld te rekonstrueer van wat die skrywers van die Hebreeuse Bybel in gedagte gehad het toe hulle geskryf het oor gerubs en serafs. Elke teks in die Hebreeuse Bybel wat een van hierdie woorde gebruik, word gelys, vertaal en geanaliseer deur ander bronne ook te benut. Spesiale aandag word gegee aan tekste wat breedvoerig oor óf gerubs óf serafs handel, soos die beskrywing van die Verbondsark in Eksodus, en die visioene van gerubs in Esegiël en van serafs in Jesaja. Artefakte van bepaalde kulture en wat binne ‘n sekere tydraam gedateer kan word, wat diere uit saamgestelde dele uitbeeld, word bestudeer en geanaliseer. Moontlike uitbeeldings van serafs word geïdentifiseer deur gebruik te maak van inligting in tekste van die Hebreeuse Bybel en deur middel van analogie met algemeen aanvaarde uitbeeldings van gerubs. Die studie beoog om aan te dui dat waar die gerubs beskou was as gevleuelde gediertes bestaande uit saamgestelde gedeeltes met twee of meer dele van ‘n arend, ‘n leeu, bul en mens, verwys die term seraf gewoonlik na ‘n gevleuelde gedierte wat dele van ‘n slang bevat. Dit word ook geargumenteer dat serafs nie algemeen met ‘n draakagtige gevleulde gedierte geassosieer is nie weens die negatiewe konnotasies wat geheg word aan slange en drake in moderne simbolisme en dat die antieke Hebreërs nie noodwendig hierdie beskouing gedeel het nie. / Dissertation (MA)--University of Pretoria, 2009. / Ancient Languages / MA / Unrestricted

The Order of the Seraphim is Sweden's foremost order of chivalry and is conferred upon members of the Swedish Royal House, foreign heads of state or individuals of equal merits. Each new knight of the order is expected to submit a proposal for a heraldic coat of arms, a Seraphim Coat of Arms, which is then painted. Heraldry has traditional and often strict rules, and the sole function of a coat of arms is to identify its owner. However, this does not prevent a coat of arms from conveying idea-content, such as specific messages and identities. This essay is a qualitative analysis of the Seraphim Coats of Arms of Finnish and Icelandic presidents, where the aim is to analyze symbols and idea-content, heraldic style as well as style development and national differences. The investigation analyzes the Seraphim Coats of Arms of eight Finnish presidents and five Icelandic presidents between the years 1925 and 2018. The essay employs semiotics as its theoretical framework and iconographic and iconological analysis as method. The results show that the weapons not only identify their owner, but also convey messages and identity – idea-content that can be intentional, but not always obvious. Symbols, idea-content and heraldic style vary. The majority represent the office of president and national symbols, such as the flag or coat of arms of the country. The Seraphim Coats of Arms of the Finnish presidents, with few exceptions, follow the strict tradition of heraldry and are generally archaically simple in their design. Among Finnish presidents, for example, policies and statements are more frequent, where the image of the president as a unifying figure is conveyed in the coats of arms. The coats of arms of the Icelandic presidents are more varied in both idea-content and style. In both countries there are examples of canting arms, arms that represent the bearer's name. The coats of arms of the Finnish and Icelandic heads of state represent a distinct heraldic time frame. The Finnish arms cover a period of just under a century, the Icelandic somewhat shorter. Together they form a unique insight into Nordic heraldry for almost 100 years.

This thesis is the first modern joint study of biblical Cherubim and Seraphim. I begin by setting out the recent history of their interpretation, before taking each of the biblical texts in turn. Chapter 1 looks at the references to Cherubim in Ezekiel. I argue that the Cherubim in Ezek. 1-11 are based upon the two large Cherubim in the sanctuary in Jerusalem. I investigate the different traditions represented by LXX and MT versions of Ezek. 28 and identify a tradition which may account for the MT of this chapter. Chapter 2 covers the other descriptions of living Cherubim in the biblical texts in Gen. 3 and Ps. 18. I argue for a conscious link with the Jerusalem Temple in both texts but for their independence from each other. All the references to Cherubim in the Temple and the Tabernacle are looked at in Chapter 3, and I offer a radical re-imagining of the two large Cherubim in the Solomonic Temple and on the Kapporeth in the Mosaic Tabernacle. In Chapter 4 I question the validity of translating the Cherubim Formula as “enthroned upon the Cherubim”, and offer an alternative translation which makes reference to all the Cherubim mentioned in the text. In Chapter 5, looking at the references to saraph, I follow Joines and others in arguing for a serpentine form for the Seraphim, but argue that this identity was forgotten at an early stage of the textual transmission, and that they were then seen as part of Yhwh’s heavenly host. Finally, I argue that the role of Cherubim and Seraphim is similar, being primarily apotropaic, but that both are associated with theophany and, less frequently, with heavenly worship.