This thesis explores the relationship between hagiography and history, with a particular focus on the cult of the little-studied sixth-century Antiochene holy man Symeon Stylites the Younger. It argues that any hagiographic text can only be understood through an appreciation of both its particular historical context and of developments in the genre over time. The first chapter thus addresses the economy, society and culture of the Antiochene area, arguing, against some recent archaeological interpretations, that sixth-century natural and military disasters did have a significant impact on the region. The second chapter turns to the first text associated with Symeon's cult, the sermon collection attributed to the stylite, which reveals how a holy man could construct his own spiritual authority through powerful rhetoric. Starkly polarised in his thought, Symeon eschews the compromises adopted by many clerical preachers, focusing on the opposition of demon and monk, rich and poor, and heaven and hell. The third chapter addresses the Life of Symeon, arguing that it can be read as an extended apology for Symeon's failure to protect the Antiochene from the disasters of the sixth century. The fourth chapter looks at the Life of Martha, Symeon's mother, which contains an original and inclusive vision of holiness, focusing not on asceticism or celibacy but on the redemptive powers of liturgy and the sacraments. The fifth chapter takes a step back, arguing that both Lives reflect broader developments in hagiography in the late sixth and seventh centuries: Symeon's hagiographer's struggle to justify disasters are echoed in other near-contemporary saints' Lives, while Martha's Life resembles in many respects the posthumous miracle collections which flourished in this period and were, in their relatively narrow focus, very suitable for a time of crisis.

The rise of Late Antiquity as a separate discipline, with its focus on social history, has meant that the vast homiletic corpus of John Chrysostom has received renewed attention as a source for the wider cultural and historical context within which his sermons were preached. Recent studies have demonstrated the exciting potential his sermons have to shed light on aspects of daily life, popular attitudes and practices of lay piety. In short, Chrysostom's sermons have been recognised as a valuable source for the study of 'popular Christianity' and the extent of Christianization at the end of the fourth century. This thesis, however, will question the validity of some recent conclusions drawn from Chrysostom's sermons regarding the state of popular Christianity. A narrative has been developed in which Chrysostom is often seen as at odds with the congregations to whom he preached. On this view, the Christianity of élites such as Chrysostom had made little inroads into popular thought beyond the fairly superficial, and congregations were still living with older, more culturally traditional views about religious beliefs which preachers were doing their utmost to overcome. It is the argument of this thesis that such a portrayal is based on a misreading of Chrysostom's sermons, and which fails to explain satisfactorily the apparent popularity that Chrysostom enjoyed as a preacher. What this thesis sets out to do, therefore, is to reassess how we read Chrysostom's sermons, with a particular focus on the harsh condemnatory language which permeated his preaching, and on which the image of the contrary congregation is largely based. To do this, this thesis sets out to recover a neglected portrayal of Chrysostom as a pastor and preaching as a pastoral and liturgical activity, through an exploration of four different but overlapping aspects of the socio-historical context within which his preaching was set. A consideration of the scholastic, therapeutic, prophetic and liturgical nature of his preaching will shed light on the pastoral relationship between the preacher and his congregation and will, significantly, provide a backdrop against which his condemnatory language can be explained and understood. It will become clear that his use of condemnatory language says more about how he understood his role as preacher than about the extent of Christianization in late-antique society. Through focussing on the issues of the social composition of the congregation and the level of commitment to (Chrysostom's) Christianity, it will be argued that sermon texts are in their nature resistant to being used as sources for this kind of social history. Despite this, however, glimpses will also emerge of a very different picture of late-antique Christianity, in which Chrysostom's congregation are rather more willing to listen and learn from their preacher than is often assumed.

Aborder l'oeuvre de prédication d'Albert Schweitzer aujourd'hui, c'est se donner la possibilité de comprendre sa personnalité, sa vie, son oeuvre humanitaire et intellectuelle autrement, à la lumière de son profond amour pour Jésus. Vivre l'appel de Jésus, là est l'ambition du pasteur Albert Schweitzer. Il donne à voir par sa prédication ce que l'enseignement de Jésus implique dans la vie de chaque homme. La prédication d'Albert Schweitzer est une équation dont les deux termes, mystique et éthique, portent les tensions de toute existence humaine. Pour lui, loin d'aboutir à un affrontement stérile, mystique et éthique, s'équilibrent et s'enracinent au coeur de l'Évangile. Il donne en partage, en une prédication, en une image, pareille à une fenêtre ouverte sur l'univers, l'amour infini de Jésus. Pour Albert Schweitzer le Royaume de Dieu est là où l'homme prie par sa vie, là où il agit, selon sa définition de l'eschatologie conséquente. Schweitzer a toujours évité de se laisser enfermer dans un système dogmatique, voulant bâtir une prédication où pensée et action naissent l'une de l'autre en un mouvement de vie. / To study the sermons of Albert Schweitzer today provides the opportunity to understand his personality, his life, his intellectual and humanitarian work in the light of his profound love forJesus. Living the call of Jesus, here is the ambition of Pastor Albert Schweitzer. He shows, through his sermons, the meaning of the teachings of Jesus in the life of each man or woman. The sermons of Albert Schweitzer reflect the tensions between two poles, mystical and ethical, which reveal the tensions of all human existence. For him, far from being a sterile tension, the mystical and ethical find equilibrium through their roots in the heart of the New Testament. He shares with us with a sermon, with an image, like a window open to the universe, the infinite love of Jesus. For Schweitzer, the Kingdom of God is where man prays with his life, and where he acts, according to his definition of consequential eschatology. Schweitzer always avoided letting himself be imprisoned in a dogmatic system. He wanted to build a sermon, where thought and action reinforce each other in the movement of life.

The subject of the diploma thesis is syntactical analysis of the collection of sermons Vejtažní naučení (1740) by Antonín Koniáš. The aim of the thesis is the research of grammatical and lexical means used in this text to express relations in compound sentences. The thesis is divided into a theoretical and a practical part. In the theoretical part we give information about Koniáš´s life and work, further we characterize the basic syntactical phenomena and define the baroque compound sentence. In the practical part we deal with individual paratactic relations, especially we have the frequency of coordinating means in view. Subsequently we summarize the results of our work, we assess the found out coordinating means and compare them with those in the contemporary Czech language.

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Made available in DSpace on 2015-05-14T12:23:09Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1963843 bytes, checksum: d62561dd4285173051501483efc13fdf (MD5) Previous issue date: 2013-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The greatest legacy left by Father Antonio Vieira is certainly the vastness of his work. His sermons represent, to historians, a great possibility in terms of interpretation of the past and its contexts, and the processes involving encounters between Natives and Jesuits, in Portuguese America. Mutual resistance processes, which also include the production of representations in order to designate Natives, to provide them with meaning and interpret them, so that dialogues could take place. Throughout this paper, these aspects will be analyzed through representations Father Antonio Vieira set to natives during his missionary services in Maranhao and Grao-Para State (1652-1662). For this purpose, five sermons were chosen amongst those produced by the Father, Fifth Sunday of Lent (1654), Sexagesima (1655), First Octave of Easter (1656), Holy Spirit (1657) and Epiphany(1662). Such preaching expresses how the images built around natives were modified through time, not by the ongoing reflexions around their nature nor the procedures involving their evangelization, which obeyed demands that rose from conflicts with colonists, public authorities and other religious orders as in reference to native workforce usage and responding, as well, to instrumentalized resistance procedures from natives towards the Europeans ethos of living. / O maior legado deixado pelo Padre António Vieira para a posteridade é, certamente, a vastidão de sua obra. Para os historiadores, os sermões de Vieira abrem grandes possibilidades de interpretação do passado e seus contextos, e sobre os processos que envolveram os contatos entre os jesuítas e indígenas na América portuguesa. Processos de resistências mútuas, que incluíram também a produção de imagens para designar os povos indígenas, dotá-los de sentido e interpretá-los, para que o diálogo pudesse ser exercido. Neste trabalho analisaremos esses aspectos através das imagens que o Padre António Vieira imprimiu aos indígenas durante o tempo de seu exercício missionário no Estado do Maranhão e Grão-Pará (1652-1662). Para isso selecionamos cinco dentre os muitos sermões produzidos e proclamados pelo Padre, Quinta Dominga da Quaresma (1654), Sexagésima (1655), Primeira Oitava da Páscoa (1656), Espírito Santo (1657) e Epifania (1662). Essas prédicas expressam como as imagens relacionadas aos indígenas foram se modificando ao longo do tempo, não pelo avanço das reflexões em torno da natureza indígena ou pelos procedimentos que envolviam a catequização desses povos, obedecendo demandas colocadas pelos muitos conflitos com os colonos, o poder público e outras ordens religiosas em torno dos usos da força de trabalho indígena e respondendo também aos procedimentos de resistências instrumentalizados pelos nativos ao ethos europeu de viver.

John Donne was indisputably the foremost English preacher of his day. Many studies have focussed on his instructional methods; fewer have concentrated on how he tries to move his hearers. Donne especially liked preaching on the psalms. Since Christian antiquity, the seven psalms known as the penitential psalms have enjoyed a privileged place in church worship. They are central to the sacrament of penance. By Donne's time, changes in the Church of England's sacramental theology had all but eliminated the practice of penance. Nevertheless, Donne considers penance or, as it had become known, repentance, to be a crucial part of believers' lives. With his sermons on the penitential psalms Donne contributes to the vast body of literature surrounding the sacrament of penance, but his contribution is unique. He thinks that since the second person of the Trinity is identified with the Word of God, the institution of preaching God's Word is incarnational. In the sacraments, the priest ushers in the Body of Christ; in the sermon, Donne believes, the preacher's role is similar. For Donne, sermonizing is sacramental in effect. In his sermons he attempts to bring the real presence of God to his listeners. Moreover, his sermons display a "sacramental mimesis": they enact their subject matter by their very words and try to effect change in the listeners as the words are uttered. Further, Donne thinks that since God established all the ordinances of the church, none of them should be ignored. Therefore, Donne's twenty-one sermons on the penitential psalms reveal a preacher who is on the one hand a conservative churchman and on the other a startlingly innovative preacher. / Arts, Faculty of / English, Department of / Graduate

Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T21:31:44Z (GMT). No. of bitstreams: 1 Neves_ArcripoFranciscoGomes_M.pdf: 13095549 bytes, checksum: d095a7eb00374a7938df8010c6f841db (MD5) Previous issue date: 2014 / Resumo: Esta dissertação, fundamentada no acervo de pesquisas musicais do Pernambuco Colonial realizadas por Jaime Cavalcanti Diniz (1924-1989) ¿ depositado na Biblioteca do Instituto Ricardo Brennand, no Recife ¿ visa estudar os Sete Motetos... e o Miserere para os Sermões da Quaresma ali encontrados, atribuídos pelo musicólogo ao compositor recifense do século XVIII Luiz Álvares Pinto (1719-1789). O trabalho traça o perfil de Diniz, pesquisador que "descobriu" estes motetos quaresmais na atualidade e apresenta defesa da "autenticidade das cópias manuscritas", ao datar, por aproximação, os originais encontrados em seu acervo, através da análise de conteúdos, conforme Laurence Bardin (2011), de "pistas informativas" deixadas em "notas" nas suas transcrições. A contextualização histórica ¿ fundamentada em autores afora o âmbito musical, porém dentro da esfera artística como Marcílio Lins Reinaux (1975) e Leonardo Dantas Silva (2011) ¿ dirige o estudo ao locus, meio social e biografia do compositor, bem como aos motivos da criação das obras e sua inserção no âmbito da cerimônia religiosa católica denominada "Procissão dos Passos" descrita por Paulo Castagna (2000). O estudo analítico apresentado, sem pretender esgotar as possibilidades, faz uma apreciação dos motetos a partir do sentido dos textos que os compõem, expressos através de elementos retórico-musicais detectados. A edição das partituras para fins logísticos no desenvolvimento da dissertação, anexada ao final do trabalho, constitui-se fator que possibilitará futura realização e busca tornar públicas as obras apresentadas / Abstract: This dissertation is based on Pernambuco Colonial¿s collection of musical research conducted by Jaime Cavalcanti Diniz (1924-1989) ¿ which is gathered at Ricardo Brennand Institue¿s library in Recife ¿ and it aims to study the musical pieces entitled Sete Motetos ... and Miserere para os Sermões da Quaresma, both assigned by the musicologist to the eighteenth century composer from Recife Luiz Álvares Pinto (1719-1789). The work outlines Diniz¿s profile, a researcher who "has discovered" those motets at present, and it brings forward a defense of "authenticity of manuscript copies" when dating, by approximation, the originals found in his collection through analysis of contents, according to Laurence Bardin¿s references (2011) about "informative clues" left on "notes" written in his transcriptions. The historical context ¿ based on authors out of the musical context nevertheless inside the artistic sphere such as Marcílio Lins Reinaux (1975) and Leonardo Dantas Silva (2011) ¿ guides the research to the locus, to the social environment and biography of the composer, as well as to the reasons about the creation of those works and their insertion within a Catholic religious ceremony called "Procession of the Stations", as described by Paulo Castagna (2000). The analytical research described here, without attempting to exhaust its future possibilities, makes an assessment of motets concerning of the meaning of the texts that compound them, expressed through the rhetorical-musical elements detected. The edition of the sheet music for logistical purposes in the development of the dissertation, attached to the end of the work, constitutes an important issue that will enable future performances and aims to make public the artistic works presented here / Mestrado / Fundamentos Teoricos / Mestre em Música

This dissertation proposes a new interpretative approach to the theatrical material in Horace’s Sermones and Epistles. In particular, it focuses on a selection of poems in which Horace employs a wide array of dramatic devices to depict and discuss the patron-client relationship (Sermones 1.9, 2.5, 2.7 and Epistles 1.17 and 1.18). These devices include dialogue, stage directions, stock characters, expressly theatrical metaphors, and diction echoing playwrights such as Plautus and Terence. I argue that Horace intentionally activates the language of the stage in order to spotlight the theatricality involved in performing the role of a client. In so doing, the poet characterizes the client as an actor and underlines the scripted nature of the words and gestures that he directs toward his patron. In each of these poems, Horace employs a variety of negative stereotypes in order to associate the client with different kinds of performers (e.g., the parasitus, captator, servus, scurra, and planus). In the process, he confronts criticism that he himself likely received in the extrapoetic world impugning his amicitia with his own patron, Maecenas. Horace defends himself against charges of acting and sycophancy by demonstrating that an element of performance is endemic to the patron-client relationship itself. The dissertation is organized as a series of close readings of the five poems that best illustrate Horace’s correlation between dramatic and social performance. For each poem, I identify and interpret the dramatic elements and illustrate how they complement and enhance the dramatic subtext. Chapter 1 concentrates on Sermones 1.9, in which Horace encounters a pest seeking an introduction to Maecenas. Chapter 2 deals with Sermones 2.5, the dialogue between Tiresias and Ulysses on the subject of inheritance-hunting (captatio). Chapter 3 explores Sermones 2.7, in which Horace’s slave Davus accuses him of proteanism when it comes to Maecenas. Chapter 4 presents comparanda from Horace’s Epistles 1.17 and 1.18, in which Horace utilizes the same dramatic devices to shape his advice to two prospective clients. Taken together, these analyses uncover new layers in Horace’s multifaceted depiction of the patron-client relationship, and provide additional insight into his poetic personae and poetic program.

This qualitative research compared the practice of an expert preacher to core concepts in homiletic theory (the art and craft of preaching), searching for discrepancies between what theory suggested and what the preacher practiced. It also sought to validate that the preacher practiced what homiletic theorists prescribed and to inform homiletic theory by describing strategies he employed unlike those espoused in homiletic theory. To discover whether the participant's practice was congruent with theory, I first identified seminal theories. They were classified into the following modified version of Broadus's categories of ideal preaching: (a) content, (b) arrangement, (c) introduction,transition, and conclusion, (d) style, (e) illustrations, and (f) the delivery. I created a rubric from the literature review as a standard from which I compared the participant's audio and video sermons. The rubric had six categories, 39 subcategories, and 58 characteristics of ideal preaching to which the preacher was compared. The analysis included frequency counts of certain words, phrases, illustrations, and the results of the Flesch's Reading Ease score. To find strategies employed by the participant but not represented in the literature, I also used an inductive method to analyze the integral parts and patterns of the sermons. The analysis revealed that the preacher's practice was congruent with theory yet the preacher had never read homiletic theory. Because the preacher was able to sidestep the need to study homiletics, it was concluded that for him preaching was an intuitive art/craft. The research also revealed that the preacher had a personal homiletic philosophy wherein everything in his preparation, message design, and delivery centered on relevancy. The preacher felt strongly that the message had to apply to his listeners in meaningful ways. The preacher's strength centered not so much on how he presented, but what he presented. His sermons were filled with what homiletic theorist Sunukjian called "timeless truths." They made the preacher's sermons insightful, hopeful, and most of all, relevant to his listeners.