<h1>Abstract</h1> <p>Axel Adolf Laurell (1800–1852), theoretical philosopher by training, was Professor of Dogmatics at the University of Helsinki 1836–1852. In the history of Finnish theology, he has been rather ignored. The aim of this doctoral thesis has been two-fold: to analyze both Laurell and the later theological tradition that ignored him.</p> <p>Laurell was one of the intellectually oriented theologians in Finland representing the view that university theology was a field of rational study, not a way of practicing religion. His qualifying thesis, already approved of by the official opponent, was rejected by the Faculty of Theology and by the Lutheran archbishop E. G. Melartin. However, Laurell gained the support of the Academic Senate and was appointed professor by Nikolai I.</p> <p>Archive material depicting Laurell´s lectures on theology shows that he lectured, among other things, on the German controversy between rationalism and supranaturalism. He seems to have supported the idea of mediation between these two, an approach typical of to the school of <i>Vermitttlungstheologie</i>. Laurell began his career as a Hegelian, rejected Hegelianism in the 1840s and became interested in the questions of empirical study. Laurell was one of the Finnish academics who adopted ideas both from Herder and Hegel.</p> <p>Laurell, during his formative years a member of the Saturday Society, a circle of reform-minded young intellectuals, was the most notable Finnish representative of pedagogics during his time. He was one of the founders of Helsingfors Lyceum in 1831 and the first headmaster of this school with its new, modern-type curriculum. According to him, “state” and “church” should not interfere in the matters of education.</p> <p>Taking into account Mythologies by Roland Barthes and some international discussions on nationalistic myths, I have delineated the previously unrecognized myth of Genuine Finnish theology. Influential Finnish revivalist theologians adopted the biblical theology of Johann Tobias Beck during the latter part of the 19^th century. From this standpoint they and notably history professor Ernst Gustaf Palmén, invented a religious-nationalistic interpretation of the 19^th-century Finnish history. Scientifically significant theologians had been Beckians or revival movement sympathizers while Laurell, among other actual forerunners of rational research, were marginalized and forgotten.</p> / <h1>Tiivistelmä</h1> <p>Väitöskirjani tarkastelee Lauantaiseuran jäsenen ja Helsingin yliopiston dogmatiikan ruotsinkielisen professorin Axel Adolf Laurellin (1800–1852) näkemyksiä ja toimintaa 1830-luvulta 1850-luvun alkuun sekä autonomian kaudesta kertovaa suomalaisen teologian oppitraditiota. Laurell on yksi tämän oppitradition vähättelemistä 1800-luvun teologeista. Teologinen tiedekunta sekä luterilaisen kirkon arkkipiispa E. G. Melartin yrittivät 1830-luvulla torjua Laurellin professorinvirasta hylkäämällä hänen väitöskirjansa, jonka vastaväittäjä oli jo hyväksynyt. Hänellä oli kuitenkin yliopiston professorikunnan enemmistön tuki, ja Nikolai I nimitti hänet dogmatiikan professoriksi.</p> <p>Teologian oppitraditiota, historiallisista lähteistä piittaamatonta keksittyä historiaa, kutsutaan tässä tutkimuksessa Oikean teologian myytiksi. Se on hahmoteltu soveltaen Roland Barthesin ja eräiden nationalismitutkijoiden myyttitulkintoja. Myytti on arvioinut aiempien tutkijoiden tieteellistä merkittävyyttä sen perusteella miten he suhtautuivat herännäisyyteen ja olivatko he suomenkielisiä. Myytin keskeinen muotoilija oli historian professori Ernst Gustaf Palmén ja sen syntyedellytyksenä olivat suomalaisen yliopistoherännäisyyden muuttuminen beckiläiseksi raamattufundamentalismiksi 1850-luvulta alkaen sekä lähdetutkimuksen laiminlyöminen. Aiempien tutkijoiden tulkintaa autonomian kauden teologiasta toistettiin sittemmin vuosikymmenestä toiseen tarkistamatta heidän tulkintojensa paikkansapitävyyttä alkuperäislähteistä.</p> <p>Laurellin luennoista säilynyttä käsikirjoitusaineistoa on käytetty selvittämään mitä hän opetti Helsingin yliopiston teologian opiskelijoille. Yksi luentojen keskeinen aihe oli saksalaisen rationalismi-supranaturalismi -kiistan käsittely. Luennot viittaavat siihen, että Laurell edusti välitysteologiseksi kutsuttua koulukuntaa, joka nimensä mukaisesti pyrki edustamaan välittävää kantaa näiden kahden välillä.</p> <p>Laurell oli aikansa merkittävin suomalainen pedagogi, Helsingfors Lyceumin johtaja ja yksi sen perustaja, koulutukseltaan teoreettisen filosofian dosentti ja aikansa maltillinen, kristillisestä luomisuskosta kiinnipitänyt rationalisti, joka hegeliläisyydestä luovuttuaan kiinnostui empiirisestä tutkimuksesta. Laurellin ajattelussa näkyy monelle muullekin 1800-luvun alkupuolen toimijalle tyypillinen hegeliläisten ja herderiläisten vaikutteiden rinnakkaisuus. Teologina Laurell edusti näkemystä, jonka mukaan yliopistoteologia on uskonnon tarkastelua, ei yliopistossa tapahtuvaa uskonnonharjoitusta.</p>

`Resurrection' can be approached from several angles. The most common angle is what this study avoids: pressing for a `yes' or a `no' answer as to whether `Jesus really rose from the dead'. That is, demanding a definitive and final outcome from the discipline of historical-critical research. This study treats resurrection as a symbol. Symbols intrinsically generate multiple meanings. Historical, hermeneutical and gospel-critical parameters are the constraints within which reflection on the symbol of resurrection must take place, and the validity of perspectives be established. John Dominic Crossan's view of the resurrection is the focal point of discussion in this thesis, for two reasons. (1) He has clearly mapped out his method. (2) He occupies a middle position, by interpreting resurrection metaphorically and theologically. This sets him apart from those who interpret the resurrection literally and historically and those who accept the negative or uncertain outcome from the side of historical-critical inquiry as the death sentence for Christian faith. / New Testament / M.Th. (New Testament)

Classical mythology has been one of the main sources of inspiration for European artists for centuries. It also remained current during the 20th century. From the 1920s, one can see increasing interest in classical myths; it becomes a source of inspiration even for artists of avant-garde art movements. The 20th century artist approach themes from classical mythology from a position of newly acquired artistic freedom. Release of iconographic conventions and academic rules, emphasis on psychology and individuality of a modern man brings specific forms of reception and reinterpretation of classical myths. In many cases, classical mythology carries allegorical meanings in a relation to contemporary political and social events, often in a very critical tone. But it also represents a tool for one's personal coping with reality. The thirties and early forties of the 20th century with dark atmosphere affected by war conflicts represent the culmination period of classical myths in visual arts. The tendency can be observed both in the art of European and Czech origin. Antiquity and classical mythology become the symbols of a return to the roots of European culture and civilization, symbols of the common European humanistic heritage. The collection of nearly 180 works of modern Czech art inspired by classical...

The thesis How mothers and daughters perceive and use fashion themes in lifestyle magazines for women is aimed at generational differences when it comes to perception of media content. Specifically, it examines differences in perception of fashion phenomenon presented in lifestyle magazines for women (e.g.: ELLE and Cosmopolitan) by mothers and their daughters. Today, not only individuals, but also family relations are influenced by new media, new technologies, and new forms of media content, therefore I focused on differences in consumption of those lifestyle magazine between two generations of women within a family. The thesis first introduces some theories on social construction of reality; how fashion is presented in magazines; how women as readers perceive fashion and how this influences readers' identities as a result of magazines' consumption, and how advertising is perceived by readers. Theoretical knowledge is then researched. Qualitative research was conducted on ten pairs of respondents (mother - daughter) in the form of interviews. The results show that lifestyle magazines do not serve as a main source of information about fashion anymore. Many young women are more likely to search for information related to fashion on the Internet today. Mothers and daughters do not happen to read and...

Summary: This work approaches Patočka's philosophy of art from the perspective of ‚care of the soul'. The first part of work describes evolution of the ‚care of the soul' in context of Patočka's philosophy of history from he 30s up to 70s. Based on this description I recognize experience of the soul as the experience of human freedom as inseparable from the ethical and methaphysical dimensions. The second part approaches art from this perspective.Patočka's intepretations of art show that Patočka saw art not only as a manifestation of human freedom, but as reflection of human position in the world and his relation to aletheia as well. However, art stays half way between myth and philosophy due to the fact, that the movement of freedom is not as absolute in art as it is in philosophy. This is evident in expressions that art takes from the fields of our emotions and experience and thus still remains for Patočka in connection with the world and our everydayness. Therefore art represents for Patočka only limited experience of the soul. It is mostly the momentum of transcendence that is important and interesting for Patočka in art, but not the results that, no matter how deep, are still insights about the things in the world. Powered by TCPDF (www.tcpdf.org)

Diploma thesis Bc. Anna Fauknerová (2018) Transformationand Adaptation of the Cupid and Psyche Myth in Literature Abstract This thesis deals with the myth of Cupid and Psyche. It is concerned with the version of the myth found in Apulei's novel The Golden Ass as well as in other works such as fairy tales and novels. Some of these other works refer to the myth directly while others' connections to it have not been established and they merely demonstrate similar motifs. The first part of the thesis deals with Apuleius and his text The Golden Ass, which is the oldest surviving version of the myth of Amor and Psyche. The main characteristics of the myth as well as its characters, the story and the meanings that are hidden in it are examined. The character of Psyche and the way her heroism manifests itself are examined in greater detail. The second part of the thesis compares the myth with three fairy tales and three novels based on the conclusions of the previous chapter. The greatest emphasis is placed on the development and adaptation of individual motifs, similarities and disimilarities in content and form and on the way in which the myth is reflected in literature. The third part of the thesis looks at three possible ways of interpreting the myth. Keywords: Cupid, Psyche, myth, fairy tale, motif of light...

This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness. / English Studies / M.A. (English)

The purpose of this study was to examine how male and female celebrities are represented on the 24 covers of e+, a weekly entertainment magazine that was published by Dubai-based Al Nisr Publishing. This cross-sectional, exploratory study used a qualitative visual semiotic analysis and quantitative content analysis to examine how male and female celebrities are constructed and represented on covers published between October 2010 and September 2011. In addition, the study explored whether the myths and ideologies found on the covers made an impression on the perceptions and tastes of teenagers living in the UAE. A subsequent self-administered questionnaire was completed by 30 teenagers living in the UAE aged between 16 and 19 with the purpose of determining how teenagers experienced representations of celebrities. Furthermore, to gain a deeper understanding of how teenagers experienced celebrity culture, three focus-group interviews, each comprising of six participants, are conducted. The study found that both male and female celebrities were represented in gender stereotypical roles. Results showed that male celebrities were represented as active, strong, decisive and dominant. Male celebrities were associated with success, fast cars and dangerous weapons. On the other hand, female celebrities were predominantly represented as submissive. The representations of female celebrities focused on beauty and fashion. The survey and focus-group results revealed that celebrity culture does have an influence on teenagers. Participants reported that they bought products that they saw celebrities wearing or using, emulated the celebrities’ behaviour and copied hairstyles and make-up looks. However, the study found that, in addition to celebrity culture, teenagers’ perceptions are also shaped by their peers, parents and other people they interact with such as teachers. / Communication Science / M.A. (Communication Science)

The 'postmodern challenge' is increasingly felt in the 'end of modernity' to which Gianni Vattimo refers. The West and the world has hitherto been dominated by what Andrew Gamble characterises as the Modern or Western Ideology. But the validity of that worldview and its associated ways of thinking, going back to the 'Enlightenment' and beyond, has come to be radically questioned. It is within this context that the work and thought of CS Lewis is examined. Although Lewis is generally recognised, and regarded himself, as conservative and even reactionary, there is a paradoxical quality to his conservatism, the elements of which coexist with features which might be regarded as liberal and as radically socialist respectively. Similarly, his commitment to the religious and cultural tradition of Western Europe co-exists with a vehement anticolonialism. A paradoxical association of postmodermism with 'premodernity' has been widely noted in Buddhism and, by Derrida, in Eastern Christian theology. This thesis seeks to demonstrate that a paradoxical postmodernism is evident in the thought of Lewis. One source suggested for this is his interest in Eastern Christianity. Another is identified as the influence on Lewis of the opposition of Romanticism to 'Enlightenment' modernity. But Lewis's own engagement with modernity is also shown to be significant. Two broad trends in postmodernism are discussed. The affinities of Lewis's thought with the nihilistic tradition of postmodernism, going back to Nietzsche, is traced with regard to issues such as rationalism, science, the autonomy of the subject, and authorship. But the ambivalent relationship of Lewis to spiritually-oriented, affirmative postmodernism, and particularly Rudolf Steiner's Anthroposophy, is also analysed. The crucial role of Scholasticism in the development of Western thought is investigated in a comparison of Steiner's views with the Christian position of Lewis. It is concluded that there are grounds to regard Lewis as. 'prophet of postmodernism', and he is compared with Nietzsche and Pope John-Paul II in this regard. / Christian Spirituality, Church History and Missiology / D. Th. (Church History)

This thesis will explore how writers of nineteenth-century Irish horror fiction, namely short stories and novels, used their works to express the social, cultural, and political events of the period. My thesis will employ a New Historicist approach to discuss the effects of colonialism on the writings, as well as archetypal criticism to analyse the mythic origins of the relevant metaphors. The structuralism of Tzvetan Todorov will be used to discuss the notion of the works' appeal as supernatural or possibly realistic works. The theory of Mikhail Bakhtin is used to discuss the writers' linguistic choices because such theory focuses on how language can lead to conflicts amongst social groups. The introduction is followed by Chapter One, "Ireland as England's Fantasy." This chapter discusses Ireland's literary stereotype as a fantasyland. The chapter also gives an overview of Ireland's history of occupation and then contrasts the bucolic, magical Ireland of fiction and the bleak social conditions of much of nineteenth-century Ireland. Chapter Two, "Mythic Origins", analyses the use of myth in nineteenth-century horror stories. The chapter discusses the merging of Christianity and Celtic myth; I then discuss the early Irish belief in evil spirits in myths that eventually inspired horror literature. Chapter Three, "Church versus Big House, Unionist versus Nationalist," analyses how the conflicts of Church/Irish Catholicism vs. Big House/Anglo-Irish landlordism, proBritish Unionist vs. pro-Irish Nationalist are manifested in the tales. In this chapter, I argue that many Anglo-Irish writers present stern anti-Catholic attitudes, while both Anglo-Irish and Catholic writers use the genre as political propaganda. Yet the authors tend to display Home Rule or anti-Home Rule attitudes rather than religious loyalties in their stories. The final chapter of the thesis, "A Heteroglossia of British and Irish Linguistic and Literary Forms," deals with the use of language and national literary styles in Irish literature of this period. I discuss Bakhtin's notion of heteroglossia and its applications to the Irish novel; such a discussion because nineteenth-century Ireland was linguistically Balkanised, with Irish Gaelic, Hibemo-English, and British English all in use. This chapter is followed by a conclusion. / English / M. Lit. et Phil. (English)