Abstract The author Markku Lahtela was a central figure in the 1960’s generation rebellion, called the spirit of the 60’s, that criticised the basic values of the old generation and through which the young artists presented their avant-garde ideas. The study focuses on the early 1960’s. The primary data is provided by Lahtela’s second novel called Se and its manuscript. The novel deals in an original way with issues such as the sexual revolution and sexual morality, which were popular themes in the 1960’s. As a secondary source of data, the study also deals to some extent with the rest of Lahtela’s production. The substantial topic is the problematics of change in the 1960’s that arose as a result of modernisation, which only then gained momentum in Finland. The research approach is contextual in that the discussion is based on the postmodern viewpoint. Context is understood as consisting of elements of cultural dialogicality thematised by the author through individuation, which is to be seen in the dialogue of his books. The study focuses on the extraliterary historical context. Among the contexts of the 1960’s, attention is paid mainly to the crisis of representation caused by the changes, by interpreting its commentary and attempts to solve it in Lahtela’s texts. Despite the focus on the extraliterary historical context, textual dimensions are also taken into account in the interpretations. I also discuss to some extent the conditions through which it is possible in literary research to find intermediate standpoints to overcome the opposition between textuality and reality. In the interpretation of the extra- and intraliterary dialogues in Lahtela’s texts, the tools used include the alter ego, the textual “I” and, in neutral cases, the narrator. The novel Se not only participated in topical cultural and literary dialogue, but also reformed Finnish prose by representing autobiographical materials in a fragmentary and fictitious manner. The discussion also shows that Freudian psychoanalysis has contributed significantly to both Se and Lahtela’s production in general. The same also applies to Friedrich Nietzsche’s philosophy of life; some of his ideas have directed the discussion of moral issues characterised by Lahtela’s books and the search for an alternative (sexual) morality. / Tiivistelmä Kirjailija Markku Lahtela oli keskeinen hahmo vanhan polven perusarvoja arvostelleessa 1960-luvun sukupolvikapinassa, jota nimitettiin 60-lukulaisuudeksi ja jossa nuoret taiteilijat esittelivät avantgardistisia ideoitaan. Tutkimuksen ajallinen pääkohde on 1960-luvun alkupuoli. Primaariaineistona on Lahtelan toinen romaani Se ja sen käsikirjoitus. Teos käsittelee omaperäisesti muun muassa seksuaalista vallankumousta ja seksuaalimoraalia, jotka olivat 1960-luvun muotiteemoja. Sekundaariaineistona tutkimuksessa käsitellään jonkin verran myös Lahtelan muuta tuotantoa. Substantiaalisena aiheena on 1960-luvun muutosproblematiikka, joka syntyi Suomessa vasta tuolloin voimistuneen modernisaation vaikutuksesta. Tutkimukseni lähestymistapa on kontekstuaalinen siten, että tarkastelut pohjaavat myöhäismodernin näkökulmaan. Kontekstin ymmärrän koostuvan kulttuurisen dialogisuuden elementeistä, joita kirjailija tematisoi teostensa dialogina näkyvässä individuaatiossaan. Tutkimuksessani korostuu ulkokirjallinen historiallinen konteksti. 1960-luvun konteksteista olen päähuomion kiinnittänyt muutosten synnyttämään representaation kriisiin tulkitsemalla Lahtelan teksteistä sen kommentointeja ja ratkaisuyrityksiä. Siitä huolimatta, että tutkimuksessani painottuu ulkokirjallinen historiallinen konteksti, otan tulkinnoissani huomioon myös tekstuaalisia ulottuvuuksia. Lisäksi selvitän jonkin verran niitä ehtoja, joiden vallitessa kirjallisuuden tutkimuksessa voidaan löytää välittäviä kantoja tekstuaalisuus–todellisuus–opposition ylittämiseksi. Tulkitessani Lahtelan tekstien ulko- ja sisäkirjallisia dialogeja ovat apuvälineinäni alter ego, tekstuaalinen minä ja kertoja neutraaleissa tapauksissa. Se-romaani paitsi osallistui ajankohtaiseen kulttuuriseen ja kirjalliseen dialogiin myös uudisti suomalaista proosaa representoimalla katkelmallisesti ja fiktiivisesti autobiografista materiaalia. Tarkastelut osoittavat myös sen, että freudilainen psykoanalyysi on ollut Se-romaanin ja laajemminkin Lahtelan tuotannon synnyn tärkeä innoittaja. Sama koskee Friedrich Nietzschen elämänfilosofiaa, jonka tietyt näkemykset ovat suunnanneet Lahtelan teoksissa keskeistä moraalikysymysten käsittelyä ja vaihtoehtoisen (seksuaali)moraalin etsintää.

À l’heure actuelle, les occasions de « rencontrer » des hommes du passé (ou du moins leurs représentants) se multiplient : l’exposition d’archéologie ne présente plus seulement des objets, mais fait découvrir au visiteur le mode de vie des anciens habitants d’un lieu ; les reconstitutions historiques font « revivre » des hommes du passé et mettent en scène courses de chars, artisanat et autres gestes « ancestraux » devant les yeux du public ; et enfin, les guides de monuments historiques prennent les traits de personnages-types, favorisant l’immersion et l’attachement au lieu. De la même manière, les émissions de télévision sur l’archéologie semblent de plus en plus effacer le scientifique et les vestiges du dispositif ; proposant ainsi une relation plus directe au passé et à l’homme du passé (c’est le cas par exemple de docufictions comme Homo Sapiens de Jacques Malaterre). Cette recherche questionne ainsi la relation au passé, proposée par les émissions de télévision sur l’archéologie. Comment ces films peuvent-ils créer une relation à la fois scientifique et symbolique au passé et à « l’autre » ? Quels sont les effets de cette nouvelle forme de médiation qui feint de s’effacer ? À l’inverse, quels sont les effets de l’affirmation du dispositif de médiation (dans les documentaires et les reportages) ? Pour répondre à ces questions, nous avons adopté une démarche « feuilletée », en « entonnoir ». Un corpus de référence réunit d’abord toutes les émissions sur l’archéologie, diffusées entre 1995 et 2008, sur la télévision hertzienne française. Son analyse statistique permet de dégager des tendances générales quant à la représentation de l’archéologie à la télévision. Ensuite, l’analyse sémiopragmatique d’un corpus test de 13 émissions sur Pompéi, mène à la constitution d’un modèle d’analyse de la médiation du passé et d’un outil permettant la systématisation du recueil de données sur un grand nombre d’émissions. Enfin, un troisième corpus de 51 émissions permet la vérification de ce modèle et aboutit à l’identification de quatre types de construction de la relation au passé. L’apport de l’étude est triple : 1) elle génère des connaissances sur l’objet de recherche lui-même, c’est-à-dire sur les représentations les plus courantes de l’archéologie à la télévision ; 2) elle propose une méthodologie et un modèle d’analyse de la médiation fondés sur des outils issus de la sémiopragmatique ; 3) enfin, d’un point de vue théorique, la recherche permet d’envisager la médiation, non comme un lien sociétal ou un « entre-deux », mais comme une stratégie de modulation de la distance, possible notamment grâce à l’intervention de « figures » de médiation. Ces figures sont des éléments référentiels qui cristallisent des représentations sociales et qui ont des rôles à jouer dans l’énonciation et la narrativité de l’émission / At present time, the occasions of “meetings” with men from the past (or at least with their representatives) multiply: the archaeology exposure does not only present the objects anymore, but makes discover the visitor, the lifestyle of the former inhabitants of a place; the historical reconstitutions make “relife” the men from the past and put in stage horse races and ancestral gestures in front of the public eyes; and finally, guides of historical places take the appearance of characters, supporting the immersion and the attachment to the place. In the same way, the TV shows about archaeology seem to erase the scientist and the vestiges of the device, offering a more direct relation to the past and to the man from the past (for example the docudrama Homo Sapiens, by Jacques Malaterre). This research questions the relation to the past, built by the television programs about archaeology. How these devices can create at the same time, a scientific and a symbolic relation to the past? Which are the effects of this new form of mediation which pretends to be erased? On the contrary, which are the effects of the affirmation of the mediation device (in the documentaries and reports)? To answer these questions, we adopted a “laminated” method, in “funnel”. A corpus of reference joins all the programs about archaeology, diffused between 1995 and 2008, on french hertzian television. Its statistical analysis makes it possible to draw the general tendencies of the representation of archaeology on television. Then, the semiopragmatic analysis of a test corpus of 13 emissions about Pompeii, leads to the constitution of an analysis model of the mediation to the past and to the constitution of a tool, allowing the analysis of a great number of films. Lastly, a third corpus of 51 emissions allows the checking of this model and leads to the identification of four types of construction of relation to the past. The contribution of the study is triple: 1) it brings knowledge about the object of research itself, about the most common representations of archaeology on television; 2) it proposes a methodology and an analysis model of the mediation based on tools coming from the semiopragmatic; 3) finally, from a theoretical point of view, this research makes it possible to consider the mediation, not as a “social bond” or a “interval”, but as a strategy of modulation of distance, thanks to the intervention of “mediation figures”. These figures are referential elements which crystallize the social representations and which have roles to play in the enunciation and the narrativity of the program

This study of the promise sayings elucidates the motif of victory as the book's macrodynamic theme. Through intentional examination, the thesis finds the issue epitomized throughout Revelation on two levels-formally (re structure) and materially (re content). Jesus as Victor over death and the dragon desires the Asian believers to be prepared for his soon coming. The victors are promised eschatological rewards if they overcome various internal and external threats. In mapping out the dramatic scenario Chapter 1 explores afresh such background issues as authorship and audience. The pagan religious environment, represented by the Artemis and emperor cults, is demonstrated to be adversarial. Chapter 2 looks at four situations in Revelationthe rhetorical, historical, apocalyptic, and prophetic. Their composite exigences point to an early dating in the late 60s. Chapter 3 postulates that chiasmus is Revelation's macrostructure, and a chiastic model is proposed. Chapter 4 examines several proposed forms for the seven letters, such as edicts, oracles, and epistles. We conclude that they are a mixtum compositum-best called prophetic letters. Chapter 5 explores the sociological significance of victory in the Greco-Roman world. Through the use of language such as vLKaw and images like the palm branch, John motivates his audience toward the ideal of victory. Chapter 6 investigates the text of the promises and their cotexts as reflected intertextually in traditions of biblical literature. Local references are also determined to contribute to a multivalent interpretation of the promise imagery. Chapter 7 surveys the eschatological fulfillment of the promises, especially in the new Jerusalem. The rewards of spiritual provision, heavenly place, and divine person serve to incite the saints to victory. Chapter 8 investigates the appropriation of the promises for the time and the text world of Revelation. A multiplicity of functions for the promise sayings is established. This study shows that the promises function as prophetic parenesis to help the saints endure the coming tribulation. The possibility and reality of such a fulfillment and the appropriation of the promises allow us to postulate that these promises to the victors are not vain pies in a very bleak sky! / Hierdie studie oor die belofte uitsprake in die briewe aan die sewe gemeentes in Openbaring 2- 3 lig die motif van oorwinning toe as die sentrale tema van makrodinamiese omvang in Openbaring. Deur middel van 'n doelgerigte ondersoek bevind die studie dat die saak van oorwinning die twee brandpunte in die boek Openbaring vorm, naamlik, op formele vlak (re metode en struktuur van Openbaring en van die studie), en materieel (d.i. inhoudelik). Jesus as oorwinnaar oor die dood en oor die draak, koester die sterk begeerte dat die gelowiges van Asie gereed meet wees vir sy spoedige advent. Netsoos die profete van die Ou Testament waarsku Johannes die gemeentes oor die netelige situasie waarin hulle hulself bevind ten opsigte van die sosiale, politieke en religieuse situasie. In hierdie konteks word aan die oorwinnaars bepaalde beloftes van eskatologiese belonings gemaak as hulle die interne bedreigings van valse leringe en van vervolgings van buite sou oork6m. Deur vrugbare gebruikmaking van die perspektief van intertekstualiteit word die siening gesubstansieer dat Johannes se gehoor/lesers daarvan kennis meet neem dat hulle situasie geensins verskil van die lotgevalle van God se volk ender vorige vreemde onderdrukkers socs die Babiloniers nie. Hoe sal die gelowiges hierdie uur van toetsing deurstaan? Ten einde hierdie hele dramatiese scenario uit te stippel, ontgin Hoofstuk 1 opnuut die velde van agtergrond socs outeurskap, eerste gehoor/lesers, en hulle religieuse omgewing. Dit word gestel dat die heidense religieuse omgewing, socs verteenwoordig deur die Artemis en keiserkultus, baie vyandiggesind van aard is. Hoofstuk 2 bekyk en interpreteer vier situasies wat in Openbaring teegekom word, naamlik, die retoriese, historiese, apokaliptiese, en profetiese. Die samegestelde aard van hierdie noodsituasie wys heen na 'n vroee datering van Openbaring, naamlik, in die laat sestiger jare van die eerste eeu, v66r die verwoesting van Jerusalem. In Hoofstuk 3 word beredeneer dat chiasme die mees geskikte beskrywing vir die struktuurvorm van Openbaring is. Met chiasme as heuristiese instrument kan aangetoon word dat die beloftes en hulle vervulling in Openbaring 2-3 ·n beduidende rel in die struktuur van die boek speel. Hierop volg Hoofstuk 4 waarin moontlike literatuurvorms vir die sewe briewe voorgestel word, naamlik, edikte, orakels, en epistels/briewe. Daar word voorgestel dat dit beskou meet word as mixtum compositum wat goedskiks profetiese briewe genoem kan word en wat sewe samestellende uitsprake omvat. Hoofstuk 5 ontsluit die sosiologiese beduidenis van die idee en verskynsel van oorwinning in die Grieks-Romeinse wereld. In Openbaring hou dit in dat Johannes beide verbaal (re die gebruik van die Griekse werkwoord VLKaw) en beeldsprakig (re 'palmtak') sy gehoor ge-inspireer het ten opsigte van die ideaal van oorwinning. Hoofstuk 6 ontleed die teks van die belofte uitsprake, en die ko-tekste soos wat dit intertekstueel weerspieel word in bybelse tradisies. Plaaslike verwysings word oak in ag geneem ten einde tot 'n polivalente interpretasie van die belofte-beeldspraak by te dra. Hoofstuk 7 gee 'n analitiese oorsig van die vervulling van die eskatologiese beloftes, veral ten opsigte van die nuwe Jerusalem. Die belonings van geestelike voorsiening, 'n hemelse woonplek, en van 'n goddelike persoon dien om die heiliges aan te spoor tot oorwinning oar die verbete vyande. Hierop volg Hoofstuk 8 wat die toe-eiening van die beloftes binne die boek Openbaring en vir die tyd en tekswereld van die boek self ondersoek. 'n Veelvuldigheid van funksies, wat verkry word uit 'n multidissiplinere eksegetiese metodiek, word vir die belofte uitsprake vasgestel en beskryf. Hierdie studie toon aan dat die beloftes van oorwinning aan die sewe gemeentes in KleinAsie funksioneer as profetiese vermanings, waarvan die beeldspraak ontleen is aan 'n verskeidenheid van bybelse tradisies. Die vervulling hiervan kan reeds al in Openbaring 19-22 gesien word. Dit toon verder aan dat, anders as in die geval van die gevalle Rome, die heilige stad genaamd Jerusalem op die oorwinnende bruid sal wag. Die moontlikheid en werklikheid van die vervulling en toe-eiening van die beloftes van Openbaring 2-3 regverdig dit om te postuleer dat hierdie beloftes beslis nie ydele 'koeke vir die hiernamaals' (d.i. "pies in the sky") is nie! Nee, die Openbaring aan Johannes was bedoel om 'n profesie van troos vir die volk van God te wees en dit funksioneer beslis as sodanig / Biblical and Ancient Studies / Thesis (D. Litt et Phil.)--University of South Africa, 1996.

Die Dissertation vergleicht die Konzeptkunst in New York und den Moskauer Konzeptualismus am Beispiel zwei ihrer zentralen Vertreter: Joseph Kosuth und Ilya Kabakov. Beide haben unter dem Titel "The Corridor of Two Banalities" 1994 gemeinsam eine Installation realisiert. In Kosuth und Kabakov fanden die Zeitgenossen und Nachfolger sowohl ihr Vorbild als auch Gegenbild. In komparatistischer Perspektive werden Probleme diskutiert (z. B. das der (Selbst-)Referentialität), die die Diskussion über konzeptuelle Kunst begleiten, und konzeptuelle Kunst als Scharnier zwischen Moderne und Postmoderne erscheinen lassen. Konzeptkünstler betrachten kunsttheoretische und -historische Überlegungen in demselben Maße als selbstverständlichen Teil ihrer künstlerischen Arbeit, wie Kunst als universelle Kategorie für sie ihre Selbstverständlichkeit verloren hat. Sie setzen sich mit deren Rahmenbedingungen auseinander, die diktieren, was zu einer bestimmten Zeit und an einem bestimmten Ort als Kunst wahrgenommen wird. Die Dissertation konzentriert sich daher auf die Frage, wie Kosuth und Kabakov die (Konzept-)Kunst diesseits und jenseits des Eisernen Vorhangs selbst konzeptualisieren. Unter Einbeziehung der Rezeptionsgeschichte wird untersucht, welche Vorstellung von Autor- und Leserschaft Kosuth und Kabakov entwerfen, vom welchem Werkbegriff sie ausgehen und auf welche sprachphilosophischen Modelle sie sich dabei beziehen. / The thesis compares the Conceptual Art in New York with the Moscow Conceptualism while using the example of two of their greatest representatives: Joseph Kosuth and Ilya Kabakov. Together, they have created an installation entitled "The Corridor of Two Banalities" (1994). For their contemporaries and successors, Kosuth and Kabakov served as models or just the opposite. In a comparatistical perspective the thesis discusses problems (e.g. the (self-)referentiality) which go along with the debate about conceptual art and which let the conceptual art appear as a link between modernism and postmodernism. For conceptual artists, theoretical and historical considerations of art form an evident part of their artistic work to the same degree as art as a universal category has lost its self-evidence for them. They examine its frame conditions which dictate what is being considered as art at a specific time and in a specific place. Hence the thesis focusses on the question about the ways Kosuth and Kabakov conceptualise the (Conceptual) Art on both sides of the Iron Curtain. Taking into account the reception history it examines which concept of author- and readership Kosuth and Kabakov formulate, which definition of artwork they have assumed and which models of philosophy of language they refer to.

In text linguistics coherence is seen as one of the key factors in communication and textual interpretation. Text linguistics, as an inter-disciplinary field of study concerning the textuality of texts in conjunction with coherence, can probably be of great importance in current musicology, especially as the problem concerning musical meaning, is still an ongoing debate. The design of a musical model of coherence relations is a new field of study and can not be connected to present day language models, therefore a new model should be invented. It should be kept in mind that adaptations in text linguistics can be of great influence in musicology today and on music in its relation to language. Musical interlocution forms the basis for musical coherence relations as method of musical communication. Musical communication has its origin in the top/cohesive surface of the musical text and disseminates to the lower/coherensive surface of the musical text. Although there is an interaction between musical cohesion and coherence, coherence relations are more concentrated on the lower level. Musical illocution and musical blended perlocution function within the coherensive musical and word texts. The listener plays a big role in this process, because musical coherence is the platform for musical interpretation. As listeners design a word text around the music text, musical blended perlocution through association results. The addition of associative meaning to the musical text has the result that the linguistic perlocution and the musical perlocution intermix with one another. One must keep in mind that perlocution differs in language and music. It will be indicated that musical coherence relations have a dual character. It will be argued here that the principles of musical textuality, adjusted from those text linguistically practised by De Beaugrande&Dressler (1981) and Carstens (1997, 2000, 2009), as well as the three musical functions, adapted from Austin's (1962) determination in language, figure strongly in J.S. Bach's Schübler Chorales. / Thesis (DMus)--University of Pretoria, 2009. / Music / unrestricted

This study of the promise sayings elucidates the motif of victory as the book's macrodynamic theme. Through intentional examination, the thesis finds the issue epitomized throughout Revelation on two levels-formally (re structure) and materially (re content). Jesus as Victor over death and the dragon desires the Asian believers to be prepared for his soon coming. The victors are promised eschatological rewards if they overcome various internal and external threats. In mapping out the dramatic scenario Chapter 1 explores afresh such background issues as authorship and audience. The pagan religious environment, represented by the Artemis and emperor cults, is demonstrated to be adversarial. Chapter 2 looks at four situations in Revelationthe rhetorical, historical, apocalyptic, and prophetic. Their composite exigences point to an early dating in the late 60s. Chapter 3 postulates that chiasmus is Revelation's macrostructure, and a chiastic model is proposed. Chapter 4 examines several proposed forms for the seven letters, such as edicts, oracles, and epistles. We conclude that they are a mixtum compositum-best called prophetic letters. Chapter 5 explores the sociological significance of victory in the Greco-Roman world. Through the use of language such as vLKaw and images like the palm branch, John motivates his audience toward the ideal of victory. Chapter 6 investigates the text of the promises and their cotexts as reflected intertextually in traditions of biblical literature. Local references are also determined to contribute to a multivalent interpretation of the promise imagery. Chapter 7 surveys the eschatological fulfillment of the promises, especially in the new Jerusalem. The rewards of spiritual provision, heavenly place, and divine person serve to incite the saints to victory. Chapter 8 investigates the appropriation of the promises for the time and the text world of Revelation. A multiplicity of functions for the promise sayings is established. This study shows that the promises function as prophetic parenesis to help the saints endure the coming tribulation. The possibility and reality of such a fulfillment and the appropriation of the promises allow us to postulate that these promises to the victors are not vain pies in a very bleak sky! / Hierdie studie oor die belofte uitsprake in die briewe aan die sewe gemeentes in Openbaring 2- 3 lig die motif van oorwinning toe as die sentrale tema van makrodinamiese omvang in Openbaring. Deur middel van 'n doelgerigte ondersoek bevind die studie dat die saak van oorwinning die twee brandpunte in die boek Openbaring vorm, naamlik, op formele vlak (re metode en struktuur van Openbaring en van die studie), en materieel (d.i. inhoudelik). Jesus as oorwinnaar oor die dood en oor die draak, koester die sterk begeerte dat die gelowiges van Asie gereed meet wees vir sy spoedige advent. Netsoos die profete van die Ou Testament waarsku Johannes die gemeentes oor die netelige situasie waarin hulle hulself bevind ten opsigte van die sosiale, politieke en religieuse situasie. In hierdie konteks word aan die oorwinnaars bepaalde beloftes van eskatologiese belonings gemaak as hulle die interne bedreigings van valse leringe en van vervolgings van buite sou oork6m. Deur vrugbare gebruikmaking van die perspektief van intertekstualiteit word die siening gesubstansieer dat Johannes se gehoor/lesers daarvan kennis meet neem dat hulle situasie geensins verskil van die lotgevalle van God se volk ender vorige vreemde onderdrukkers socs die Babiloniers nie. Hoe sal die gelowiges hierdie uur van toetsing deurstaan? Ten einde hierdie hele dramatiese scenario uit te stippel, ontgin Hoofstuk 1 opnuut die velde van agtergrond socs outeurskap, eerste gehoor/lesers, en hulle religieuse omgewing. Dit word gestel dat die heidense religieuse omgewing, socs verteenwoordig deur die Artemis en keiserkultus, baie vyandiggesind van aard is. Hoofstuk 2 bekyk en interpreteer vier situasies wat in Openbaring teegekom word, naamlik, die retoriese, historiese, apokaliptiese, en profetiese. Die samegestelde aard van hierdie noodsituasie wys heen na 'n vroee datering van Openbaring, naamlik, in die laat sestiger jare van die eerste eeu, v66r die verwoesting van Jerusalem. In Hoofstuk 3 word beredeneer dat chiasme die mees geskikte beskrywing vir die struktuurvorm van Openbaring is. Met chiasme as heuristiese instrument kan aangetoon word dat die beloftes en hulle vervulling in Openbaring 2-3 ·n beduidende rel in die struktuur van die boek speel. Hierop volg Hoofstuk 4 waarin moontlike literatuurvorms vir die sewe briewe voorgestel word, naamlik, edikte, orakels, en epistels/briewe. Daar word voorgestel dat dit beskou meet word as mixtum compositum wat goedskiks profetiese briewe genoem kan word en wat sewe samestellende uitsprake omvat. Hoofstuk 5 ontsluit die sosiologiese beduidenis van die idee en verskynsel van oorwinning in die Grieks-Romeinse wereld. In Openbaring hou dit in dat Johannes beide verbaal (re die gebruik van die Griekse werkwoord VLKaw) en beeldsprakig (re 'palmtak') sy gehoor ge-inspireer het ten opsigte van die ideaal van oorwinning. Hoofstuk 6 ontleed die teks van die belofte uitsprake, en die ko-tekste soos wat dit intertekstueel weerspieel word in bybelse tradisies. Plaaslike verwysings word oak in ag geneem ten einde tot 'n polivalente interpretasie van die belofte-beeldspraak by te dra. Hoofstuk 7 gee 'n analitiese oorsig van die vervulling van die eskatologiese beloftes, veral ten opsigte van die nuwe Jerusalem. Die belonings van geestelike voorsiening, 'n hemelse woonplek, en van 'n goddelike persoon dien om die heiliges aan te spoor tot oorwinning oar die verbete vyande. Hierop volg Hoofstuk 8 wat die toe-eiening van die beloftes binne die boek Openbaring en vir die tyd en tekswereld van die boek self ondersoek. 'n Veelvuldigheid van funksies, wat verkry word uit 'n multidissiplinere eksegetiese metodiek, word vir die belofte uitsprake vasgestel en beskryf. Hierdie studie toon aan dat die beloftes van oorwinning aan die sewe gemeentes in KleinAsie funksioneer as profetiese vermanings, waarvan die beeldspraak ontleen is aan 'n verskeidenheid van bybelse tradisies. Die vervulling hiervan kan reeds al in Openbaring 19-22 gesien word. Dit toon verder aan dat, anders as in die geval van die gevalle Rome, die heilige stad genaamd Jerusalem op die oorwinnende bruid sal wag. Die moontlikheid en werklikheid van die vervulling en toe-eiening van die beloftes van Openbaring 2-3 regverdig dit om te postuleer dat hierdie beloftes beslis nie ydele 'koeke vir die hiernamaals' (d.i. "pies in the sky") is nie! Nee, die Openbaring aan Johannes was bedoel om 'n profesie van troos vir die volk van God te wees en dit funksioneer beslis as sodanig / Biblical and Ancient Studies / D. Litt. et Phil.

Indiana University-Purdue University Indianapolis (IUPUI) / Video games are increasingly recognized as powerful tools for learning in classrooms. However, they are widely neglected in the field of English, particularly as objects worthy of literary study. This project argues the place of video games as objects of literary study and criticism, combining the theories of Espen Aarseth, Ian Bogost, Henry Jenkins, and James Paul Gee. The author of this study presents an approach to literary criticism of video games that he names “player-generated narratives.” Through player-generated narratives, players as readers of video games create loci for interpretative strategies that lead to both decoding and critical inspection of game narratives. This project includes a case-study of the video game Undertale taught in multiple college literature classrooms over the course of a year. Results of the study show that a video game introduced as a work of literature to a classroom increases participation, actives disengaged students, and connects literary concepts across media through multimodal learning. The project concludes with a chapter discussing applications of video games as texts in literature classrooms, including addressing the practical concerns of migrating video games into an educational setting.

The question I address is: how might a theology of authority be conceived in the light of questions raised by what is termed 'post-modernity'? Is it possible to articulate a theology of authority coming to the church community 'from God' that avoids an oppressive and alienating heteronomy? The thesis explores the question of authority as of vital importance in the sociological dimension of religion, calling for legitimisation (in light of claims made for itself) and as obligatory in the theological sphere. For this reason the project involves two methodologies (theological and sociological/ethnographic). While this investigation is relevant to all sections of the Christian church, particular attention is paid to Baptist churches in the UK, since they hold a concept in their tradition that I suggest is valuable in answering the question of the thesis, namely that of covenant. Within the Christian tradition there is an inner 'problematic' relating the personal authority of Christ to the forms of institution (church) and text (scripture). I explore this with a brief survey of theological authority as found in the fourfold foundation of scripture, tradition, reason and experience. From this is developed a brief theological and Christological reflection on divine authority and covenant theology as found in Karl Barth and his response to the 'inner problematic'. Within contemporary culture I view authority through the lens of so-called 'postmodernism', identifying four challenges to the notion of 'external authority' (all of which exemplify a move from the external to internal, and objective to subjective approaches to authority). This is further explored by means of qualitative research with one-to-one interviews conducted in a Baptist church in York. This data is reflected upon by means of ethnography and 'judicious narratives', especially in dialogue with material from Guest ('congregational study'), Heelas and Woodhead ('subjectivised-self') and Healy ('theodramatic horizon' and 'practical-prophetic ecclesiology'), providing an intersection between the language of theology and sociology. The concept of church as covenant community is explored in Baptist and (more briefly) Anglican traditions, leading to a constructive proposal that both the inner-church 'problematic' and the 'postmodern' challenge to authority might begin to be resolved with the notion of covenant. It is within this context of relationship, human and divine, that the authoritative and revelatory Word of God, the story that is Christ, is found in community and praxis. Here is a 'triangulating' relationship between authority, story and covenant revealing divine authority in a non-coercive way and relevant to contemporary culture.

This dissertation examines lesbian and queer desire in texts in Catalan and Spanish written in Barcelona, Montevideo, and Buenos Aires from the 1960s to the present. In the texts, desire includes but is not limited to the erotic; it encompasses issues of queer textuality, relationality, and literary transmission. I focus on the works of three authors who have spent the majority of their lives in Barcelona. However, the city appears almost incidentally in their works; the genealogies that the authors trace are transnational. The texts combine literal movement (through exile or diaspora) and a metaphorical sense of being “out of place” that prompts writers to take refuge in writing. I demonstrate that despite depicting affinities beyond the family and nation, the works reveal the persistence of familial and national ties, albeit in spectral or queer ways. Rather than tracing continuous lines of descent that emphasise origins, the works are principally concerned with futurity and fragmentation, as in Michel Foucault’s reading of genealogy. Chapter One on Maria-Mercè Marçal’s La passió segons Renée Vivien (1994) traces a literary genealogy from Sappho to Renée Vivien in fin de siècle Paris to Marçal. The novel represents a merging of literary desire and erotic desire; Marçal’s search for symbolic mothers turns out to be a search for symbolic lovers that is oriented towards the present and future. In Chapter Two, I posit that in Cristina Peri Rossi’s La nave de los locos (1984) “happiness” consists of being open to chance and unpredictability unlike in conventional “happy” scripts in which a valuable life is believed to consist of (heterosexual) marriage, children, and property ownership. In Part II I argue that through fragmentation, allegory, and ambiguity, Peri Rossi’s El libro de mis primos (1969) contests authoritarian discourse without itself becoming a site of hegemonic meaning. In inviting the reader’s collaboration, it ensures authorial legacy. Part I of Chapter Three is an analysis of the temporality of obsession in Flavia Company’s Querida Nélida (1988). I propose that obsession and melancholia may point to a utopian future rather than signalling an entrapment in the past. My study of Melalcor (2000) in Part II suggests that queer forms of relationality that are not centred on procreation and monogamy offer ethical models of sociality. Part III focusses on Company’s return to biological family in Volver antes que ir (2012) and Por mis muertos (2014). The resurgence in these texts of family members who have died signals that just as the queer haunts the family, the family haunts the queer.