Chronicles was composed in the postexilic period when the Jews were without their own king and were living under the rule of the Persian Empire and the Greek dynasties of the Ptolemies and Seleucids. In view of the apparently eternal nature of the Davidic covenant (2 Sam 7:11b-16), this loss of sovereignty would have posed a difficult problem for the Jews. To be sure, Zerubbabel, grandson of Jehoiachin, penultimate king of the Davidic kingdom, was appointed as governor of Yehud by the Persian king Darius (Hag 1:1) and received YHWH’s promise of being his ‘signet ring’ (Hag 2:23); however, he could not and did not re-establish the kingdom of David. When the Jews lost their political leadership in the postexilic period, religious personnel appeared to play an increasingly important role as leaders of the Temple centered community. Along with Zerubbabel, Joshua, the high priest of the Jewish community that had returned from the exile, led the project of rebuilding the Temple (Hag 1:1; Ezra 3:2). The book of Chronicles reflects this Temple-centered community and deals in much detail with issues relating to the cultic personnel. The two main figures in Chronicles, David and Solomon, are presented respectively as the one who prepares (1 Chr 22; 28:1-29:20), and the one who completes (2 Chr 2:1-5:1) the Temple building project. Furthermore, the Chronicler evaluates the Judaic kings who reigned after Solomon in relation to their piety and their service in the Temple.5 Those who were considered ‘good’ kings worshipped God in the Temple according to the divine commandment, diligently repairing and restoring the Temple, whereas those who were considered ‘bad’ kings were negligent in their worship of YHWH and in their preservation of the Temple. In the context of this postexilic Temple-centred cultic society, the question may be asked: Does the Chronicler hope for the revival of the Davidic kingdom in view of the seemingly and eternally binding, unconditional Davidic covenant (2 Sam 7:12-16; 1 Chr 17:11-14), or is he satisfied with its replacement by the postexilic, Temple-centered cultic society?.

Thesis advisor: David S. Vanderhooft / To approach the lesser known topic of the temple administration in the post-exilic period (539-333 BCE), we have examined specific passages in the book of Chronicles that create a portrait of the temple administration. This portrait focuses on gatekeepers (1 Chr 9:17-32; 26:1-19); treasurers (1 Chr 9:26-28; 26:20-32); and tax collectors (2 Chr 24:5-11; 34:9-13). The first two sets of texts belong to what this work will call "David's Installation Block" which provides the major framework for the relevant material of the Chronicler, who authored the book of Chronicles around between the fifth and fourth centuries BCE. The third set of texts shares the Chronicler's characteristic redactional traits in common with "David's Installation Block." These three sets of texts communicate the Chronicler's ideal image of the temple administration. The guiding question in the present work is whether these selected passages can be used as a source to reconstruct the temple administration in the post-exilic period. We conclude that the Chronicler's description of the temple administration, especially his incorporation of non-priestly cultic personnel among the Levites, must be considered to comprise an argument for an ideal temple administration. The Chronicler's ideal was grounded in his creative exegetical approaches to Pentateuchal traditions and his responses to the contemporary debate about the legtitimate priesthood among different priestly circles; his ideal is not simply a projection of the administrative reality of his own time. For this purpose, we have expounded on the selected passages through a series of literary analyses. These analyses have enabled us to identify, building on the work of other scholars, the Chronicler's literary methods by which he built his sophisticated arguments. Furthermore, we have compared the Chronicler's presentations of the temple gates, the temple revenue, the temple tax, imperial taxes, and the temple staff with other post-exilic biblical and non-biblical data. This comparative approach successfully shows that the Chronicler's treatments of those topics deviated, to a greater or lesser extent, from his contemporaries, while the Chronicler's work displayed the linguistic and sociocultural peculiarities of Persian era Yehud. Although the book of Chronicles does not provide straightforward data to reconstruct the actual realities of the temple administration in the post-exilic period, the work done in this dissertation illuminates how the Chronicler engaged ancient traditions and contemporary situations to develop his image of the ideal future temple administration. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Submitted by Daniely Januário (daniely.januario@gmail.com) on 2018-02-28T15:36:23Z No. of bitstreams: 1 rodrigofonsecabarbosa.pdf: 766572 bytes, checksum: 93a3105ecbf4185093133425ca4719b7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-03-01T15:32:22Z (GMT) No. of bitstreams: 1 rodrigofonsecabarbosa.pdf: 766572 bytes, checksum: 93a3105ecbf4185093133425ca4719b7 (MD5) / Made available in DSpace on 2018-03-01T15:32:22Z (GMT). No. of bitstreams: 1 rodrigofonsecabarbosa.pdf: 766572 bytes, checksum: 93a3105ecbf4185093133425ca4719b7 (MD5) Previous issue date: 2015-03-23 / PROQUALI (UFJF) / A pesquisa desenvolve uma investigação sobre condições presentes no trabalho criativo de autores de crônicas literárias para veículos de comunicação periódicos e busca identificar recursos narrativos utilizados pelos cronistas para fazer face a estas condições, como a restrição de tamanho do texto, a pressão do prazo de entrega e uma relação mais direta com os leitores. A pesquisa discute estas características e seus impactos para os cronistas, através de depoimentos dos próprios autores de crônicas e da análise de críticos como Afrânio Coutinho, Gustavo Corção, Alceu Amoroso Lima, Jorge de Sá e Julio Cortázar. São apontados três caminhos, em relação à forma e ao conteúdo, escolhidos pelo cronista: o diálogo com o leitor, a presença da cidade como tema e o autor como personagem. Para analisar estes recursos narrativos, o trabalho recorre a textos teóricos e exemplos literários. Em relação à conversa com o leitor, referências da crítica sociológica e da estética da recepção. Sobre a cidade como tema, textos de Charles Baudelaire, João Luiz Lafetá, Sérgio Paulo Rouanet. Para o cronista que fala de si, reflexões de Michel Foucault, Pierre Bourdier, Roland Barthes. Buscando representar e discutir o que representam estas escolhas,são referenciadas crônicas de Machado de Assis, José de Alencar, Olavo Bilac, João do Rio, Rachel de Queiroz, Carlos Drummond de Andrade, Rubem Braga, Paulo Mendes Campos, Clarice Lispector, Nélson Rodrigues, Vinicius de Moraes, Fernando Sabino, Antônio Maria, José Carlos Oliveira, Stanislaw Ponte Preta, Otto Lara Resende, Carlos Heitor Cony, João Ubaldo Ribeiro, Chico Buarque, Arnaldo Jabor, Arnaldo Bloch, Arthur Dapieve, José Miguel Wisnik, João Paulo Cuenca. Para efetuar esta análise, a pesquisa busca também compreender aspectos do desenvolvimento da crônica como gênero literário ao longo da história, discutir o papel da crônica no sentido de preservar a memória coletiva de um determinado grupo social e avaliar as relações entre literatura e jornalismo, apoiando-se em referências teóricas de Antonio Candido, Vanessa Pereira, Marlyse Meyer, Davi Arriguci Jr. e Wellington Pereira (sobre o desenvolvimento do gênero), de Maurice Halbwachs e Pierre Nora (sobre a memória) e de escritores e críticos como Candido e Barthes (sobre o relacionamento entre jornalismo e literatura). / The research develops an investigation about the conditions of the creative work of authors of literary chronicles for regular media and tries to identify the narrative resources used by the chroniclers to keep tosuch conditions as text size restriction, deadline pressure and a more direct relation with the readers. This study discusses these features and their impact on the chroniclers, through testimonials of chronicler authors and the analysis of critics such as Afrânio Coutinho, Gustavo Corção, Alceu Amoroso Lima, Jorge de Sá e Julio Cortázar. Three paths followed by the chroniclers related to the shape and content are pointed out: the dialogue with the reader, the presence of the city as the subject and the author as a character. To analyze these narrative resources, the dissertation draws on theoretical texts and literary examples. Those regarding the dialogue with the reader, use references to the sociological criticism and reader-response criticism. Those regarding the presence of the city as the subject, examine texts from Charles Baudelaire, João Luiz Lafetá, Sérgio Paulo Rouanet. And those in which the chroniclers write about themselves, reflect using thoughts from Michel Foucault, Pierre Bourdier, Roland Barthes are presented. Seeking to represent and discuss what these choices mean the following authors and their chronicles are studied: Machado de Assis, José de Alencar, Olavo Bilac, João do Rio, Rachel de Queiroz, Carlos Drummond de Andrade, Rubem Braga, Paulo Mendes Campos, Clarice Lispector, Nélson Rodrigues, Vinicius de Moraes, Fernando Sabino, Antônio Maria, José Carlos Oliveira, Stanislaw Ponte Preta, Otto Lara Resende, Carlos Heitor Cony, João Ubaldo Ribeiro, Chico Buarque, Arnaldo Jabor, Arnaldo Bloch, Arthur Dapieve, José Miguel Wisnikand João Paulo Cuenca. To perform this analysis the research seeks also to understand the aspects of the development of the chronicle as a literary genre throughout its history, to discuss the role of the chronicle towards preserving the collective memory of a particular social group and to evaluate the relationship between literature and journalism, basing itself on theoretical references to Antonio Candido, Vanessa Pereira, Marlyse Meyer, DaviArriguciJr and Wellington Pereira (about the development of genre), Maurice Halbwachs and Pierre Nora (about the memory) and of writers and critics such as Candido and Barthes (about the relationship between journalism and literature).

Pietro Maria Bardi, \"cronista\" de arte, arquitetura, design (e de muitos outros temas) e galerista experiente na Itália, veio ao Brasil em 1947, aos 47 anos. Trouxe consigo sua segunda esposa, Lina Bo Bardi, e uma coleção de arte a ser exposta no Ministério da Educação e Saúde, no Rio. Foi tão logo convidado por Assis Chateaubriand, diretor da cadeia de jornais Diários Associados, (Diário de S. Paulo etc.) a organizar um Museu de Arte \"Antiga e Moderna,\" que resultou no Museu de Arte de São Paulo--Masp. Tinha por intenção criar um museu vivo organizando, vinculados ao Masp, o Instituto de Arte Contemporânea--IAC, e a Escola de Propaganda, embrião da atual Escola Superior de Propaganda e Marketing--ESPM, as primeiras tentativas, no Brasil, de uma escola de design e de publicedade. Suas iniciativas buscavam atrair público e tornar a arte acessível, contribuído para que fosse produzida com qualidade pelos brasileiros para os próprios brasileiros, através da conscientização de apreciadores e patrocinadores dessas manifestações. Assim, Bardi, ciente do papel da publicidade, percebia a importância de divulgar tudo relativo às iniciativas do Masp e à arte. Usava como veículos a rede dos Diários, a Habitat (a revista do Masp), a Mirante das Artes & etc. (a revista homônima de sua galeria) e periódicos diversos, principalmente os geridos pelas famílias Carta e Alzugaray. Esses textos brasileiros do diretor e criador do maior museu da América Latina ainda não foram oficialmente compilados nem analisados, especialmente em virtude da dificuldade em acessá-los. Esta pesquisa, um primeiro passo para essa importante e trabalhosa tarefa e concentrou-se em seus artigos publicados nos magazines Casa Vogue, Homem Vogue, Arte Vogue, Senhor Vogue, Senhor e Istoé, no intervalo de 1976 à 1988, período que compreende sua primeira aparição como colaborador nas revistas de Vogue, até a fusão, em 1988, das revistas Senhor e Istoé, da Editora Três. / Pietro Maria Bardi was a journalist and author who wrote about art, design and architecture (along with many other subjects) and an experienced gallerist in Italy. He came to Brazil in 1947, at the age of 47. He brought his second wife, Lina Bo Bardi, and a collection of art to be exhibited in the Health and Education Administration, in Rio De Janeiro. Later Bardi was invited by Assis Chateaubriand, the Diários Associados\'s director, to create an Ancient and Modern Art Museum. This resulted in the creation of the São Paulo Art Museum - Masp. He wanted to create a \"living\" museum, by which he meant a museum with a more interesting and interactive experience. He combined the Contemporary Art Institute, (IAC) the first Brazilian design school, with an advertising school, all under one roof. His goal was to make all kinds of art accessible to everybody, contributing to its creation and quality, by brasilians for brasilians, he did this with the conscientiousness of a connoisseur and with the sponsorship of the art community. Thus, Bardi, conscious of the role of marketing realized the true importantance of advertizing everything related to Masp\'s exhibitions and other initiatives. Alongside the Chateaubriand\'s media, Bardi also advertised and wrote article in the Habitat (the Museum magazine) and Mirante das Artes & etc. (the homonym magazine of his art gallery) magazines and other periodicals like the ones directd by Carta and Alzugaray families. These brazilian articles on art and other related topics, produced by the creator and director of the most important latin american art museum, were never compiled or analysed, most likely because of the difficulty to access them. This research is intended to be the first step of this important and laborious task and focuses on Bardi´s writings published in Casa Vogue, Homem Vogue, Arte Vogue, Senhor Vogue, Senhor e Istoé magazines, between 1976 and 1988, from his first showing as collaborator in Vogue to the merger of Senhor e Istoé magazines, of Editora Três.

Made available in DSpace on 2014-12-17T15:06:47Z (GMT). No. of bitstreams: 1 JoanaLMO_publicar_1.pdf: 683120 bytes, checksum: 9b8e63ed7ba6c69479f52230e4a4f32e (MD5) Previous issue date: 2009-11-30 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / This study discusses chronicler Rubem Braga and his chronicles published in O Estado de S?o Paulo newspaper (supplement Caderno 2), from 1988 to 1990. The analysis of the 84 chronicles focuses on the study of poetic spaces, mainly based on Gaston Bachelard s book The Poetics of Space. Narrator s characteristics are also shown in the analyzed chronicles, as he resembles a traditional storyteller, even though participates in a genre that belongs to a modern vehicle: the newspaper. The storyteller-chronicler moves in time and space, reporting his experiences to the readers, and also travels inside of himself, discovering places which were kept in his memory / O presente trabalho trata do cronista Rubem Braga e suas cr?nicas publicadas no jornal O Estado de S?o Paulo (Suplemento Caderno 2), nos anos de 1988 a 1990. A an?lise das 84 cr?nicas publicadas nesse per?odo no jornal aborda o estudo dos espa?os po?ticos fundamentado, principalmente, no livro A po?tica do Espa?o, de Gaston Bachelard. Destacam-se ainda as caracter?sticas do narrador presente nas cr?nicas analisadas, tendo em vista que este se assemelha a um contador de hist?rias tradicional, mesmo fazendo parte de um g?nero que pertence a um ve?culo moderno: o jornal. O cronista contador desloca-se no tempo e no espa?o transmitindo para os leitores experi?ncias vividas e tamb?m viaja dentro de si, descobrindo lugares que estavam guardados na mem?ria

Submitted diploma thesis shows the portrait of Josef Fišer (1878 {--} 1944), the headmaster of a grammar school, regional historian, chronicler, cultural worker and a member of a range of societies. Josef Fišer was born in Klenčí pod Čerchovem, but he spent the majority of his life in Moravské Budějovice, where he stood in the head of a newly established Czech high school. The aim of this work is the interpception of Josef Fišer{\crq}s life, historical work and the picture of his personality in the eyes of his contemporaries. This diploma thesis also describes Josef Fišer as a high school pedagogue. Josef Fišer is undisputedly important person for the region of Moravské Budějovice. Up to present days there hasn{\crq}nt been published any monograph about him. Therefore Josef Fišer{\crq}s personal works saved in the branch of the State district archive in Třebíč {--} in Moravské Budějovice {--} played the crucial role in the creation of this work. In the first line there were newspaper{\crq}s and periodical{\crq}s articles or studies published in the occasion of the Fišer{\crq}s death or birth jubilee. The whole text is divided into six chapters, which are subdivided into subchapters. Textual or picture enclosures are joined to the diploma thesis to enrich the whole text.

Pietro Maria Bardi, \"cronista\" de arte, arquitetura, design (e de muitos outros temas) e galerista experiente na Itália, veio ao Brasil em 1947, aos 47 anos. Trouxe consigo sua segunda esposa, Lina Bo Bardi, e uma coleção de arte a ser exposta no Ministério da Educação e Saúde, no Rio. Foi tão logo convidado por Assis Chateaubriand, diretor da cadeia de jornais Diários Associados, (Diário de S. Paulo etc.) a organizar um Museu de Arte \"Antiga e Moderna,\" que resultou no Museu de Arte de São Paulo--Masp. Tinha por intenção criar um museu vivo organizando, vinculados ao Masp, o Instituto de Arte Contemporânea--IAC, e a Escola de Propaganda, embrião da atual Escola Superior de Propaganda e Marketing--ESPM, as primeiras tentativas, no Brasil, de uma escola de design e de publicedade. Suas iniciativas buscavam atrair público e tornar a arte acessível, contribuído para que fosse produzida com qualidade pelos brasileiros para os próprios brasileiros, através da conscientização de apreciadores e patrocinadores dessas manifestações. Assim, Bardi, ciente do papel da publicidade, percebia a importância de divulgar tudo relativo às iniciativas do Masp e à arte. Usava como veículos a rede dos Diários, a Habitat (a revista do Masp), a Mirante das Artes & etc. (a revista homônima de sua galeria) e periódicos diversos, principalmente os geridos pelas famílias Carta e Alzugaray. Esses textos brasileiros do diretor e criador do maior museu da América Latina ainda não foram oficialmente compilados nem analisados, especialmente em virtude da dificuldade em acessá-los. Esta pesquisa, um primeiro passo para essa importante e trabalhosa tarefa e concentrou-se em seus artigos publicados nos magazines Casa Vogue, Homem Vogue, Arte Vogue, Senhor Vogue, Senhor e Istoé, no intervalo de 1976 à 1988, período que compreende sua primeira aparição como colaborador nas revistas de Vogue, até a fusão, em 1988, das revistas Senhor e Istoé, da Editora Três. / Pietro Maria Bardi was a journalist and author who wrote about art, design and architecture (along with many other subjects) and an experienced gallerist in Italy. He came to Brazil in 1947, at the age of 47. He brought his second wife, Lina Bo Bardi, and a collection of art to be exhibited in the Health and Education Administration, in Rio De Janeiro. Later Bardi was invited by Assis Chateaubriand, the Diários Associados\'s director, to create an Ancient and Modern Art Museum. This resulted in the creation of the São Paulo Art Museum - Masp. He wanted to create a \"living\" museum, by which he meant a museum with a more interesting and interactive experience. He combined the Contemporary Art Institute, (IAC) the first Brazilian design school, with an advertising school, all under one roof. His goal was to make all kinds of art accessible to everybody, contributing to its creation and quality, by brasilians for brasilians, he did this with the conscientiousness of a connoisseur and with the sponsorship of the art community. Thus, Bardi, conscious of the role of marketing realized the true importantance of advertizing everything related to Masp\'s exhibitions and other initiatives. Alongside the Chateaubriand\'s media, Bardi also advertised and wrote article in the Habitat (the Museum magazine) and Mirante das Artes & etc. (the homonym magazine of his art gallery) magazines and other periodicals like the ones directd by Carta and Alzugaray families. These brazilian articles on art and other related topics, produced by the creator and director of the most important latin american art museum, were never compiled or analysed, most likely because of the difficulty to access them. This research is intended to be the first step of this important and laborious task and focuses on Bardi´s writings published in Casa Vogue, Homem Vogue, Arte Vogue, Senhor Vogue, Senhor e Istoé magazines, between 1976 and 1988, from his first showing as collaborator in Vogue to the merger of Senhor e Istoé magazines, of Editora Três.