This study is an attempt to define more clearly the Sabbath institution as it is presented in Exodus 20:8-11. It begins by describing the big-picture contours of the Sabbath institution as it has been depicted by various scholars during the last century. Many of these studies focus on delineating what proper Sabbath observance entails or describing how Sabbath rest mirrors God’s rest on the seventh day of creation. However, little investigation has been conducted into the relationship between the fourth commandment in Exodus 20 and the shape of humanity’s task and relationship with God on the seventh day. The study then examines the nature of God’s rest in the first creation account, describing what “rest” entailed for God, and the work from which he rested. It suggests that this “rest” is from the creational activity of the first six days and that it continues on into the present. It also discusses the relationship between the concept of rest offered by the first creation account and the concept of rest in the understanding of the Ancient Near East and Israel. Humanity’s role in the created order is also examined. While humans share some qualities with other creatures, such as an embodied existence, they are also distinct from the rest of creation. Only humans are created in the image of God. As such, they are given tasks unique to their status: subduing the earth, exercising dominion over the creatures of the earth, and expanding the borders of the garden as they multiply and fill the earth. These form the heart of their God-given task that they will carry out as God enjoys his seventh-day rest. Next, the study investigates the particulars of Exodus 20:8-11 and suggests a reading of these particulars against the backdrop of the seventh day as it is described in chapters 3-4. While the rationale for the Sabbath commandment is grounded in the events of the first creation account, the commandment itself also needs to be understood in the context of the Decalogue and, in turn, in the context of the law’s reception at Sinai. The law, and hence the fourth commandment, are central to the calling and purpose of Israel. As Israel fulfils its mandate to be a light to the nations, it will reflect the ideals of the seventh day as they are encapsulated in the law. Far from simply mirroring God’s rest, the fourth commandment reflects the relationship between God and humanity and humanity’s role on the seventh day of creation. The study concludes by drawing together various pieces of the argument and makes suggestions for further research. / MTh (Old Testament), North-West University, Potchefstroom Campus, 2015

This study is an attempt to define more clearly the Sabbath institution as it is presented in Exodus 20:8-11. It begins by describing the big-picture contours of the Sabbath institution as it has been depicted by various scholars during the last century. Many of these studies focus on delineating what proper Sabbath observance entails or describing how Sabbath rest mirrors God’s rest on the seventh day of creation. However, little investigation has been conducted into the relationship between the fourth commandment in Exodus 20 and the shape of humanity’s task and relationship with God on the seventh day. The study then examines the nature of God’s rest in the first creation account, describing what “rest” entailed for God, and the work from which he rested. It suggests that this “rest” is from the creational activity of the first six days and that it continues on into the present. It also discusses the relationship between the concept of rest offered by the first creation account and the concept of rest in the understanding of the Ancient Near East and Israel. Humanity’s role in the created order is also examined. While humans share some qualities with other creatures, such as an embodied existence, they are also distinct from the rest of creation. Only humans are created in the image of God. As such, they are given tasks unique to their status: subduing the earth, exercising dominion over the creatures of the earth, and expanding the borders of the garden as they multiply and fill the earth. These form the heart of their God-given task that they will carry out as God enjoys his seventh-day rest. Next, the study investigates the particulars of Exodus 20:8-11 and suggests a reading of these particulars against the backdrop of the seventh day as it is described in chapters 3-4. While the rationale for the Sabbath commandment is grounded in the events of the first creation account, the commandment itself also needs to be understood in the context of the Decalogue and, in turn, in the context of the law’s reception at Sinai. The law, and hence the fourth commandment, are central to the calling and purpose of Israel. As Israel fulfils its mandate to be a light to the nations, it will reflect the ideals of the seventh day as they are encapsulated in the law. Far from simply mirroring God’s rest, the fourth commandment reflects the relationship between God and humanity and humanity’s role on the seventh day of creation. The study concludes by drawing together various pieces of the argument and makes suggestions for further research. / MTh (Old Testament), North-West University, Potchefstroom Campus, 2015

Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

No description available.

Dans les représentations chrétiennes, le jardin renvoie alternativement aux territoires génésiaques d’intimité avec Dieu, au lieu du péché originel, à l’espace de résurrection et à la Jérusalem Céleste. Il forme un espace matriciel, du rapport des hommes avec la vie, le vivant et Dieu. Dans cette thèse de doctorat, il s’agit de confronter les symboles chrétiens avec les jardins religieux pour comprendre les interactions entre les représentations et les pratiques des religieux. Le passage de l’un à l’autre nécessite des précautions méthodologiques pour interpréter ces discours et ces gestes qui oscillent entre le sacré et le profane.Le jardin religieux se développe sur deux registres, l’un existentiel et l’autre spirituel, qui se recomposent selon deux grands types d’organisation dans chacun des vingt-sept jardins religieux étudiés. Les premiers, dits jardins « méditatifs », sont liés à une spiritualité introspective, et se rapportent historiquement aux cloîtres fermés des monastères complétés par des jardins utilitaires (jardin de simples, potager et, verger). Ils procèdent d’une lecture génésiaque anthropocentrique. Les seconds se rapportent à une tradition plus théocentrique puisant sa source dans une lecture des psaumes et des textes de la tradition franciscaine. Le cloître s’y ouvre sur le monde végétal et humain et le jardin est plus spontané. Les jardins de monastère médiéval ou les « jardins de curé » connaissent aujourd’hui un réinvestissement de la société. Nos contemporains puisent dans ces espaces des vertus très modernes comme le bien être, le bio, l’écologie, le développement durable… Aujourd’hui devant ce monde qui serait marqué des erreurs irréparables humaines, les hommes veulent retrouver dans ces jardins clos des empruntes du paradis perdu. / In Christian thoughts and reflections, gardens refer alternately to intimacy with God, to the original sin, to the resurrection and to the Heavenly Jerusalem. They represent a space linking men and life, the living and God. In this dissertation, we will deal with Christian symbols and religious gardens in order to understand the interactions between religious representations and religious practices. The transition from one to the other requires a careful methodological approach to interpret the discourse and gestures that oscillate between the sacred and the profane.Religious gardens develop on two levels, the existential and the spiritual level, which were seen to recombine in all the twenty-seven religious gardens under study. The first type of religious gardens, called here "meditative gardens", is associated with introspective spirituality. They are related to the historically closed cloisters and are associated with herbal gardens, vegetable gardens and orchards. They proceed from an anthropocentric reading of the genesis. The second type of gardens refers to a more Theo-centric tradition, drawing its source from the reading of the psalms and texts from the Franciscan tradition. There, cloisters are open to the world of plants and people, and their gardens are more spontaneous.Today our society has been reinvesting in the gardens of medieval monasteries and "jardins de curé". Very contemporary virtues are found in these gardens, such as attention to well-being, organic food, ecological and sustainable development etc. In the face of our world, marked with irreparable human mistakes, we search for these enclosed gardens as for witnesses of a paradise lost.

No description available.

<p>Tema disertacije, Kineski vrt &ndash; arhitektura i kultura vrta u kineeskoj<br />tradiciji i njena naučna pripadnost određeni su i uslovljeni<br />konceptualnom razlikom između evropskog i kineskog vrta. Ova razlika<br />ukratko glasi: evropski vrt se pretežno sadi, dok se kineski vrt<br />konsekventno gradi. Glavni predmet umetnosti građenja kineskog vrta<br />je jedinstvena artikulacija prostora koja podrazumeva izražajna<br />sredstva arhitekture ali i učešće gotovo svih elemenata koji su se<br />ikada razvili u kineskoj kulturi. Istraživanje obuhvata analizu<br />istorijskog razvoja, filozofsko &ndash; teorijske osnove estetike vrta,<br />morfologiju i tipologiju arhitektonskog prostora kao i analizu većeg<br />broja sačuvanih vrtova Ming i Ćing perioda.</p> / <p>This thesis aims to provide deeper insight into the art of landscaping as the<br />set of ideas and practices that governs Chinese traditional architecture. It is<br />based on multidisciplinary research on historical, cultural, philosophical and<br />artistic aspects of garden design. Examination is directed toward broadening<br />of domain knowledge as to create the base for different approach to what is<br />generally perceived as modern architecture. Theoretically and empirically it<br />suggests the importance of the articulation of site over the building design.<br />Each chapter explores different facts of the relationship between site and<br />architectural object.</p>

Food forestry has grown in its popularity in Canada, the United States and the United Kingdom, which it has not been traditionally practiced before, for its potential to produce healthy food, to create habitat for wildlife species, to reconnect people with nature and to provide various ecosystem services such as carbon storage. Diverse food forest projects are conceived from urban food initiatives to integrated conservation and restoration planning. Currently, the Galiano Conservancy Association is creating two food forests in the heart of a mature Coastal Douglas-fir landscape on Galiano Island, British Columbia, which is protected under a conservation covenant, in pursuit of sustainable food production, education and contribution to ecological restoration and conservation efforts. To investigate the relationships between emerging food forestry and ecological restoration and to identify key indicators to measure best practices of food forestry in the context of ecological restoration, I conducted 16 semi-structured interviews with food forestry and ecological restoration experts. In addition, I conducted a workshop with the Conservancy stakeholders to develop a comprehensive and systematic monitoring framework for their food forest projects. My studies suggest that restoration principles and resilience thinking can provide guidelines for restorative food forestry. Food forestry may serve as an innovative restoration tool to restore urban landscapes where lack significant opportunities for conventional restoration. A generic monitoring framework for food forestry could be adapted by other projects, yet this will require the process of defining goals and objectives of a given project and assessing landscape contexts and the organization’s capacity to monitor. / Graduate / soph.park@yahoo.ca

This study was undertaken in order to determine whether the extracts of common garden vegetables could be incorporated into simple, economical culture media which might be used for the growth and cultivation of at least some of the more commonly used microorganisms.

The Garden Of Eden is a ballet for four instrumental quintets: brass, woodwind, string, and percussion. Each ensemble is associated with one of four dancers: God, Adam, Eve, -and the Serpent, respectively. The duration of this ballet is approximately sixteen minutes and is divided into three parts depicting (1) the creation of the world and Adam; (2) the creation of Eve-and the warning about the tree of knowledge; and (3) the Serpent's temptation of the main characters, as well as their subsequent banishment from the garden by God. One of my reasons for composing this work was to answer an important question: how to control musical motion and emotion. Since ballet incorporates both motion in its choreography and emotion in its program, it provided a perfect medium in which to work.