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[pt] Dentre as muitas metáforas que expressam o amor de Deus à humanidade a das núpcias é a que merecia maior destaque na opinião de alguns teólogos, tanto os teólogos da antiguidade como os dos tempos modernos, certamente pelo elevado nível de intimidade que a metáfora autoriza imaginar no tocante ao amor incontido de Deus à sua Igreja. Trata-se, então, de um trabalho oportuno, útil à espiritualidade da igreja, e particularmente a cada cristão. Decerto, tem-se ouvido muitas homilias sobre Deus nos moldes da relação Senhor-servo; Pai-filho; Deus-humano; Pastor-ovelha; Santo-pecador. Todas têm correspondência na Escritura, mas enfatiza pouco – ou não a altura – a categoria do amor daquele que ocupa a superioridade nessa relação e, por isso, nenhuma dessas metáforas se comparam à relação Esposo-esposa. Para isso, a focagem deste trabalho recai sobre uma das obras de Orígenes cujo título é: Homilias e Comentário ao Cântico dos Cânticos. Fato é que Orígenes viu nessa relação Esposo-Esposa uma prefiguração do encontro entre Cristo – o Verbo – que se aproxima indo ao encontro da Esposa – a igreja, mas também ao cristão individual, expressando dessa forma o plano da redenção. Em seguida, este trabalho se achega ao livro bíblico atribuído a Salomão, juntamente com a obra de Orígenes sobre o Cântico dos Cânticos, que por sua vez, está dividido em duas homilias e o comentário. Por fim, este trabalho recortou os principais componentes que podem reforçar a construção de uma teologia nupcial como proposta cristológica, visto que Orígenes aplicou sua teologia à alma do fiel propriamente, não somente à igreja enquanto corpo do Cristo. Assim, ver-se-ão os integrantes mais próximos dessa relação de amor, tais como beijos; leito; perfume; peito; abraço; beleza; sombra; entre outros, num estado de progresso, a fim de magnetizar a alma do fiel a esse encontro nupcial com o Cristo-Esposo. / [en] Among the many metaphors that express God s love for humanity, that of the wedding is the one that deserves greater prominence in the opinion of some theologians, both the theologians of antiquity and those of modern times, certainly due to the high level of intimacy that the metaphor allows to imagine in the concerning God s unrestrained love for his Church. It is therefore a matter of timely work, useful to the spirituality of the church, and particularly to every Christian. Certainly, many homilies on God have been heard along the lines of the Lord-servant relationship; Dad son; God-human; Shepherd sheep; saint-sinner. All have correspondence in Scripture, but it emphasizes little - or not enough - the category of love of the one who occupies the superiority in this relationship and, therefore, none of these metaphors compares to the Husband-Wife relationship. For this, the focus of this work falls on one of the works of Origen whose title is: Homilies and Commentary on the Song of Songs. The fact is that Origen saw in this Husband-Wife relationship a prefiguration of the encounter between Christ – the Word – who approaches, going to meet the Bride – the church, but also the individual Christian, thus expressing the plan of redemption. Then, this work approaches the biblical book attributed to Solomon, together with Origen s work on the Song of Songs, which in turn is divided into two homilies and the commentary. Finally, this work cut out the main components that can reinforce the construction of a nuptial theology as a Christological proposal, since Origen applied his theology to the soul of the faithful, not only to the church as the body of Christ. Thus, the closest members of this love relationship will be seen, such as kisses; bed; perfume; chest; hug; beauty; shadow; among others, in a state of progress, in order to magnetize the soul of the faithful to this nuptial encounter with Christ the Spouse.

Le premier but de cette thèse est d’identifier et de décrire bibliographiquement les traductions en langue française du Cantique des cantiques, publiées sur support imprimé, quels que soient le support éditorial, la date et le lieu de la publication. Une lecture minutieuse de ces traductions, les confrontant aux textes sources essentiellement hébreux et latins, et les situant dans leur contexte historique, éditorial et confessionnel, vise à déterminer, selon la méthode d’Antoine Berman, le « projet de traduction » et l’« horizon du traducteur ». Sur cette base, des études de cas sont réalisées : partant de problèmes théoriques de la traduction, puis d’un choix d’extraits significatifs du texte, l’ensemble du corpus est confronté dans une perspective à la fois diachronique et synchronique. L’ensemble de l’étude illustre la façon dont chaque traduction est l’incarnation d’une lecture spécifique du Cantique des cantiques. / The primary aim of this thesis is to identify and to give a bibliographical description of all the French translations of the Song of Songs that have been published in print since the Renaissance, regardless of their editorial support, date and place of publication. A close reading of these translations will then allow us to determine, following Antoine Berman’s method, the “translation project” and the “translator’s horizon”, by comparing them with their source texts (mostly in Hebrew and Latin) and by situating them in their historical, editorial and religious contexts. Accordingly, a number of case studies have been carried out : first, considering theoretical problems of translation, then by comparing a selection of key excerpts from the text, the entire text corpus has been analyzed from both a diachronic and a synchronic perspective. The entire study illustrates the extent to which each translation is the embodiment of a specific reading of the Song of Songs.

This paper examines Wolfram von Eschenbach’s juxtaposition of contrary things in Parzival as the beginning of the road to spiritual salvation for Parzival. Men’s quest for fame and honor in the material, Arthurian world is compared to the divine Grail kingdom and the godlike women who shed compassionate, Christ-like tears. Wolfram’s message of peace and love for brother is examined through his use of symbolism, particularly through womens’ tears and turtledove imagery. Parzival, Gâwân and Feirefiz are compared in order to show that the love and quest for personal honor in the Arthurian world is a necessary step on the path to God’s divine love and salvation. Compassion and love for one’s neighbor must be learned before Parzival attains his destiny. How marriage teaches Parzival triuwe and how he demonstrates this characteristic are examined. Romantic love, emulation of women and divine love lead Parzival to his destiny.

The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.

This thesis is concerned with, in the words of Song of Songs, finding an appropriate answer to Qohelet's vanity - vanity of a human life and things that inherently come with it, as Qohelet himself proclaims in his book. The first chapter introduces the Book of Qohelet and aims to capture the main themes of vanity and transience, while also providing the ways out from this situation, as presented by Qohelet. The second chapter introduces the reader to the Song of Songs book while also describing its content which concerns the interpretation of love between a man and a woman. The third chapter brings forward efforts of the author and the main themes and conclusions of the book are analysed. This allows - in the conclusion of this thesis - to answer the question of whether the love in the Songs of Songs is a possible answer to Qoheleth's vanity - the transience of a human life, as brought out by Qohelet in his work.