The purpose of this thesis was to uncover the tools of manipulation used within political discourses by governments in their attempt to maintain power in society. It specifically asked, How do Canadian federal governments manipulate security, risk, and threat discourses alongside their presentation and understanding of Canadian identity in throne speeches to justify the direction they intend to take the country in with their mandate? This thesis used Critical Discourse Analysis methods to analyze fourteen federal majority government speeches from the throne during the rise and fall of social welfare in Canada. Findings highlight that governments have relatively consistently used the combination of security, risk, and threat discourses between 1935 and 2015. Canadian identity has also been shown to be malleable to government priorities, being connected to notions of collectivism during the rise of social welfare and individualization and productivity during the implementation of neoliberal principles. The introduction of the promise of job creation within the speeches was found to correlate with the introduction of neoliberal principles in Canada. These findings highlight the importance of critical understanding of dominant discourses in society in order to overcome the power they can impose over non-dominant groups. / Thesis / Master of Social Work (MSW)

Thesis advisor: James F. Keenan / This dissertation presents an ethical examination of power dysfunctions within liturgical practices, with a specific focus on the portrayal of God as an omnipotent monarch. This depiction propagated through rituals, contributes to a culture of unaccountability among clergy and undermines the active participation of the faithful in the liturgy. The study utilizes performative theories from philosophers such as Judith Butler and theologians like Louis-Marie Chauvet to explore how the repetitive use of language and iconography that enacts domination also opens possibilities for resistance. A significant aspect of this research involves an ethical analysis of non-Christological images of God from the twelfth to the fifteenth century. This investigation uncovers a resilient agency among the faithful, who actively resisted the monarchicalization of God and God’s ministers. The dissertation posits that addressing this power dysfunction requires a revival and promotion of depictions that portray divine vulnerability. This conceptualization of vulnerability, inspired by feminist philosophers, is reimagined not as a weakness but as a capacity for responsiveness and the ability to attend to others’ wounds. The dissertation argues that vulnerability is a foundational element in building communities of solidarity that resist injustice. By promoting such imagery, there is a potential to encourage ethical responses and foster openness to others’ claims. This shift can lead to a transformation from a culture of unaccountability to one that upholds the equal baptismal dignity of the faithful, thereby redefining the dynamics of power within liturgical settings. / Thesis (STD) — Boston College, 2024. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Thesis advisor: Pheme Perkins / Psalm 110:1 was not a Second Temple messianic proof-text. Yet, it became the early Christian text par excellence for articulating exaltation Christology: Jesus was exalted to God’s right hand (Acts 2:33, 34-35; 5:31; 7:55-56; Rom 8:34; Col 3:1; Eph 1:20; 1 Pet 3:22; Heb 1:3, 13; 8:1; 10:12; 12:2) and κύριος of the cosmos (Phil 2:9-11). Therefore, this unprecedented and singular use of Ps 110:1 by early Christians requires an explanation. This dissertation argues that the unparalleled Christian use of Ps 110:1 is indebted to a Greco-Roman royal ideological concept: rulers as sharers of divine/sacred space, which consisted of three elements: temple sharing, throne sharing, and joint temples of imperials and gods. Greek cities and Roman period provinces made autocrats sharers of sacred space to show appreciation for concrete royal benefactions and to acknowledge the piety of monarchs and divine approval of their regimes. Early Christians adopted two of these practices—temple sharing and throne sharing—for similar purposes, creating a unique variant of the Greco-Roman royal practice and using scripture to justify it (Ps 110:1). Consequently, early Christian use of Ps 110:1, exaltation Christology, and Jesus’s Lordship are indebted to royal messianism. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

The Golden Throne Quadrangle is located within Capitol Reef National Park, south-central Utah. Geologic mapping of this 1:24,000 scale 7.5 minute quadrangle began in 2003 as the National Parks Service desired to have geologic maps at this scale produced within the park. Stratigraphically, ten bedrock formations and ten Quaternary deposits are exposed within the Golden Throne Quadrangle. Geologic formations range in age from Permian to Jurassic. This map contains details not included on previous geologic maps including; the members of the Carmel, Chinle, and Moenkopi Formations. Additionally, the Page Sandstone is herein mapped as an independent unit. Structurally the Golden Throne Quadrangle encompasses most of the southern quarter of the Miners Mountain uplift. The crest of this southwest verging uplift is cut by the left-lateral strike-slip Teasdale Fault zone. Preparation of a cross-section through the axis of the uplift within the quadrangle has not permitted the use of usual faulting and folding mechanisms (i.e. fault-bend folds and fault-propagation folds) for the creation of the uplift. Two structural models can account for the geometries observed in the field. The first model is a high angle reverse basement fault; the second model is a fold over an inverted basin. The Jurassic Page Sandstone, in the Golden Throne Quadrangle, is composed of the Harris Wash and Thousand Pockets Members, which are divided by the Judd Hollow Tongue, a member of the overlying Carmel Formation It represents an erg deposit and is primarily composed of eolian sandstone. Study of the formation within the Golden Throne Quadrangle helped in the understanding of its local characteristics. Previous research has helped to develop a regional stratigraphic framework for the Page Sandstone. This study cannot be easily incorporated into the regional framework of previous studies. In order to fully understand the sedimentology of the Page Sandstone additional research will need to be accomplished.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-10-19T11:49:43Z No. of bitstreams: 1 Marcos Paiva Brito.pdf: 2349642 bytes, checksum: 057504951b25b03e55a979ef2ca5d098 (MD5) / Made available in DSpace on 2018-10-19T11:49:43Z (GMT). No. of bitstreams: 1 Marcos Paiva Brito.pdf: 2349642 bytes, checksum: 057504951b25b03e55a979ef2ca5d098 (MD5) Previous issue date: 2018-09-05 / Aliança de Misericordia - ADVENIAT / Apocalypse 4 is a simple reading text in portuguese, but not so simple in the language in which it was written (Greek). At first glance, the portuguese language presents no difference from the throne of verse 2 to the thrones of verse 4. The word (καθήμενος) closest to the term in verse 2 also appears in verse 4. In the first, the seer sees One sitting in the throne. Ιn the second, he sees twenty-four elders seated on twenty-four thrones. These elders are apparently seated on these thrones as the One sitting on the throne in verse 2. However, the greek text presented a variation in the lexical analysis of the term in the two verses. The purpose of this study was to conduct a biblical-theological study of the throne in Revelation4, considering the grammatical analysis of the noun θρόνος and the main words attached to it. From a critical-textual study, from the translation of the segmented pericope, and from the morphological and syntactic analyzes of the term in Revelation 4, the primary meaning of the term was defined. The secondary sense of it was also considered in accordance with the Greek case in which it is ruled. This bible study is based on the Fourth Edition of the Greek New Testament. From it is abstracted the text of Revelation 4, which is segmented and translated literally. To analyze the text lexically, Greek dictionaries, lexicons, concordances, biblical keys and Greek grammars were consulted. In the exegesis part of the text, comments from scholars in the book of Revelation were searched. The morphosyntactic analysis counted current greek grammars. The passage from Revelation 4, concerning the throne of God and the other thrones present in the text and in the book, is simple but presents lexically considerable differences. Some scholars consider the thrones of the twenty-four elders lesser than the throne of God. Others consider these thrones equal to the throne of God. However, grammatical study has shown that God's throne differs from the thrones of the elders. And his presence in the book of Revelation brings with it unparalleled characteristics of God and His throne, which others possess as a reflection of these characteristics / Apocalipse 4 é um texto de leitura simples em português, mas não tão simples na língua em que foi escrito (em grego). À primeira vista, a língua portuguesa não apresenta nenhuma diferença do trono do versículo 2 para os tronos do versículo 4. A palavra (καθήμενος) mais próxima do termo no versículo 2 também aparece no versículo 4. No primeiro, o vidente vê “Alguém” sentado no trono. No segundo, ele vê vinte e quatro anciãos sentados em vinte e quatro tronos. Esses anciãos estão aparentemente sentados nestes tronos como “Aquele” que está sentado no trono no versículo 2. No entanto, o texto grego apresentou uma variação na análise léxica do termo nos dois versículos. O propósito deste estudo foi realizar um estudo bíblico-teológico sobre o trono em Apocalipse 4, considerando a análise gramatical do substantivo θρόνος e das principais palavras ligadas a ele. A partir de um estudo crítico-textual, da tradução da perícope segmentada, e das análises morfológica e sintática sobre o termo em Apocalipse 4, definiu-se o sentido primário do termo. Também, considerou-se o sentido secundário dele de acordo com o caso grego em que ele é regido. Este estudo bíblico baseia-se na Quarta Edição do Novo Testamento Grego. No estudo das variantes dos versículos 2 e 4, propostas para análise neste trabalho, também são usados os textos gregos de Tischendorf e a 27ª edição de Alan-Nestlè. Do texto grego da quarta edição abstrai-se o texto de Apocalipse 4, o qual é segmentado e traduzido literalmente. Para o estudo lexical consultou-se dicionários gregos, léxicos, concordâncias, chaves bíblicas e gramáticas gregas. Na parte da exegese do texto, comentários de estudiosos do livro do Apocalipse foram pesquisados. A passagem de Apocalipse 4, no que se refere ao trono de Deus e aos outros tronos presentes no texto e no livro, é simples mas apresenta diferenças lexicalmente consideráveis. Alguns estudiosos consideram os tronos dos vinte e quatro anciãos literalmente menores, em comparação com o trono de Deus. Outros consideram esses tronos iguais ao trono de Deus. No entanto, o estudo gramatical mostrou que o trono de Deus difere dos tronos dos anciãos. E, sua presença no livro do Apocalipse traz consigo características ímpares de Deus e de Seu trono, que outros as possuem, como um reflexo dessas características

The objects discovered in Tomb 79 at the necropolis of Salamis, Cyprus have garnered much attention since their discovery. The material from this tomb, however, needs an in-depth, object-by-object analysis that will lead to a greater understanding of the burial as a whole. In my thesis, I offer a detailed case study of a single item, an ivory-covered wooden chair—so-called Throne Γ—as exemplifying an approach to this analysis. Based on the excavation team’s exacting reconstruction, the chair is four-legged with armrests and a slightly curved backrest. Ivory overlays the entirety of the chair except on a few sections of the backrest where the wood shows through. Here as well, both figural and geometric designs decorate the ivory, and the top bar was originally overlaid with gold. As a whole, Throne Γ would have appeared as a solid ivory object, embellished with wood and gold, and was likely draped with textiles. In this study, I analyze Throne Γ as an agent of identity. To do so, I follow the example of other scholars such as Irene Winter and Marian Feldman and employ the theory of object agency, addressing Throne Γ as an affective entity. When placed in a social context—i.e., when involved in human interaction—such agentive objects actively influence their surroundings. In this case, I analyze how Throne Γ affected the individual in whose tomb it was buried. I argue that through its various affective “mechanisms”—its nature as a luxury object, the value of its ivory material, its sensory qualities (including luminosity, texture, and fragrance), its iconography, and its ritual function—Throne Γ projected a king-like identity upon the deceased individual from Tomb 79. His actual political and social power during his lifetime, however, may have been less than that suggested by the mechanisms of the chair. The inclusion of Throne Γ in the burial was therefore a conscious choice and the identity the chair projected deliberate. It was meant to agentively mark, and thus legitimize, the deceased as a politically-able, diplomatically-savvy, and divinely-touched figure in the early days of monarchy on Cyprus. / text

Made available in DSpace on 2016-08-03T12:19:46Z (GMT). No. of bitstreams: 1 MarceloAlvesDntas2.pdf: 1731029 bytes, checksum: ac1853c62368a4a7f5f3ba6d78817d2d (MD5) Previous issue date: 2014-10-20 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation has its purpose on the texts of the book of Revelation chapters 4 and 5. Their source of research belongs to the Jewish Mysticism. This way of examination echoes today in studies of apocalyptic mysticism and the visionary ecstasy relating to the context of Judaism and primitive Christianity, on authors such as Christopher Rowland, Alan Segal, C.R.A. Morray - Jones and John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A.S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher Louis, Florentino Garcia Martinez among others; but these authors align themselves to the Gershom Scholems initial research results on Jewish Mysticism, and also to the latest developments in this subject. Nogueira mentions that Scholem was who actually used this mysticism to produce the key for heavenly ascent stories present on apocalypses of the last two centuries b.C. and also to the first two centuries a.D. In fact, Scholem was who initiated the Jewish mysticism academic discussion in his book Major Trends in Jewish Myticism in 1941. Strengthening the tradition of these studies are the findings of the Qumran manuscript, such as the Songs of the Sabbath Sacrifice, a thirteen songs composition, also called angelic liturgy, that has contributed to the research development as well as supporting the Scholem arguments. Among the Qumran manuscripts a hymn fragment called 4Q405 brought to the acquaintance the terminology Merkaváh, wherein angels praise the Chariot Throne image mentioned in the first chapter of the book of Ezekiel. It was identified on that the Qumran community syncretism regarding the song of angels with other ideas about their duties, being a common characteristic of Maasseh Merkavah traditions - Divine Throne Chariot tasks. Thus, the research follows the presupposed by Rowland that the texts of Revelation 4 and 5 have in their narrative a basic similarity to the liturgy described in the traditions of the first century Judaism apocalyptic mysticism, as well as on Qumran texts, mainly in 4Q405 fragment. According to Nogueira Ezekiel chapter 1 is considered the key to the Judaism mysticism tradition, therefore also being a central element of the Johns Apocalypse, the main visionary of Christianity. The research includes the approach of texts considered the ones that established (Ezekiel 1, Isaiah 6, Daniel 7, I Enoch 14), the analysis of the Qumran texts, as the complex of 13 Sabbatical Songs related to worship in the celestial sanctuary. The apocalyptic is thus understood as a kind of mystical literature, whose images reflect the writings that, by means of the visionary ascent to heaven and the contemplation of Gods Throne pull the curtain certain tradition of the 1st. century. Therefore, it can be also interpret the chapters 4 and 5 of Revelation as a mystical text, with similar content to the Jewish apocalyptic texts, and perhaps with a similar type of religious experience. / Esta dissertação tem por objeto analisar os textos do livro do Apocalipse capítulos 4 e 5. As fontes de pesquisa pertencem às tradições do Misticismo Judaico. Esta linha, hoje ecoa em estudos do misticismo apocalíptico e do êxtase visionário relativo ao contexto do judaísmo e cristianismo primitivos, em autores tais como: Christopher Rowland, Alan Segal, C. R. A. Morray-Jones e John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A. S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher-Louis, Florentino García Martínez dentre outros; sendo que, estes autores se alinham aos resultados das pesquisas iniciais de Gershom Scholem sobre o Misticismo Judaico, e aos desenvolvimentos mais recentes neste âmbito. Nogueira1 menciona que foi Scholem quem realmente usou este misticismo para produzir a chave das histórias de ascensão celestial presentes nos apocalipses dos últimos dois séculos a.C. e dos primeiros dois séculos d.C. Foi Scholem, na verdade, quem iniciou a discussão acadêmica dos místicos judaicos em seu livro Major Trends in Jewish Myticism - Principais Tendências no Misticismo Judaico em 1941. Corroborando com a tradição destes estudos se encontram as descobertas dos manuscritos de Qumran, como a dos Cânticos do Sacrifício Sabático, uma composição de treze cânticos, também chamada de liturgia angélica, e que tem contribuído para o desenvolvimento das pesquisas, bem como sustentado os argumentos de Scholem. Dentre os manuscritos de Qumran há um fragmento de hinos denominado 4Q405, que trouxe ao conhecimento a terminologia Merkaváh, em que anjos louvam a imagem do Trono da Carruagem citado no primeiro capítulo do livro de Ezequiel. Identificou-se nestes o sincretismo da comunidade de Qumran acerca do canto dos anjos com outras ideias sobre os deveres dos mesmos, sendo uma característica comum às tradições da Ma asseh Merkaváh - (Trabalhos do Divino Trono/Carruagem). 1 NOGUEIRA, Sebastiana M. Silva. 2 Coríntios 12 e o Misticismo Judaico (Os Quatro que Entraram no Pardes). Oracula, 2012 p.04. Assim, a pesquisa segue os pressupostos de Rowland2, de que os textos do Apocalipse 4 e 5 possuem em sua narrativa uma semelhança básica com a liturgia descrita nas tradições do misticismo apocalíptico do judaísmo no I século, bem como em textos de Qumran, principalmente no fragmento 4Q405. Conforme Nogueira3 Ezequiel capítulo 1 é considerado chave desta tradição mística do judaísmo, sendo, também um elemento central do Apocalipse de João, o principal visionário do cristianismo. Assim, a pesquisa inclui a aproximação dos textos considerados fundantes, sendo: (Isaías 6; Ezequiel 1; Daniel 7; I Enoque 14), junto aos textos de Qumran, como o complexo dos 13 Cânticos Sábaticos relacionados ao culto no santuário celestial. A apocalíptica pode ser assim compreendida como um tipo de literatura mística, cujas imagens se conjecturam nos escritos que, por meio da ascensão do visionário aos céus e a contemplação do trono de Deus, descortinam uma determinada tradição do judaísmo antigo. Desta forma podemos também interpretar os capítulos 4 e 5 do Apocalipse como texto místico, de conteúdos similares aos dos textos apocalípticos judaicos, e talvez até com um tipo de experiência religiosa análoga.

Made available in DSpace on 2016-08-03T12:19:48Z (GMT). No. of bitstreams: 1 MarceloAlvesDntas2.pdf: 1731029 bytes, checksum: ac1853c62368a4a7f5f3ba6d78817d2d (MD5) Previous issue date: 2014-09-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation has its purpose on the texts of the book of Revelation chapters 4 and 5. Their source of research belongs to the Jewish Mysticism. This way of examination echoes today in studies of apocalyptic mysticism and the visionary ecstasy relating to the context of Judaism and primitive Christianity, on authors such as Christopher Rowland, Alan Segal, C.R.A. Morray - Jones and John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A.S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher - Louis, Florentino García Martínez among others; but these authors align themselves to the Gershom Scholems initial research results on Jewish Mysticism, and also to the latest developments in this subject. Nogueira mentions that Scholem was who actually used this mysticism to produce the key for heavenly ascent stories present on apocalypses of the last two centuries b.C. and also to the first two centuries a.D. In fact, Scholem was who initiated the Jewish mysticism academic discussion in his book Major Trends in Jewish Myticism in 1941. Strengthening the tradition of these studies are the findings of the Qumran manuscript, such as the Songs of the Sabbath Sacrifice, a thirteen songs composition, also called angelic liturgy, that has contributed to the research development as well as supporting the Scholem arguments. Among the Qumran manuscripts a hymn fragment called 4Q405 brought to the acquaintance the terminology Merkaváh, wherein angels praise the Chariot Throne image mentioned in the first chapter of the book of Ezekiel. It was identified on that the Qumran community syncretism regarding the song of angels with other ideas about their duties, being a common characteristic of Maasseh Merkavah traditions - (Divine Throne / Chariot tasks). Thus, the research follows the presupposed by Rowland that the texts of Revelation 4 and 5 have in their narrative a basic similarity to the liturgy described in the traditions of the first century Judaism apocalyptic mysticism, as well as on Qumran texts, mainly in 4Q405 fragment. According to Nogueira Ezekiel chapter 1 is considered the key to the Judaism mysticism tradition, therefore also being a central element of the Johns Apocalypse, the main visionary of Christianity. The research includes the approach of texts considered the ones that established Ezekiel 1, Isaiah 6, Daniel 7, I Enoch 14, the analysis of the Qumran texts, as the complex of 13 Sabbatical Songs related to worship in the celestial sanctuary. The apocalyptic is thus understood as a kind of mystical literature, whose images reflect the writings that, by means of the visionary ascent to heaven and the contemplation of Gods Throne pull the curtain certain tradition of the 1st. century. Therefore, it can be also interpret the chapters 4 and 5 of Revelation as a mystical text, with similar content to the Jewish apocalyptic texts, and perhaps with a similar type of religious experience. / Esta dissertação tem por objeto analisar os textos do livro do Apocalipse capítulos 4 e 5. As fontes de pesquisa pertencem às tradições do Misticismo Judaico. Esta linha, hoje ecoa em estudos do misticismo apocalíptico e do êxtase visionário relativo ao contexto do judaísmo e cristianismo primitivos, em autores tais como: Christopher Rowland, Alan Segal, C. R. A. Morray-Jones e John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A. S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher-Louis, Florentino García Martínez dentre outros; sendo que, estes autores se alinham aos resultados das pesquisas iniciais de Gershom Scholem sobre o Misticismo Judaico, e aos desenvolvimentos mais recentes neste âmbito. Nogueira1 menciona que foi Scholem quem realmente usou este misticismo para produzir a chave das histórias de ascensão celestial presentes nos apocalipses dos últimos dois séculos a.C. e dos primeiros dois séculos d.C. Foi Scholem, na verdade, quem iniciou a discussão acadêmica dos místicos judaicos em seu livro Major Trends in Jewish Myticism - Principais Tendências no Misticismo Judaico em 1941. Corroborando com a tradição destes estudos se encontram as descobertas dos manuscritos de Qumran, como a dos Cânticos do Sacrifício Sabático, uma composição de treze cânticos, também chamada de liturgia angélica, e que tem contribuído para o desenvolvimento das pesquisas, bem como sustentado os argumentos de Scholem. Dentre os manuscritos de Qumran há um fragmento de hinos denominado 4Q405, que trouxe ao conhecimento a terminologia Merkaváh, em que anjos louvam a imagem do Trono da Carruagem citado no primeiro capítulo do livro de Ezequiel. Identificou-se nestes o sincretismo da comunidade de Qumran acerca do canto dos anjos com outras ideias sobre os deveres dos mesmos, sendo uma característica comum às tradições da Maasseh Merkaváh Trabalhos do Divino Trono/CarruagemAssim, a pesquisa segue os pressupostos de Rowland2, de que os textos do Apocalipse 4 e 5 possuem em sua narrativa uma semelhança básica com a liturgia descrita nas tradições do misticismo apocalíptico do judaísmo no I século, bem como em textos de Qumran, principalmente no fragmento 4Q405. Conforme Nogueira3 Ezequiel capítulo 1 é considerado chave desta tradição mística do judaísmo, sendo, também um elemento central do Apocalipse de João, o principal visionário do cristianismo. Assim, a pesquisa inclui a aproximação dos textos considerados fundantes, sendo: (Isaías 6; Ezequiel 1; Daniel 7; I Enoque 14), junto aos textos de Qumran, como o complexo dos 13 Cânticos Sábaticos relacionados ao culto no santuário celestial. A apocalíptica pode ser assim compreendida como um tipo de literatura mística, cujas imagens se conjecturam nos escritos que, por meio da ascensão do visionário aos céus e a contemplação do trono de Deus, descortinam uma determinada tradição do judaísmo antigo. Desta forma podemos também interpretar os capítulos 4 e 5 do Apocalipse como texto místico, de conteúdos similares aos dos textos apocalípticos judaicos, e talvez até com um tipo de experiência religiosa análoga.

Topic This study examines the hymnic pericopes found at Revelation 4.8-11; 5.9-14; 7.10- 12; 11.15-18; 12.10-12; 15.3,4 and 19.1-8 in light of the cosmic conflict theme. It considers that this theme is a major contributor to the development of Revelation’s plot, and thus the hymnic sections are informed by, and inform the understanding of the controversy. Purpose Recognizing that the majority of critical studies give interpretative primacy to the social and political realities that existed in the Roman Empire at the time of Revelation’s composition, there is need for an examination of the storyline from the perspective of issues that are clearly of narratival importance. This study argues that the cosmic conflict is at the center of the book’s concerns, and attempts to determine the function of the hymns in relation to the ongoing controversy. Previous examinations of the hymnic sections have either considered them to be a response and/or parody to Roman liturgy, examples of God’s unquestioned sovereignty, or expressions of thematic overtones found throughout the book. While all these approaches make a contribution to a greater understanding of the hymns, the relation of the hymns to the ever-present conflict theme has not been explored. This study allows the hymnic sections to engage with the larger narrative issue as to who is truly the rightful sovereign of the universe. Conclusion This study found that a close examination of the text confirms that the cosmic conflict is the major motif in the narrative, and that it does not simply serve as a metaphor for political realities. It also concluded that the temple/throne room imagery found throughout the storyline, should have a controlling influence upon interpretation. This setting provides the backdrop for understanding the origins and issues of the controversy. Another conclusion of the study is that the only way for the controversy to be resolved is for God to reveal Himself in such a manner that the truth about Him is manifest. Finally, it was seen that the hymns do provide commentary on the conflict, by acclaiming God’s goodness and right to rule, despite the undertones of Satan’s accusations. / New Testament / D. Th. (New Testament)

Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet examen iconologique concernant les origines, la diffusion, et le développement de l’art bouddhique dans ces contrées, particulièrement au cours du premier millénaire de notre ère. / This dissertation provides a detailed study of a particular representation of the Buddha, in which he sits on a prominent throne, i.e. a bhadrapīṭha or bhadrāsana, in a majestic posture with two legs pendant, that is, in bhadrāsana or the “auspicious pose.” This pendant-legged imagery, generally associated with the throne, has been found widely depicted in South, East, and Southeast Asian art and is, as a rule, mostly associated with kingship, fertility, and even divinity. The results of this iconological examination have wide implications for understanding the origins, spread, and development of Buddhist art in those lands, particularly during the first millennium CE.