Thesis advisor: Angela Kim Harkins / Thesis advisor: Franklin Harkins / This thesis will argue that the senses and emotions in Matthew 17:1-9 play a key role in communicating the message of Christ’s transfiguration and the believers’ transformation in a holistic way, and stress the positive role of embodied and sensory experience in contemplating the transfiguration narrative. This thesis seeks to shed more light on the important role played by all human senses and emotions in perceiving Christ and his messages posed by the Gospel. Human sense and emotion show the depth of our embodied experience of God. It will demonstrate how Matthew’s transfiguration narrative brings vivid, holistic, and positive messages to readers in a way that can be very powerful in its effects on their ways of contemplation and transformation. In Matthew, the extraordinary event of the transfiguration is described by the means of the concrete, sensory, emotional experiences of the characters. / Thesis (STL) — Boston College, 2017. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

In this dissertation, I claim that Gregory Palamas' teaching on the uncreated light of the transfigured Christ is best understood when interpreted through the category of theophany, namely, the appearance or vision of God. For Palamas, the Transfiguration is the theophany which manifests the full implications of the hypostatic union. As a revelation of the uncreated divinity of Christ (the vision of God), the Transfiguration anticipates, makes present, and partially effects the eschatological deification that takes place fully in the face to face vision of God. Palamas' teaching on the Transfiguration as theophany synthesizes insights from the Eastern patristic tradition regarding theology of revelation, deification, and eschatology. Palamas' theology of the Transfiguration and theophany presupposes a theophanic and therefore Christocentric economy of salvation which sees the Son of God as the theophanic mediator between God and man beginning with creation, through the theophanies of the Old Testament, and culminating in his Incarnation and the face to face vision of God in the fully glorified Christ in the eschaton. Palamas' theology of revelation (essence and energies), deification, and eschatology cannot be properly understood without taking into account their theophanic foundation. Furthermore, I claim that Palamas' synthesis of the Eastern patristic tradition concerning the Transfiguration and theophany can aid Roman Catholic theology in recovering a series of insights concerning the Transfiguration as the vision of God in this life contained in its shared patristic heritage with the Christian East. Central to this claim is that Thomas Aquinas' teaching on the Transfiguration and theophany is inadequate for the task of such a retrieval (his view of theophany does not permit it) and that Palamas' synthesis can show Roman Catholic theology the way back to its theophanic Eastern patristic heritage. / McAnulty College and Graduate School of Liberal Arts; / Theology / PhD; / Dissertation;

Thesis advisor: Matthew S. Monnig / Thesis advisor: Thomas D. Stegman / Thesis (STL) — Boston College, 2021. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Ce travail de thèse porte sur la question de la représentation picturale (l’aspect iconique de la peinture) et celle de la représentation de la peinture (l’aspect pictural de la peinture) dans le contexte contemporain. C’est un travail sur la peinture, avec la peinture et de la peinture. Un travail sur la peinture puisque l'acte de peindre n'a de finalité que celle de feindre la représentation et afin de permettre à la peinture de défendre un espace pictural. Un travail avec la peinture car il est question de partage lors d'une représentation, c'est à dire : tenir compte d'une libération de la peinture à travers la figure. Et enfin, un travail de la peinture qui est mise en exergue de la réalité matérielle de la peinture (la picturalité). Ma démarche a pour appui l'exercice d'une dialectique (acte de peindre et acte de peinture) et l'articulation d'un principe de la transfiguration (d’une figuration à une peinture figurée). De ce fait, j'opte pour une représentation qui s'élabore par dripping et jets de la peinture sur toile. / This thesis deals with the issue of pictorial representation (iconic aspect of the painting) and the representation of painting (pictorial aspect of the painting) in the contemporary context. It is a work on painting, with painting and painting. Work on the painting since the act of painting has finality than pretend representation and to allow the paint to defend a pictorial space. Work with the paint as it is about sharing during a performance, that is to say, reflect a release of painting through the figure. And finally, a paint job that is highlighted in the material reality of the painting (the pictoriality). My approach is to support the exercise of a dialectic (act of painting and action painting) and the articulation of a principle of transfiguration (in a figurative to a figurative painting). Therefore, I opt for a representation that is developed by dripping and throwing paint on canvas.

L’œuvre romanesque d’Amin Maalouf propose un traitement particulier du personnage qui dépasse le cadre habituel de son analyse. Objet de toutes les attentions mais aussi de tous les débordements, le personnage reflète l’ensemble des problématiques qui opèrent à l’intérieur de la fiction. On trouve ainsi dans les romans d’Amin Maalouf une contamination, voire même une dissémination, du personnage vers d’autres instances. Ces instances le prolongent en peuplant, à leur tour, le roman et en se proposant d’y laisser une empreinte poétique.Les métamorphoses et les mutations successives, dont le roman fait l’objet, viennent relayer sa présence, lui octroyant une dimension nouvelle. En multipliant ses appartenances et ses origines, la fiction propose un voyage à travers les multiples facettes du personnage qui lui permettent de renouer avec sa nature originelle. Tourné vers le mouvement, aspirant à se redéfinir au travers des autres instances textuelles, le personnage s’impose comme un véritable agent romanesque. La thèse propose ainsi de révéler précisément les tenants de ces métamorphoses et de ces mutations romanesques, afin de mettre en lumière les infinis prolongements qui concourent à l’élaboration d’une poétique singulière. / Amin Maalouf’s novels offer a special treatment of the character beyond the usual scope of its analysis. The object of all attention and excesses, the character reflects all issues operating within the fiction. Thus we find in Amin Maalouf’s fiction a sort of contamination, even a release of the character to other authorities. Throughout the novel these authorities extend adopt traits of the main character as personifications. They extend its presence their presence, occupy the fiction in their turn and try to leave a poetic mark.Metamorphoses and successive mutations, of which the novel is the subject, just relay its presence, giving it a new dimension. Increasing its appurtenances and its origins, fiction offers a journey through the many facets of character that allow it to return to its original nature. Facing movement, aspiring to redefine itself through other textual authorities, the character stands out as a true romantic agent.The thesis proposes to reveal precisely the proponents of these metamorphosis and mutations of fictions to highlight the infinite extensions that contribute to the development of a singular poetic.

This thesis shows that patristic interpretation of the Transfiguration had a sensitivity to visionary and ecstatic motifs within the synoptic Transfiguration narratives, and particularly Luke’s, which prompted a rich breadth of hermeneutic interaction with our texts. I offer the evidence of my survey of the reception history of the Transfiguration in the first 900 years of Christian history as a way of filling a number of gaps in knowledge in modern biblical scholarship concerning the Transfiguration narratives. This thesis begins, in Chapters 1, 2, and 3, with an appraisal of interpretation offered by modern biblical scholars, patrologists, and art historians. Critical comment often overlooks a series of ambiguities in the narratives, particularly the distinct characteristics of Luke’s version. These include the question of whether the disciples enter the overshadowing cloud, the presence of priestly or cultic imagery, visionary motifs frequently found in apocalyptic texts, such as the disciples’ drowsiness, and Peter’s confusion at not knowing what he said. Chapters 4-7 examine the earliest reception in 2 Peter, the Apocalypse of Peter, and the Acts of Peter, explore at some length Origen’s and Tertullian’s interpretation, and also look at Latin and Greek comment after Origen. I show many ancient writers to understand the disciples as experiencing ecstatic vision. Some also use cultic language appertaining to the Jerusalem Temple in their exegesis of the Transfiguration. They also employ the narrative to interpret other prophetic or visionary texts. Many of these distinguishing features of interpretation frequently stem from their attentiveness to the Lucan narrative. Chapter 8 examines the earliest artistic depictions of the Transfiguration from the sixth century onwards. This chapter indicates that many of the visionary and cultic themes we have outlined in previous chapters are frequently overlooked by art historians, and also that Luke’s narrative exercised a greater influence on representation of the Transfiguration than many people have imagined. This thesis concludes with a reconsideration of the visionary character of the Transfiguration narratives. Many of the ambiguities, overlooked details, and distinctive traits we pointed to in our opening chapters will be seen to have had much greater significance through many centuries of early hermeneutic tradition and artistic depiction than is the case in modern historical critical scholarship.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Nas poéticas oitocentistas brasileiras, são recorrentes as vinculações entre a prática artística e o culto religioso. Especialmente em produções românticas e simbolistas, o poeta aparece figurado como sacerdote, profeta, iniciado, alquimista, monge, vidente, anjo caído e demais variantes, sendo-lhe conferido o poder de dissolver e remodelar a realidade e a subjetividade por meio da linguagem. Desde o final do século XVIII na Europa, é possível sondar o esforço de formulação de uma religião da arte, na qual se estabelece um culto secular à imaginação criadora. Este estudo analisa tais discussões partindo das poéticas de Álvares de Azevedo e de Cruz e Sousa, dois exemplos de criadores seculares que interiorizam os mitos cosmogônicos, os ritos iniciáticos e os processos alquímicos, na condição de metáforas alusivas a processos de transfiguração, por meio das quais se torna possível ao artista encenar, ao mesmo tempo, os papéis de criador e de criatura, sujeito e objeto, polaridades mobilizadas no trabalho reflexivo do sujeito sobre si mesmo. A obra de arte produzida visa sintetizar uma nova unidade, articuladora das experiências conscientes e inconscientes do sujeito moderno cindido. Nos dois primeiros capítulos dedicados a Alvares de Azevedo, se apresenta o anseio romântico de revitalização do sujeito e do mundo desgastados e moribundos. O desejo de renovação das formas, valores e significados motiva a elaboração de profecias de renascimento da humanidade, que se reconfigura a partir das ruínas de seu passado. As metáforas do infanticídio e do aborto aludem à irrealização de utopias. Os terceiro e quatro capítulos, centrados na poética de Cruz e Sousa, exploram o questionamento do poeta sobre as possibilidades de transformação de si e da realidade por meio da arte e da cultura, em um país estruturalmente racista. As metáforas do nigredo e da sombra se articulam à dificuldade do poeta em plasmar uma forma estável e bem delimitada de si, por meio da qual sejam harmonizados interioridade e exterioridade. A reescrita do mito dos Doze Trabalhos de Hércules dramatiza os impedimentos sociais enfrentados pelo artista negro na busca por consagração literária. Finalmente, o anúncio da profecia do futuro Dante, nascido da dor inconcebível, sinaliza a necessidade de elaboração de uma nova forma sublime, capaz de assimilar o sujeito negro enquanto tema e voz poética. / In the nineteenth-century Brazilian poetics, there are recurrent links between artistic practice and religious cult. Especially in Romantic and Symbolist works, the poet appears as a priest, prophet, initiate, alchemist, monk, seer, fallen angel and other variants, being given the power to dissolve and reshape reality and subjectivity through language. Since the end of the eighteenth century in Europe, it is possible to scan the effort to formulate a religion of art, in which a secular cult of the creative imagination is established. This study analyzes these discussions in the poetics of Álvares de Azevedo and Cruz e Sousa, two examples of secular creators who internalize cosmogonic myths, initiatory rites and alchemical processes, like metaphors allusive to processes of transfiguration, through which it becomes possible for the artist to play, at the same time, the roles of creator and creature, subject and object, polarities mobilized in the reflective work of the subject on the self. The work of art aims to synthesize a new unity, articulating the conscious and unconscious practices of the torn modern subject. In the first two chapters dedicated to Álvares de Azevedo, there is the romantic wish for the revitalization of the weary and dying subject and world. The desire for to renew forms, values and meanings motivates the elaboration of prophecies of humanitys rebirth, which is reconfigured from the ruins of its past. The metaphors of infanticide and abortion allude to the unrealized utopia. The third and fourth chapters, focused on the poetics of Cruz e Sousa, explore the poets questioning about the possibilities of transformation of himself and reality through art and culture in a structurally racist country. The metaphors of blackness and shadow allude to the poet\'s difficulty to shape a stable and well-defined form of himself, in which interiority and exteriority are harmonized. The rewriting of the myth of the Twelve Works of Hercules dramatizes the social impediments faced by the Black artist in the search for literary consecration. Finally, the announcement of the prophecy of the future Dante, born out of inconceivable pain, signals the need to elaborate a new sublime form, capable of assimilating the Black subject as theme and poetic voice.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-10-10T16:57:14Z No. of bitstreams: 1 Telmo De Maia Pimentel.pdf: 328271 bytes, checksum: ccfc3c3b41c19e7ccdc6f8b5528cd6f4 (MD5) / Made available in DSpace on 2017-10-10T16:57:14Z (GMT). No. of bitstreams: 1 Telmo De Maia Pimentel.pdf: 328271 bytes, checksum: ccfc3c3b41c19e7ccdc6f8b5528cd6f4 (MD5) Previous issue date: 2010-08-01 / The following study intends highlight a reading of the book Os Sertões by Euclides da Cunha, in which We will bring to the surface, among other critical concerns, problems of fiction, generally reflected and elaborated in the modern novel, the closed relationship between History and Literature, as well as the passage of history to the narrative-fictional . Added to this, we will discuss dessemantization of the word, emptying the code, the tropes of speech or change of direction that was focused on the facts, so we can verify as that the metaphorical aspect involves the three parts of the book, "Earth, Man and Fight. Our intention is to shed light on the literariness in Os Sertões, as the euclidean narrator driven by rare artistic talent deals with the backcountry imaginary, Antonio Conselheiro and the Republic so that we can detect certain convictions before us unfathomable in the light of the historiographical discourse, but that, using the mythical and fictional discourse, new hypotheses are suggested, as the reasons of non delivery, no surrender, heroism, fundamentalism as present in the analyzed work. Thus, we propose a possible reading in a work whose complexity analysis and discussion is an impassable ocean, inexhaustible, capable of transcending time and history itself. / O estudo a seguir se trata de uma leitura da obra Os Sertões de Euclides da Cunha na qual traremos à tona, dentre outras preocupações da crítica, os problemas da ficção, de modo geral refletidos e elaborados no romance moderno, a estreita relação entre a História e a Literatura, bem como, a passagem do histórico para o narrativo-historial. Somado a isso, iremos discutir a dessemantização da palavra, o esvaziamento do código, os tropos do discurso ou a mudança de direção que houve no enfoque dos fatos, para então podermos verificar todo aspecto metafórico que envolve as três partes da obra, “Terra, Homem e Luta”. Nosso intuito é lançar luzes sobre a literariedade em Os Sertões, de como o narrador euclidiano, movido por raríssimo talento artístico aborda a questão do imaginário do sertanejo, de Antônio Conselheiro e da República a fim de que possamos detectar certas convicções que se nos apresentam insondáveis à luz do discurso historiográfico, mas que, recorrendo ao discurso mítico-romanesco, novas hipóteses são aventadas, como os porquês da não entrega, da não rendição, do heroísmo, do fundamentalismo tão presentes na obra em análise. Destarte, propomos uma possibilidade de leitura em uma obra cuja complexidade de análise e discussão é um oceano intransponível e inesgotável, capaz de transcender o tempo e a própria História.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-04-24T11:37:06Z No. of bitstreams: 1 Ana Terra Roos Mendes.pdf: 942634 bytes, checksum: 8e8ac9961d5953f69a79d0767be7a683 (MD5) / Made available in DSpace on 2018-04-24T11:37:06Z (GMT). No. of bitstreams: 1 Ana Terra Roos Mendes.pdf: 942634 bytes, checksum: 8e8ac9961d5953f69a79d0767be7a683 (MD5) Previous issue date: 2018-02-26 / In this work, our search object is the novel, Boca do Inferno, by Ana Miranda, adopting as the focus the interpretative analysis the inflows of the narrator voice in its immersion, in the search of the iconic subject: Gregório de Matos Guerra, his figure controversial; the uniqueness of his style, which give his poetry unique importance to Brazilian Literature. This work by Ana Miranda is a narrative construction based on confluences and tensions, created by various discourses, transiting on the frontiers between the historical universe and the history, that bring out lived and felt experiences, grouped in the vast imaginary in which the own poet and his work. The mirandian romanesque discourse will be observed here, in its enunciation, in the transfigurative reconstitution, in its narrativity that crosses the historical and social dimensions in its transcritical enterprise. It is intended, therefore, to investigate, in the discourse of transcreation and transfiguration, based on the presuppositions of theorists such as: Mikhail Bakhtin, Walter Benjamin, Roland Barthes, Homi Bhabha, Haroldo de Campos, Gérard Genette, Julio Plaza, Linda Hutcheon, others, that instrumentalize our critical discourse in the three chapters of this dissertation, being that in the first one we pointed out how Miranda did emerge the subject narrated by the procedures of its fictional language; and in the second, we dwell on the meanderings of the historiographical metafiction and, in the third, the approaches go back to what was used throughout the dissertation, ascertaining the discursive strategies in which Ana Miranda translates Gregório de Matos Guerra in its multiple dimensions, as central character of his romance. / Neste trabalho, tem-se como objeto de estudo, o romance, Boca do Inferno, de Ana Miranda, adotando como foco a análise interpretativa os influxos da voz narradora em sua imersão, na busca do sujeito icônico: Gregório de Matos Guerra, sua figura controversa; a singularidade de seu estilo, que conferem à sua obra poética importância ímpar para a Literatura Brasileira. Esta obra de Ana Miranda é uma construção narrativa realizada a partir de confluências e tensões, criadas por discursos vários, transitando nas fronteiras entre o universo histórico e o historial, que fazem aflorar experiências vividas e sentidas, agrupadas no vasto imaginário no qual é convertido o próprio poeta e sua obra. O discurso romanesco mirandiano será observado aqui, em sua enunciação, na reconstituição transfigurativa, em sua narratividade que atravessa as dimensões, histórica e social em sua empresa transcriativa. Pretende-se, portanto, investigar, no discurso da transcriação e transfiguração, com base nos pressupostos de teóricos como: Mikhail Bakhtin, Walter Benjamin, Roland Barthes, Homi Bhabha, Haroldo de Campos, Gérard Genette, Julio Plaza, Linda Hutcheon, além de outros, que instrumentalizam nosso discurso crítico nos três capítulos desta dissertação, sendo que no primeiro apontamos como Miranda fez emergir o sujeito narrado pelos procedimentos de sua linguagem ficcional; e no segundo, nos detemos nos meandros da metaficção historiográfica e, no terceiro, as abordagens remontam ao que foi empregado ao longo da dissertação averiguando as estratégias discursivas nas quais Ana Miranda traduz Gregório de Matos Guerra em suas dimensões múltiplas, como personagem central do seu romance.