Inaug.-diss. - Heidelberg. / Lebenslauf.

Thesis--University of California. / Includes bibliographical references (leaves 199-213).

Thesis--University of California. / Includes bibliographical references (leaves 199-213).

Proefschrift (doctoral)--Rijksuniversiteit te Leiden, 1955. / "Stellingen" ([2] leaves) inserted. Includes bibliographical references (p. ix-xv) and index.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The Alexandria Quartet by Lawrence Durrell has received great notice from critics both as a distinguished work of art in its own right and as an indication of a new development in contemporary literature. Particular interest has been shown in Durrell's techniques of characterization and in his handling of point of view in these novels. My object has been to analyze Durrell1s concept of the psyche and to show how it gives rise to his techniques of characterization and to his handling of point of view. In analyzing Durrell's concept of the psyche, I have tried to show how this concept has been influenced by the writings of the German psychologist and doctor, Georg Groddeck, and by the concept of relativity which has had so profound an influence not only on the physical sciences but on many other areas of human thought. Durrell believes that this concept of relativity must necessarily alter our view of the nature of the human psyche and that as a result the traditional view of the psyche as a separate and stable entity existing distinct from the rest of the world and subject in the main to the dictates of a conscious personal will must be superceded. The view of the human psyche presented in The Alexandria Quartet is strikingly like that of Groddeck, and throughout the novels Durrell stresses the supreme importance of the powers of the imagination, powers which Groddeck identified with the It and which both he and Durrell consider as alien to the ego and inhibited by man's ratiocinative faculty. But the idea of free will has traditionally been linked with the ego; will has been thought of as a conscious function. To anyone who retains this view of the will, Durrell's characters inevitably appear as willless people whose lives are in every instance directed by forces beyond their control. My initial study of Durrell's imagery (see Chapter II) substantiates this claim. However, a further analysis of Durrell's imagery leads one to modify this view of the characters. It becomes apparent that Durrell conceives of will not as a conscious function in man but as a function of the imaginative powers that belong to man's unconscious being. Freedom then becomes a matter of the subjection of the ego to the imaginative life, and what looks initially like a deterministic account of human life is actually an account of how the human being may, and in some cases does, achieve true freedom by a full submission of conscious self to the powers of the imagination. Such submission is most clearly shown in the lives of those characters who strive for artisthood and most notably in the life of Darley. The role of the City is important in the characterization, because in various ways it represents the powers of the imagination. Durrell depicts the nature of the human psyche by showing the necessary and inevitable conflict between ego and imagination and by showing how this conflict can and should lead to an increase in imaginative power. In doing this Durrell presents three distinct but related views of his characters: the view of man-within-Larger Man, the view of the City as identical with Groddeck's It and of the characters as egos, and the view of the City as the only character in the Quartet. This last view of the characters may prove to be Durrell's most notable technical achievement in these novels, for here, with his technique of elaborate "prism-sightedness," he presents the human psyche in unusual depth and detail. / Arts, Faculty of / English, Department of / Graduate

Self-knowledge serves as the basis for further insight into other themes and ideas. The investigation proceeds, then, from the search for self to the somewhat higher plane of the role of the artist in society; it is completed with an analysis of the motivations which lead the artist into an attainment of complete artistic fulfillment.

Thesis advisor: Douglas Finn / Cyril of Alexandria (d. 444CE) is most famous for his contributions to Christology, and especially for his role in the Christological controversy that dominated the latter half of his episcopate. Despite a welcome expansion in Cyrilline studies, especially in the last few decades, anthropology remains an under-represented object of scholarly inquiry. Cyril wrote no single work focused on anthropology; nevertheless, the human story permeates his writings. The underlying assumption of the dissertation is that Christology necessarily incorporates anthropology, given the fundamental assertion that the Son of God became a human being. Through close reading of several of Cyril’s Christological works (Commentary on John, his twenty-nine extant Festal Letters, On the Unity of Christ, and Doctrinal Questions and Answers) several themes and patterns emerge, such that it is possible to connect the pieces and discover a coherent anthropology. I argue that Cyril’s anthropology offers a complete account of the human story, from God’s purpose for humanity in creation, through fall, redemption, and judgment, and finally in the attainment of humanity’s telos in the enjoyment of eternal, familial union with God in heaven. This account is best understood generally in terms of divine giving and human receiving, and specifically according to a paradigm of revelation and imitation. In short, the Incarnation is the divine gift that reveals human nature and purpose, while human reception of that gift lies in both active and passive imitation of Christ. What emerges, therefore, is a distinctly Christological anthropology. Cyril’s account possesses several key features that together represent a significant contribution to anthropology: the Imago Dei is a divine gift extrinsic to our nature, which accounts for how it can be lost in the Fall and regained in Christ; the presence and activity of the Holy Spirit in humanity and individual believers are marked by a pledge and fulfillment dynamic; human freedom is respected by God such that even participation in the divine life is never imposed upon humanity but depends upon positive consent; the differentiation between human nature as a general category and human beings as particular individuals allows for the work of Christ to be beneficial to all, yet imposed upon none; and finally, the ascension of Christ represents the definitive revelation of God’s purpose for humanity, even as it inaugurates the consummation of the human telos. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

The purpose of this study is to determine the perception of women revealed in the writing of Philo of Alexandria. Although Richard Baer approached the subject in Philo's Use of the Categories Male and Female, no comprehensive examination has been made of the role Philo accorded women. I set Philo's writing on the subject of women within the context of two intellectual traditions, the Jewish and the Greek, in order to determine whether he accepts, rejects or alters inherited attitudes. I study it also in the context of the multifarious ways Philo uses "male" and "female" to express comparisons. There emerges a coherent pattern, which indicates that Philo's statements about women are not isolated from his overall understanding of the meaning of "female." After establishing these two larger contexts, I narrow the scope of the study, by demonstrating that Philo's perception of women cannot be determined from his statements about "man." I do this by studying the context in which he uses both Greek terms translated by the English term "man," anthropos and aner, as well as looking into the use of the two terms in the Septuagint and in some earlier Greek writing. In the body of the work I study Philo's material on Biblical women and contemporary women, subdividing the first group according to Philo's terms, "women" and "virgins." The conclusion of the work is that Philo intensifies the subordination of women which he draws from both traditions. He views woman as a danger to man unless she is under his strict control. Since his first concern is the survival of the community through the religious strength of its men, he believes that woman ought to play an auxiliary role, and to be prevented from any behaviour which would deter men from their religious quest. / Thesis / Doctor of Philosophy (PhD)

No description available.