Dans ce qui suit je présente une traduction de l’Apocalypse de Paul (NHC V.2), précédée d’une introduction et suivie d’un commentaire explicatif. Ce court texte en langue copte, d’affiliation gnostique, décrit I’ascension de I’apôtre Paul jusqu’au dixième ciel. Je le situe dans le contexte littéraire de son temps, en montrant les liens, les similarités, et aussi les différences qu’il entretient avec d’autres textes gnostiques, apocalyptiques, chrétiens disons «orthodoxes», et hérésiologiques de 1’Antiquite tardive. J ’examine également les références de l’Apocalypse de Paul dans les sources contemporaines, je propose une datation approximative mais probable, et j ’analyse et critique les autres travaux consacres a ce texte depuis sa découverte en 1945.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée à la Division de la gestion des documents et des archives. / Cette recherche propose une analyse de la figure de la ruine post-apocalyptique dans le jeu vidéo. Il s’agit de questionner les effets de cette figure sur la construction d’une mémoire du lieu vidéoludique exploré, ainsi que ceux sur la formation d’émotions. Ce mémoire débute par une mise en contexte et la définition des différents concepts de base que nous utiliserons, tels la ruine, les utopies et l’apocalypse. Ensuite, nous procédons à une analyse de la formation d’une mémoire d’un lieu vidéoludique et des effets des ruines post-apocalyptiques représentées sur ce processus, le tout appuyé par une étude de notre corpus : Bastion, Journey et Fallout 3. Finalement, nous faisons le même cheminement afin d’analyser la formation d’émotions en réaction aux différents éléments de design qui forment les ruines post-apocalyptiques dans les jeux observés. / This research proposes an analysis of post-apocalyptic ruins in video games. We will question the effects of this figure on the creation of a memory based on the explored space and on the formation of emotions. This thesis will begin by establishing the context of our definitions and the different concepts we will be using throughout, such as ruins, utopias and the apocalypse. We will then analyse the creation of a memory based on a videogame space and the effects of the represented post-apocalyptic ruins on the process, all of this backed up by a study of our corpus: Bastion, Journey and Fallout 3. In the last part, we will do a similar work to analyse the formation of emotions in reaction to the different design elements that constitute the observed games.

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The graduation work Ultima Thule made up by four parts, the first one is a science fiction world buliding made up of scripts, notes and sketches, the second one is a science fiction comic book in the edition of 200 with the name Everything in one place, this is the first part of the Ultima Thule-world. The third part is this report with text explaining the work process, and the third part was the participation in the Konstfack Spring Exhibition, this is also described in the report. Ultima Thule is a narrative about the end of humanity set in three Swedish cities; Västerås, Uppsala and Stockholm.

Asfår Asāṭīr, le « Livre des Légendes », est une réécriture araméenne du Pentateuque samaritain basée sur le targum, centrée sur Adam, Noé, Abraham et Moïse, et conclue par deux apocalypses. Sa langue est un précieux témoin de l’araméen samaritain tardif des Xè-XIè s. Ses nombreuses traditions haggadiques proviennent d’anciennes sources samaritaines, ou sont liées à la littérature juive et aux Histoires musulmanes des Prophètes ; elles révèlent un état encore fluctuant de la religion samaritaine. Beaucoup furent reçues comme canoniques par les Samaritains, qui attribuèrent l’œuvre, anonyme, à Moïse. Cette étude se propose d’établir une édition critique du texte araméen et une traduction tenant compte de ses commentaires arabes et hébreux, afin de rendre cette œuvre accessible à tout chercheur français ou européen. / Asfår Asāṭīr, the "Book of Legends", is an Aramaic rewriting of the Samaritan Pentateuch focused on Adam, Noah, Abraham and Moses, and whose framework is the Targum; it ends with two Apocalypses. Its language is a rare witness of Late Samaritan Aramaic, in the 10th and 11th centuries. The text brings together traditions from ancient Samaritan sources, or related to Jewish literature and to Muslim stories of the Prophets. It shows that Samaritan religion was still in flux in the early Middle Age. Many of its haggadic traditions became canonical among Samaritans who attributed this text to Moses.This study proposes to establish a critical edition of the Aramaic text and to provide a translation taking into account its Arabic and Hebrew commentaries, so as to make this work accessible to all French or European researchers.

Mémoire en recherche-création / Cette recherche-création s’articule autour de deux questions : - Selon le « circuit de la culture » (Du Gay et al. 1997), comment la survie dans le réel et la survie dans le fictionnel s’articulent-elles au handicap, et comment peuvent-elles être appréhendées comme un artefact culturel appartenant à l’imaginaire collectif cadrant le faisable et l’intelligible? - Plus spécifiquement, comment une méthodologie issue de la recherche-création, et des études critiques du handicap permettent-elles de « cripper » (Sandahl 2003; McRuer 2006; Kafer 2013) le concept de la survie dans un jeu vidéo post-apocalyptique, et ce afin de reconfigurer les sensibles (Rancière 2000)? La revue de littérature dresse le constat que la survie handicapée est un enjeu rarement traité; que mon travail se situe aux frontières de nombreuses recherches abordant la survie des handicapé-es en contexte de l’actuelle sixième extinction de masse, et de nombreuses créations sur la survie des handicapées en contexte post-apocalyptique. Le cadre théorique prend pour assises conceptuelles les études culturelles afin de penser au-delà de la distinction entre réel et fictionnel et de conceptions stéréotypées du handicap et des in/capacités; ainsi que dans le but de comprendre comment un artefact culturel est un aperçu de l’imaginaire collectif d’une culture. Il prend également pour assises les études critiques du handicap pour lier la notion de handicap avec des enjeux qui semblent de prime abord incompatibles -comme la survie-; pour être critique des futurs imaginés; et pour établir la catégorie du handicap comme politique. Les assises conceptuelles soulignent la nécessité de s’engager avec des théories pratiques ayant des effets sur le réel, en raison de l’urgence soulevées par les conditions de vie présentes et futures des personnes handicapées. De ce fait, la méthodologie de ce projet passe par un processus de recherche-création, qui dans le cas présent, permet de créer un mémoire écrit et un jeu vidéo desquels émergent des réflexions et des pratiques qui participent à reconfigurer les sensibles. / This research-creation explores two core questions : - Based on the « circuit of culture » (Du Gay et al. 1997), how do real survival and fictional survival relate to disability and how can they be understood as a cultural artefact belonging to the collective representations, framing the feasible and the intelligible? - More specifically, how does a methodology resulting from research-creation and critical disability studies enables to « crip » (Sandahl 2003; McRuer 2006; Kafer 2013) the concept of survival in a post-apocalyptic video game in order to reconfigure the sensible (Rancière 2000)? The literature review notes that the future survival of disabled people is an issue rarely discussed and that my research-creation is at the frontiers of numerous researches addressing disabled people’s survival during the actual sixth mass extinction, as well as of numerous creations on disabled people’s survival in a post-apocalyptic context. The theoretical framework takes the cultural studies as a conceptual foundation allowing to think beyond the distinction between a real and fictional world, beyond stereotypical ideas about disability and in/capacities, and with the goal of understanding how a cultural artefact is a glimpse in our collective representations. It also takes critical disability studies as a framework to link the notion of disability with issues whose seem incompatible, such as the notion of survival; to be critical of imagined futurities; and to establish disability as a political category. These conceptual foundations raise the need to engage with practical theories in order to have a real effect in the world, all the more so with the urgent needs of dealing with the present and future living conditions of disabled people. As a result, the methodology of this work involves research-creation, which allowed me to deploy a written dissertation and a video game from which has emerged reflections and practices that participate to reconfigure the sensible.

Cette thèse s’inscrit dans le champ des études sur les fictions de la fin du monde. J’y explore la question suivante : pourquoi existe-t-il autant de romans et de films racontant la fin d’un monde, et si peu la fin du monde ? En effet, la plupart des fictions dites de « fin du monde » mettent en scène la menace d’une catastrophe évitée, ou une destruction partielle, ou encore un univers post-apocalyptique habité de survivants. L’anéantissement total et définitif de l’espèce humaine, quant à lui, constitue rarement le dénouement de ce type d’œuvres. Ce déséquilibre s’explique en partie par le fait que ces œuvres représentent davantage le renouvellement du monde que sa disparition. Mon hypothèse est que nombre de ces récits de la fin héritent d’un imaginaire, d’une structure, de thèmes, de motifs, etc., provenant du mythe du déluge tel qu’il s’est développé dans l’Antiquité (entre autres dans sa version biblique), lequel symbolise la refondation et la transmission, et non l’anéantissement. Dans le premier chapitre, je propose une exploration de différents concepts et théories permettant de mieux définir les romans et les films de la fin du monde : les dispositif et contre-dispositif de Giorgio Agamben ; la conception des mythes de René Girard (principalement pour les notions d’indifférenciation et de bouc émissaire) ; le décalage prométhéen de Gunther Anders ; le catastrophisme éclairé de Jean-Pierre Dupuy ; les deux raisonnements mythologiques opposés identifiés dans les récits antiques de la fin du monde par Christine Reungoat-Dumas. Dans le deuxième chapitre, j’étudie d’abord comment le thème de la transmission s’articule dans quelques mythes antiques du déluge, avant de proposer un canevas général des mythèmes constituants. À partir de cette délimitation, je procède ensuite à l’analyse de trois mythèmes (la crise indifférenciatrice ; l’abri ; le lâcher d’oiseaux) dans un corpus de romans et de films des 20e et 21e siècles. Cette analyse permet de faire ressortir l’importance du thème de la transmission (de gènes et de mèmes, donc de réplicateurs). La transmission reflète un besoin de transcendance qui définit, oriente, ou du moins colore, pratiquement toutes les œuvres de la fin du monde. Dans ce contexte, la littérature, objet de transmission, peut être appréhendée comme une « arche métaphorique ». Le troisième chapitre se concentre sur l’analyse d’une œuvre, la trilogie MaddAddam (Oryx and Crake ; The Year of the Flood ; MaddAddam) de Margaret Atwood. J’y avance que cette œuvre prend la forme d’une épopée, dans laquelle on assiste à la mise en scène de sa propre écriture. Cette mise en abyme démontre bien que la trilogie, tout en étant une œuvre de fin du monde, raconte également la naissance d’un nouveau monde : l’épopée intradiégétique qui s’y compose tente d’immortaliser une partie du passé et d’orienter le futur. La littérature, sous la forme de cette épopée, figure ainsi une arche qui relie les mondes pré-apocalyptique et post-apocalytique de l’œuvre d’Atwood. / This thesis falls within the field of studies pertaining to end-of-the-world works of fiction. In it, I examine the following question: why are there so many novels and films about the end of a world, and so few about the end of the world? Indeed, most of the so-called end-of-the-world fiction portrays the threat of averted catastrophe, a partial destruction, or a post-apocalyptic universe inhabited by survivors. The total and final annihilation of the human species, on the other hand, is seldom the outcome of this type of work. This imbalance is partly explained by the fact that these works represent the renewal of the world rather than its disappearance. My hypothesis is that many of these stories inherit their imagery, structure, themes, motifs, etc., from the flood myth as it developed in antiquity (notably in the biblical version), which symbolize refoundation and transmission, rather than annihilation. In the first chapter, I offer an exploration of different concepts and theories allowing to better define the novels and films dealing with the end of the world: the apparatus and counter-apparatus of Giorgio Agamben; the conception of myths by René Girard (mainly, the notions of indifferentiation and scapegoating); the Promethean shift of Gunther Anders; the enlightened catastrophism of Jean-Pierre Dupuy; the two opposing mythological reasonings identified in ancient end-of-the-world narratives by Christine Reungoat-Dumas. In the second chapter, I begin by studying how the theme of transmission is elaborated in some ancient flood myths, before presenting a general outline of constituent mythemes. I then proceed to analyze three mythemes (the crisis of indifferentiation; the shelter; the release of birds) in a body of novels and films from the 20th and 21st centuries. This analysis highlights the importance of the theme of transmission (of genes and memes, and therefore of replicators). The transmission reflects a need for transcendence which defines, orients, or at least colors, practically all the works dealing with the end of the world. In this context, literature, an object of transmission, can be understood as a “metaphorical ark”. The third chapter focuses on the analysis of the MaddAddam trilogy (Oryx and Crake; The Year of the Flood; MaddAddam) by Margaret Atwood. I suggest that this work takes the form of an epic, in which we witness the staging of its own writing. This mise en abyme clearly shows that the trilogy, while being a work about the end of the world, also tells the birth of a new world: the intradiegetic epic composed therein attempts to immortalize a part of the past and to shape the future. Literature, in the form of this epic, thus symbolizes an ark that connects the pre-apocalyptic and post-apocalyptic worlds of Atwood’s narrative.

The Hortus deliciarum (ca. 1170-ca. 1194, destroyed 1870) was an encyclopedic salvation history created for the canonesses at the Augustinian convent of Hohenburg by their abbess Herrad. Despite the strong role of images in the canonesses’ reception of the manuscript, the Hortus illuminations have thus far not merited a critical consideration. In this thesis, I analyze major individual illuminations in the Hortus as well as the manuscript’s entire structure, and I suggest that Herrad designed the Hortus around contemporary apocalyptic ideas, such as those of Joachim of Fiore, while also illustrating the importance of debate and discussion to the body Christian. The overall composition of the Hortus showed the canonesses that God has chosen to share his knowledge with them. In significant individual images, Herrad expressed that they were to exercise this divine knowledge through debate of theological principles. In the Hortus, debate was shown as originating with Christianity’s Jewish desert predecessors, and the canonesses were encouraged to consider themselves as heirs of this intellectual tradition. Debate appeared as endemic to Christianity and essential to the continued life and prosperity of the Church. In stressing the importance of intellectual activity, while also implying that the canonesses were part of the intellectual elect, the Hortus exerted power that transgressed the library walls and affected the ways the Hohenbourg canonesses performed their faith and understood their responsibility as Christians. / text

The focus of this study is revelation at the limits of communication. It considers the way in which (biblical) apocalyptic literature prominently figures the interconnection between liminality, revelation, and representation. The methodology asserts an indissoluble association between theology, philosophy and literature. As such it is interdisciplinary. A preliminary theory (and theology) of liminality interweaves the theological and philosophical contributions of, amongst others, Karl Barth, Graham Ward, Jürgen Moltmann and Jacques Derrida, thereby initiating a revised perspective on the constitution of literary apocalyptic text production and interpretation. Theorising the limen begins to describe the Trinitarian economy at work in Christian apocalyptic processing of scripture. I begin with the idea that revelation (apokalypsis) is the experience of the limen itself (in a coincidence of opposites). Thus the limen (as an actively divine space) incorporates that which stands on both sides, in vertical and horizontal, linear and cyclical, spatial and temporal movements. I then propose that apocalyptic literature re-presents this complex economy in which the end is rehearsed simultaneously as limit, threshold, and rupture. Theologically, this complicates inter-relational notions of ‘apocalyptic’ and eschatology, and stimulates a debate on a metaphysics of violence in communication (between God, man and Creation). I conclude that, at the extreme limit of human understanding (where words fail), those with faith in God’s love are opened out to revelation in the apocalyptic textual performance of the liminal economy, and thus to hope and forgiveness. Stressing the importance of reading apocalyptically, I begin to demonstrate the relationship between Christian-canonical narratives and the broader western literary canon, the critical process having invited an exploration of those literary characteristics (of tone, mode and genre) shared by (biblical, modern and postmodern) texts. An important principle in the literary analyses is the association between apocalyptic text production and hermeneutics. Christopher Rowland’s description of a ‘visionary mode’ explains how this process works. Thus the preliminary theory leads into a close reading of recent Russian and American works by Mikhail Bulgakov and Thomas Pynchon. These are compared to, and worked through, Mark’s and John’s gospels and the Book of Revelation. The interpretative approach widens the often self-limiting study of apocalyptic literature, and broadens theological debate on revelation. Thus it begins to show how the rhetoric of apocalyptic makes belief compelling.

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