O presente trabalho tem como objetivo verificar o papel das Sagradas Escrituras na conformação dos romances Nenhum olhar (2005) e Cemitério de pianos (2008), do escritor português José Luís Peixoto. A premissa é de que, em ambas as obras, o diálogo com o texto bíblico é determinante para o processo interpretativo. Após um levantamento da fortuna crítica do romancista e da proposição de um diálogo entre Bíblia e Literatura no âmbito acadêmico, introduzem-se elementos básicos da organização das narrativas, de acordo com os conceitos de fábula e trama, de Boris Tomachevski. A partir da teoria de Gérard Genette, os romances de Peixoto são tomados como hipertextos das Escrituras, numa perspectiva transposicional e paródica. Tendo em vista a aproximação entre os romances e a Bíblia, os principais aspectos da hermenêutica agostiniana são apresentados, a fim de subsidiar a análise das obras. A imagética explorada por José Luís Peixoto em suas narrativas é igualmente analisada sob essa perspectiva, reconhecendo nos romances a bipolaridade bíblica entre mundo apocalíptico e demoníaco e a atualização questionadora de uma série de imagens icônicas do paradigma judaico-cristão, com destaque para a imagem da família. A estrutura reiterativa dos romances é igualmente analisada, num diálogo com a concepção tipológica e escatológica do tempo na Bíblia e com a noção de repetição, de Søren Kierkegaard. O resgate de elementos do hipotexto bíblico, transpondo-os por meio da paródia a novos contextos, problematiza a visão de mundo cristã e as respostas que esta dá aos questionamentos da pós-modernidade. / This paper aims to evaluate the role of Sacred Scripture in the framing of the novels Nenhum olhar (2005) and Cemitério de pianos (2008), by Portuguese writer José Luís Peixoto. The starting point is that, in both works, the dialog with biblical text is determinant to the interpretation process. After a review of the novelist’s critical fortune and of the proposition of a dialog between the Bible and Literature in the academical scope, basic elements of narrative framing are introduced, according to the concepts of fable e plot, by Boris Tomashevski. Starting from the theory by Gérard Genette, Peixoto’s novels are taken as hypertexts of the Scripture, in a transpositional and parodic perspective. In view of the approximation between the novels and the Bible, the main aspects of Augustinian hermeneutics are presented, with the goal of subsidizing the works’ analysis. The imagery explored by José Luís Peixoto in his narratives is also analysed under this perspective, acknowledging in the novels the biblical bipolarity between apocalyptic and demonic world and the questioningly updating of a series of iconic images of the Judeo-Christian paradigm, with highlight on the image of family. The novels’ reiterative structure is also analysed, in dialog with the typological and scatological conception of time in the Bible and with the notion of repetition, by Søren Kierkegaard. The retrieval of elements from biblical hypotext, transposing them through parody to new contexts, problematizes the Christian worldview and its answers to postmodern questionings.

The main goal and the content of the dissertation is to compare two different approaches to the Holy Scripture. To achieve this goal and to make out beforehand four-part assumptions in the conclusion is in the first part of this work defined the term of hermeneutics, then the relationship between hermeneutics and mission of both churches under examination is elaborated. The second part of the work, on the basis of studied literature, deals with research in the field of hermeneutics and exegesis history, with explanation of terms and backround, with outline of types of hermeneutics and principles of exegesis of the biblical text. This part is closed with the specification and description of the hermeneutical principles used by both chosen churches nowadays. The final third part deals with the practical comparison of one doctrinal topic - the day of worship and rest. This part is closed by the searching for reasons why the studied churches have come to different theological conclusions and instruments the change was achieved by.

O presente trabalho tem como objetivo verificar o papel das Sagradas Escrituras na conformação dos romances Nenhum olhar (2005) e Cemitério de pianos (2008), do escritor português José Luís Peixoto. A premissa é de que, em ambas as obras, o diálogo com o texto bíblico é determinante para o processo interpretativo. Após um levantamento da fortuna crítica do romancista e da proposição de um diálogo entre Bíblia e Literatura no âmbito acadêmico, introduzem-se elementos básicos da organização das narrativas, de acordo com os conceitos de fábula e trama, de Boris Tomachevski. A partir da teoria de Gérard Genette, os romances de Peixoto são tomados como hipertextos das Escrituras, numa perspectiva transposicional e paródica. Tendo em vista a aproximação entre os romances e a Bíblia, os principais aspectos da hermenêutica agostiniana são apresentados, a fim de subsidiar a análise das obras. A imagética explorada por José Luís Peixoto em suas narrativas é igualmente analisada sob essa perspectiva, reconhecendo nos romances a bipolaridade bíblica entre mundo apocalíptico e demoníaco e a atualização questionadora de uma série de imagens icônicas do paradigma judaico-cristão, com destaque para a imagem da família. A estrutura reiterativa dos romances é igualmente analisada, num diálogo com a concepção tipológica e escatológica do tempo na Bíblia e com a noção de repetição, de Søren Kierkegaard. O resgate de elementos do hipotexto bíblico, transpondo-os por meio da paródia a novos contextos, problematiza a visão de mundo cristã e as respostas que esta dá aos questionamentos da pós-modernidade. / This paper aims to evaluate the role of Sacred Scripture in the framing of the novels Nenhum olhar (2005) and Cemitério de pianos (2008), by Portuguese writer José Luís Peixoto. The starting point is that, in both works, the dialog with biblical text is determinant to the interpretation process. After a review of the novelist’s critical fortune and of the proposition of a dialog between the Bible and Literature in the academical scope, basic elements of narrative framing are introduced, according to the concepts of fable e plot, by Boris Tomashevski. Starting from the theory by Gérard Genette, Peixoto’s novels are taken as hypertexts of the Scripture, in a transpositional and parodic perspective. In view of the approximation between the novels and the Bible, the main aspects of Augustinian hermeneutics are presented, with the goal of subsidizing the works’ analysis. The imagery explored by José Luís Peixoto in his narratives is also analysed under this perspective, acknowledging in the novels the biblical bipolarity between apocalyptic and demonic world and the questioningly updating of a series of iconic images of the Judeo-Christian paradigm, with highlight on the image of family. The novels’ reiterative structure is also analysed, in dialog with the typological and scatological conception of time in the Bible and with the notion of repetition, by Søren Kierkegaard. The retrieval of elements from biblical hypotext, transposing them through parody to new contexts, problematizes the Christian worldview and its answers to postmodern questionings.

O presente trabalho tem como objetivo verificar o papel das Sagradas Escrituras na conformação dos romances Nenhum olhar (2005) e Cemitério de pianos (2008), do escritor português José Luís Peixoto. A premissa é de que, em ambas as obras, o diálogo com o texto bíblico é determinante para o processo interpretativo. Após um levantamento da fortuna crítica do romancista e da proposição de um diálogo entre Bíblia e Literatura no âmbito acadêmico, introduzem-se elementos básicos da organização das narrativas, de acordo com os conceitos de fábula e trama, de Boris Tomachevski. A partir da teoria de Gérard Genette, os romances de Peixoto são tomados como hipertextos das Escrituras, numa perspectiva transposicional e paródica. Tendo em vista a aproximação entre os romances e a Bíblia, os principais aspectos da hermenêutica agostiniana são apresentados, a fim de subsidiar a análise das obras. A imagética explorada por José Luís Peixoto em suas narrativas é igualmente analisada sob essa perspectiva, reconhecendo nos romances a bipolaridade bíblica entre mundo apocalíptico e demoníaco e a atualização questionadora de uma série de imagens icônicas do paradigma judaico-cristão, com destaque para a imagem da família. A estrutura reiterativa dos romances é igualmente analisada, num diálogo com a concepção tipológica e escatológica do tempo na Bíblia e com a noção de repetição, de Søren Kierkegaard. O resgate de elementos do hipotexto bíblico, transpondo-os por meio da paródia a novos contextos, problematiza a visão de mundo cristã e as respostas que esta dá aos questionamentos da pós-modernidade. / This paper aims to evaluate the role of Sacred Scripture in the framing of the novels Nenhum olhar (2005) and Cemitério de pianos (2008), by Portuguese writer José Luís Peixoto. The starting point is that, in both works, the dialog with biblical text is determinant to the interpretation process. After a review of the novelist’s critical fortune and of the proposition of a dialog between the Bible and Literature in the academical scope, basic elements of narrative framing are introduced, according to the concepts of fable e plot, by Boris Tomashevski. Starting from the theory by Gérard Genette, Peixoto’s novels are taken as hypertexts of the Scripture, in a transpositional and parodic perspective. In view of the approximation between the novels and the Bible, the main aspects of Augustinian hermeneutics are presented, with the goal of subsidizing the works’ analysis. The imagery explored by José Luís Peixoto in his narratives is also analysed under this perspective, acknowledging in the novels the biblical bipolarity between apocalyptic and demonic world and the questioningly updating of a series of iconic images of the Judeo-Christian paradigm, with highlight on the image of family. The novels’ reiterative structure is also analysed, in dialog with the typological and scatological conception of time in the Bible and with the notion of repetition, by Søren Kierkegaard. The retrieval of elements from biblical hypotext, transposing them through parody to new contexts, problematizes the Christian worldview and its answers to postmodern questionings.

The author of the Fourth Gospel delivers the true divine identity and significance of Jesus throughout the entire narrative. He aims at guiding his readers through the narrative of the Gospel with the purpose that they will “see” (meet) Jesus, confess him as Christ, and receive eternal life. John actually planned that the text of the Gospel should actively change people. Furthermore, the Gospel of John has wide spectrum of the reader. This means that John opens his message to the all the generations who are no longer in a position to see Jesus physically. Nobody reading this text should or could stay the same, since he or she will be confronted with the protagonist of the text, namely Jesus. By accepting this message, that person will receive life; by rejecting the message, a person will perish. This truth is rehearsed over and again in the narrative for every reader to see. The text of the Gospel thus becomes the “presence of Jesus” among the readers. This functional purpose of the Gospel accounts for the first farewell discourse in John 13:31-14:31. In response to previous scholarship that understands the Johannine farewell discourses solely as a testament, the present study convinces that the discourses interface with classical literature, specifically the following literary styles: Greek tragedy, consolation literature, and the literary symposium tradition. The multiplicity of the generic associations of the discourses sheds new light on the nature of Jesus’ departure as well as his continuing presence in spite of that departure. No longer designed to evoke only the themes of departure and absence, the testament of Jesus in John emphasises instead Jesus’ abiding presence. While the material from Greek tragedy will only further emphasise the theme of departure, the material from classical consolation literature and the literary symposium tradition will accentuate the theme of continuing presence. John has thereby transcended the usual expectations of the testament. Thus the physically absent Jesus becomes present through his first farewell discourse: the reader is confronted with a dynamic portrait of Jesus and this confrontation results in an acceptance of Jesus as Christ, as well as the receiving of eternal life. According to the first farewell discourse, eschatological promise, knowing and seeing the Father, glory, love, pastoral ministry, deeds, prayer, Paraclete, remembering, faith, peace and joy, and the words of Jesus all serve as the replacement of the physical Jesus. Therefore, the first farewell discourse does not indicate the separation of Jesus from his disciples but rather the permanent presence of the risen Jesus in and among them. This is their basis for perseverance, in other words, the foundation of their spreading the gospel messages to non-believers, even though they were in a difficult place. the gospel of John, John 13:31-14-31, the purpose of John’s gospel, the presence of Jesus, the recipient of the Fourth Gospel, the farewell discourse(s), Biblical hermeneutics, glory, eschatological promise, the Paraclete, mutual love, peace and joy / Thesis (PhD (New Testament Studies))--University of Pretoria, 2007. / New Testament Studies / unrestricted

Due to the lack of comparative studies referring to so-called values among the Jewish and Christian faith, the following study examines various interpretations of the Decalogue in the Hebrew Bible. These expositions originate from the Roman Catholic, Jewish and Reformed Evangelical tradition. Since the Ten Commandments have been considered influential in several traditions, this study attempts to identify their authority, purpose and status based on the writings of three different theologians. The analysis does not take the whole tradition itself into account, but seeks to discover diverse perspectives, in order to promote a nuanced result. Hence, the results neither speak for the entire denomination nor its believers. Furthermore, the approach of the study is an analysis of ideas, a commonly used method regarding statements of all kind, principally political and religious commentaries. The method endeavors to describe in order to supply further information not explicitly mentioned by the material itself. Thus, the analysis proceeds from theoretical perspectives such as the Euthyphro dialogue, Biblical hermeneutics and covenant. The theologians agree that morality originates from God because of God’s will. Yet there is disagreement regarding its purpose among all three authors. The Roman Catholic and Jewish author emphasize the covenant as a reason to honor the Ten Commandments and have a liberal approach combined with a historical-critical perspective of the Bible, whereas the Reformed Evangelical author expresses a conservative view, equating the Bible with the actual word of God. The Decalogue enjoys a higher status among the Christian authors, although the Roman Catholic author values the Golden Rule significantly more. The issue regarding whether the Decalogue ought to be treated as being above every other law remains unclear based on the material, but is highly more focused than other commandments in the Hebrew Bible. Definitively the study identifies uniting differences from a wide range of beliefs in the theological area.

De tout temps, ils se sont immolés par foi et amour. Dans toutes les civilisations, leur besoin de rendre hommage à Dieu s’est exprimé par la voix de la violence et du sang, et leur besoin de s’épurer du péché et de se protéger contre les forces surnaturelles s’est manifesté par le sacrifice. Cette thématique du sacrifice qui s’est propagée dès la création du monde jusqu'à nos jours, incarne et actualise de nombreux conflits et oppositions entre la vie et la mort, l’enfer et le paradis. Les écritures sacrées nous éclairent rarement sur le rôle des femmes dans les civilisations anciennes. Les plus grands sacrifices sont généralement associés aux hommes libres. Dans les religions chrétiennes, les sacrifiés empruntent les pas du Christ et obéissent à la demande de Dieu, alors que les femmes, déchues et esclaves sont toujours associées au péché originel. Ce mémoire de maîtrise prend pour objet d’étude l’espace sacrificiel féminin et la figure féminine dans le cinéma de Lars von Trier (en particulier dans les films Melancholia (2011), Antichrist (2009), Dogville (2003), Dancer in the Dark (2000) et Breaking the Waves (1996)). Cet espace sacrificiel est analysé au fil de ce mémoire à travers une lecture herméneutique des livres sacrés, en particulier la Bible dans son Ancien et Nouveau Testament. Nous abordons des questions importantes d’aspects religieux, mythologiques et cinématographiques pour comprendre la dimension provocatrice, mythologique, iconologique, spirituelle et religieuse de ces femmes qui se sacrifient dans l’espace de ces œuvres. Nous proposons dans ce mémoire d’observer l’évolution de cette figure féminine du statut d’esclave à celui du maître, de l’image Christique à celle du diable opposant ainsi le sacrifice à la justice. Nous tentons de démontrer au fil de ce mémoire que Lars von Trier a édifié avec son cinéma et par cette représentation du corps féminin mortifié, torturé et hystérique, un véritable espace sacrificiel, mental, idéel qui sature le cadre filmique. Le corps de ces femmes se décompose, se sacrifie, meurt et se réincarne dans un autre corps, une idée, une figure biblique et dans un espace sacrificiel qui le pose comme exemple à la manière de l’image Christique. Cette analyse de la figure sacrificielle féminine von Trierienne se réalise également par le biais d’un travail de création expérimental et hybride. Des images provenant de l’histoire de l’art et du monde de Lars von Trier y sont revisitées et rejouées dans un souci d’intertextualité filmique. Le film She is Lars est une exploration personnelle de la thématique du sacrifice et un hommage au cinéma de Lars von Trier. / In all eras, they have been immolated in faith and love. In all civilizations, the need to honor God was expressed by the voice of violence and blood, the need to be purified from the sin and to be protected against the supernatural forces, was manifested through the sacrifice. This theme of sacrifice has spread from the creation of the world until today, it embodies and performs conflicts and oppositions between life and death, God and the devil. The sacred writings rarely tell us about the role of women in ancient civilizations. The greatest sacrifices were generally associated to free men. In Christian religions, these sacrificed men borrow the footsteps of Christ and obey God's request, while women, the fallen slaves, are always associated to the original sin. This research studies the female sacrificial space and the female figure in the cinema of Lars von Trier (especially in Melancholia (2011) Antichrist (2009), Dogville (2003), Dancer in the Dark (2000) and Breaking the Waves (1996)). This sacrificial space is analyzed through a hermeneutic reading of sacred books, especially the Bible in its Old and New Testament. Important issues related to religious, mythological and cinematographic aspects are investigated to understand the spiritual, provocative, mythological, iconological and religious dimension of these women who sacrifice themselves in these films. We propose in this research to observe the evolution of the female figure from the slave to the master status, from the image of the Christ to the devil, while opposing sacrifice to justice. We intend to demonstrate that Lars von Trier has built with his cinema and the representation of the female body, as dead, tortured and hysterical, a true sacrificial mental and virtual space that saturates the film frame. The body of this woman breaks down, sacrifices itself, dies and reborns in another body, an idea, and a biblical figure in a sacrificial space that poses her as an example, as the Christ image. This theoretical analysis of the female sacrificial figure is also undertaken through the creation of an experimental and hybrid film. Images from art history, other from the world of von Trier are revisited with an intertextual approach. She is Lars is a personal exploration of the theme of the sacrifice as well as an homage to the cinema of Lars von Trier.

Includes bibliographical references (leaves 292-313) : illustrations / This thesis examines the Experience of God in the Fourth Gospel (in this research, it is also called the Johannine Experience of God) by perceiving it from the perspective of the metaphoric Familia Dei, found in this Gospel. This examination is done in a three-step process: The first step consists of a literary review and a presentation of the methodology and approach employed in this research. It intends to set the thesis within the Johannine studies. The second step involves the articulation of essential considerations on Religious Experience, the Johannine Community, and the Fourth Gospel. This articulation has two aims: First, to acquire a deeper understanding of the background of the Johannine Experience of God, and second, to point out the functionality of this Gospel’s narrative in constituting this experience. The third step comprises the following suggestion and the elaboration on its constituents: - The Johannine Experience of God consists of two components: the first one is the initiative of God the Father conveyed by Jesus Christ, perpetuated by the Holy Spirit, and as it is recorded in the Fourth Gospel. And the second one is the response of the believers (John’s readers) to this initiative by accepting the Son and journeying spiritually under the guidance of the Holy Spirit. - The Johannine Experience of God can be perceived from the perspective of the Familia Dei metaphoric found in the Fourth Gospel. - The narrative of the Fourth Gospel has the ability to constitute an experience of God and accordingly creates spirituality, once it is read or heard. This thesis aims to generate a deeper understanding of the spirituality of the Fourth Gospel at one level, and to offer an acceptable general insight about the Johannine Spirituality at another, hoping that its findings become an inspiration for future studies. / Christian Spirituality, Church History and Missiology / D. Th. (Christian spirituality)