This thesis offers a new understanding of the reign of the Emperor Julian, using as a heuristic tool the Christian theological concept of recapitulation (anacephalaiosis/recapitulatio). Recapitulation encompasses similitudo, iteratio, and restitutio: in Christian thought, Adam is the similitudo of Christ, Christ reiterates Adam’s wrong acts for the purpose of setting them right, overwriting the narrative of his failure, and Christ’s work has the goal of restoration of humanity to God’s friendship. The thesis shows that Julian's imperial programme is illuminated when viewed in similar terms, with the substitution of his uncle Constantine for Adam. The Emperor Constantine had overwritten the narratives of his own political and religious opponents, while Eusebius of Caesarea had portrayed Constantine as a mimetic Christ-figure. The thesis uses the evidence of Julian's writings, above all his Oration VII ‘To the Cynic Heracleios’ to argue that Julian himself also adopted this approach and co-opted the Christian language of recapitulation, narrating Constantine’s career as one of religious apostasy which needed to be set right by his own reversal of Constantine's actions and consequent restoration of the empire to friendship with the gods. Julian cast Constantine as the failed representative who apostatised from Helios and himself as the son of Helios and the divinely chosen representative who would act as saviour for the empire. In this oration, Julian also outlined his role as a new Heracles, sent by his father Helios to be the saviour of the world. In the same work, he criticised Constantine's desecration of pagan religious places. Both literary and material evidence indicate Julian responded in kind with building programs designed to support a pagan revival: the thesis demonstrates that his activities in Constantinople, Jerusalem, and Antioch in particular show a systematic programme of reversal and restoration. Julian's letters to his priests indicate his plans to supplant Christianity's ecclesiastical structure, clerical instructions, and charitable activities. Bringing this theological concept to bear on a series of texts more often considered by classicists than theologians offers, it is hoped, a richer understanding of Julian’s response to Constantine and Christianisation.

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Thesis (M.A.)--Abilene Christian University, 1993. / Includes abstract. Includes bibliographical references (leaves 117-124).

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Arthur W. Foshay. Dissertation Committee: Maxine Greene. Includes bibliographical references.

Thesis--Paris. / Includes bibliographical references and index.

Alger, Tlemcen et Constantine possédaient, vers la fin de la période ottomane, de nombreux sūq-s et funduq-s. Très peu d’études ont été consacrées à ces structures économiques qui ont pour la plupart disparu après la prise d’Alger, au début du XIXe siècle. En se basant principalement sur des sources d’archives aussi bien de la période ottomane que du début de l’époque coloniale française, cette étude propose l’établissement d’un inventaire des établissements commerciaux de ces trois villes. Leur localisation topographique, les spécificités de leur implantation urbaine, les aspects toponymiques et socio-économiques sont également abordés dans le cadre de cette recherche. La confrontation de ces données avec les réalités du terrain a confirmé la disparition des funduq-s d’Alger, mais a révélé l’existence de quelques rares exemples existant encore à Constantine et à Tlemcen. Par ailleurs, des sources inédites datant du début du XIXe siècle et émanant des archives militaires françaises ont permis la reconstitution architecturale de cinq funduq-s algérois et de deux funduq-s constantinois. / Algiers, Tlemcen and Constantine had, towards the end of the Ottoman period, many sūq-s and funduq-s. Very few studies have been dedicated to these economic structures that have mostly disappeared after the capture of Algiers, in the early nineteenth century. Based primarily on archival sources from the Ottoman period as well as the beginning of the French colonial era, this study proposes the establishment of an inventory of commercial establishments in the three cities. Their topographic location, the specifics of their urban settlement, geographical names and socioeconomic aspects are also covered under this research. The comparison of these data with the realities on the ground confirmed the disappearance of funduq-s of Algiers, but revealed the existence of a few surviving examples in Constantine and Tlemcen. In addition, unpublished sources from the early nineteenth century and from the French military archives have enabled the architectural reconstruction of five funduq-s in Algiers and two funduq-s in Constantine.

Not available / text

Habilitationsschrift--Munich. / At head of title: Römisch-Germanisches Zentralmuseum zu Mainz. Includes bibliographical references (p. ix-xi) and index.

Made available in DSpace on 2016-04-27T19:31:18Z (GMT). No. of bitstreams: 1 Carlos Henrique de Castro Assis.pdf: 16880469 bytes, checksum: 16c1d259d722b9446b1185578cdc5aab (MD5) Previous issue date: 2016-03-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The goal of this work is to analyze and understand the constitutive process of the stories published in the comic book Hellblazer during the years of 1988 and 1991, as well as the creation of the stories protagonist, wizard John Constantine, and part of the themes approached by these comics during this period. The creation of the character John Constantine and the stories of its first phase of publications are the result of the combined work of English writers and the USA publishing company DC Comics. This production is perceived here as a criticism to the neoliberal conjuncture that England was going through during the years of Margareth Thatcher s government. One of the aspects analyzed in this work is how the experience of these English writers was articulated in their unique creations, thus expanding the possibilities of the language used in comic books and of themes approached in this type of publication. Another aspect that is analyzed in this work is how these themes are inserted and their viability in the USA comic book industry. Based on the youth experiences of the generation born post the Second World War, which would be most of the British cartoonists that entered in the USA market in the 1980 s, the English youth s disbelief in the 1960 s and early 1970 s utopias is analyzed. The purpose of this analysis is to understand the pessimism and the disbelief that appear in the stories scripted by Jamie Delano. Following this, and based on Delano s demonstrated interest in William S. Burroughs, evidences of the roles that marginalized and devious individuals take in stories published at Hellblazer are analyzed. Lastly, this research seeks to understand how the city points the issues of the conjuncture in which the comic book was published, since the city in Hellblazer is represented as a territory that is constituted by antagonist interests, in which the tensions become present / O presente trabalho tem como objetivo analisar e compreender o processo constitutivo das histórias em quadrinhos publicadas na revista Hellblazer durante os anos de 1988 e 1991, bem como a criação do protagonista dessas histórias, o mago John Constantine, e parte do temário que constitui essa fase da publicação. Tendo em vista que a criação do personagem John Constantine, assim como as histórias da sua primeira fase de publicação, resulta do trabalho articulado de escritores ingleses e da editora estadunidense DC Comics, e que essa produção é percebida aqui como uma crítica à conjuntura neoliberal pela qual passava a Inglaterra nos anos do governo de Margareth Thatcher, um dos pontos analisados é a maneira pela qual as experiências desses sujeitos resultaram em práticas capazes de articulá-los em torno de criações singulares, em que foram ampliadas as possibilidades da linguagem dos quadrinhos e novas temáticas inseridas, e, também, de que maneira se dá o ingresso e a viabilidade destes na indústria estadunidense de histórias em quadrinhos. Por meio das experiências juvenis da geração nascida no pós-Segunda Guerra Mundial, da qual faz parte a maioria dos quadrinistas britânicos que ingressou no mercado estadunidense da década de 1980, é analisada a descrença da juventude inglesa nas utopias dos anos 1960 e na passagem desta década para a seguinte, com o intuito de compreender o pessimismo que pontua as histórias roteirizadas por Jamie Delano. Em seguida, observando o interesse expresso de Delano por William S. Burroughs, são analisadas as evidências do papel que os indivíduos marginais ou desviantes assumem nas histórias publicadas em Hellblazer. Por fim, a pesquisa busca compreender a maneira como a cidade evidencia as questões da conjuntura na qual a revista foi publicada, uma vez que a cidade em Hellblazer é representada como território constituído a partir de interesses antagônicos, onde as tensões se fazem presentes

This study seeks to address three main questions: How do Panegyric VI, Lactantius, and Eusebius characterise and utilise their respective visions in their narratives? In what ways are they similar and/or different? Are some or all of the accounts related and, if so, how do they contribute to the Christian Vision legend? In Chapter One the vision narrative in Panegyric VI is deconstructed to show that the panegyrist describes the vision as taking place on Constantine’s return march from Massalia and that he is describing a dream-vision that took place at the sanctuary of Apollo at Grand. In Chapter Two it is argued that: Lactantius never resided in Gaul; he places the vision incorrectly in 312 because he did not know the details of the tradition and used Licinius’ dream as a template; and the Christian character of the vision is part of his interpretation. In Chapter Three Eusebius’ account is deconstructed to show that: the vision story derives from Constantine ca. 336; there is evidence that Constantine was reconstructing his past experiences; Eusebius inserted parallels with St. Paul to give the appearance of a conversion narrative; and Constantine’s actual story shows little influence of Christian socialisation. In each chapter the core elements of the narratives are highlighted: each describes a dream-vision, in which a deity appears to Constantine with a promise of victory and a token representation of that promise. In Chapter Four it is argued that Lactantius and Eusebius are describing the same symbol, which is a tau-cross with a loop; and that the panegyrist and Eusebius describe the same vision: they give the same chronology, but the panegyrist avoids referencing a solar halo because it was an inopportune omen of civil war. In conclusion, all three sources describe the same experience from different perspectives: the vision of Apollo was being constantly adapted to incorporate new historical developments. Appended also is an argument for redating Panegyric VI to August 309 on the basis of the narratives of the panegyrist and Lactantius, as well as archaeological investigations at Cologne (Constantine’s bridge over the Rhine) and Deutz (Castellum Divitia).