O presente trabalho tem como objetivo examinar e refletir a desconstrução e reconstrução dos elementos espaço-temporais em Ensaio sobre a cegueira. O embasamento teórico desse trabalho, dentre outros, será a concepção de cronotopo apresentada por Mikhail Bakhtin, ao lado de conceitos de não-lugares e lugares antropológicos de Marc-Augé. As pesquisas de Mircea Eliade serão utilizadas para a reflexão de espaços sagrados e profanos e para o exame dos rituais de passagem ou iniciáticos. Tendo em vista a peregrinação feita grupo das sete personagens que protagonizam a trama estabeleceremos um paralelo com a via-crúcis de Jesus apresentada no texto bíblico que trata de um caminho de sofrimento, dor e morte. O percurso da via-crúcis chega ao fim através da metamorfose ocorrida no interior das personagens e que se estende aos espaços projetando uma possível reconstrução espaço-temporal. / The present work has as objective to examine and to reflect the desconstruction and reconstruction of the space-secular elements in Ensaio sobre a cegueira. The theoretical basement of this work, amongst others, will be the conception of cronotopo presented by Mikhail Bakhtin, to the side of concepts of not-places and antropológicos places of Marc Augé. The research of Mircea Eliade will be used for the reflection of sacred and profane spaces and for the examination of the rituals of ticket or iniciáticos. In view of the done peregrination group of the seven personages who carry out the tram we will establish a parallel with the way-crucis of Jesus presented in the Biblical text that deals with a way of suffering, pain and death. The passage of the way-crucis arrives at the end through the occured metamorphosis in the interior of the personages and that a possible reconstruction is extended to the spaces projecting space-time.

Abstract “The question of finding a merciful God. Understanding Martin Luther’s relation to metaphysics and ontology” Myrén, Anna. 2017, Master’s Thesis, 30 credits. E-mail: annamyren@live.se The Department of Theology, Uppsala University, Engelska Parken, Thunbergsv. 3B, Box 511, SE-751 20 UPPSALA, Sweden, info@teol.uu.se  This thesis examines arguments and premises for understanding Luther’s relationship to metaphysics and ontology. The main theoretical sources are firstly research that, on the one hand argue that Luther’s doctrine of justification has ontological structures and on the other treat his relation to metaphysics, and secondly sources that treat Luther’s development of theological themes and issues from a history of ideas perspective.  The thesis concludes that the arguments of Finnish Luther scholars Tuomo Mannermaa and Sammeli Juntunen are helpful for understanding the relationship between Luther, metaphysics and ontology. Their conclusions display different levels of structures in his doctrine; thematic as well as re-oriented structures of thought, showing that Luther is occupied with metaphysical and ontology and presenting strong arguments for his doctrine of justification as ontological. Luther’s doctrinal development can be understood both as a result of criticism of substance-metaphysics, as well as itself ultimately displaying metaphysical and ontological issues. Such contents in his theology should be viewed in the larger perspective of forming theology, a history of ideas context that broadens the question to one of structures of thought, involving themes, issues, forming of doctrine as processual development. However, their thematic, doctrinal focus risks not giving full account for understanding Luther’s relation to metaphysical and ontological issues. An intricacy of the question is displayed and possible to trace when Luther’s theology is addressed from systematical as well as historical perspectives. The thesis finally argues with the help of a history of ideas perspective that the theologia crucis - specifically with its concept of the hidden God, the deus absconditus – is a resource for further inquiry of Luther and metaphysics, in understanding his theology as describing reality.  Keywords: Luther, metaphysics, ontology, doctrine of justification, Mannermaa, Juntunen, themes, structures of thought, theologia crucis, deus absconditus.

The present study has been based on the investigation about the origin and evolution of the Fourteen Stations of the Cross that make up the Viacrucis, the revision of sources documents and their iconographic repercussion throughout history. In the XVIII century, the Franciscan Leonardo of Porto Mauricio established the basis for unifying a series of Christian devotions which, despite having a common spiritual substrate based on the mysticism exacerbated by the human nature of Christ and the pathos of the cross, lacked unity of worship and official recognition by the Church. During the first half of the eighteenth century, the Catholic spiritual exercise of the Viacrucis was finally established as the only devotional form dedicated to the Way of the Cross recognized by the Papacy, based on follow the steps that Christ walked carrying the cross until his death through the meditation by fourteen scenes, known as stations. The complex development of Passionist spirituality, cradle of the Viacrucis, had two main focuses: Europe where, especially from the Middle Ages, there arose an endless devotions to the passion of Jesus resulting from the rise of spiritual and mystical literature; and Jerusalem, where European pilgrims traveled to visit the Holy Places. Both centers had a vital interrelationship for the birth of the stations of the Viacrucis. While travelers wanted to know the Palestinian sites that European spirituality had imagined, the European faithful wanted to recreate in their land the sites described by the pilgrims, especially those of the passion suffered by Christ, which they could hardly access in any other way. In this intricate historical development are located the keys to the theoretical and iconographic understanding that supports the functional and aesthetic value of the art of Viacrucis, born after the official devotion establishment to which the Way of the Cross makes reference in the eighteenth century, and reasoned not only on the New Testament Gospels, but also in the underlying tradition of Passionist apocryphal texts and mystical and spiritual literature. / El presente estudio se ha fundamentado en la investigación del origen y evolución de las Catorce Estaciones que conforman el Viacrucis, la revisión de las fuentes escritas y su repercusión iconográfica a lo largo de la historia. En el siglo XVIII, el franciscano Leonardo de Porto Mauricio estableció las bases que unificaran una serie de devociones cristianas que, pese a tener un sustrato espiritual común basado en el misticismo exacerbado hacia la naturaleza humana de Cristo y hacia el pathos de la cruz, carecían de unidad de culto y de reconocimiento oficial por parte de la Iglesia. Durante la primera mitad del siglo XVIII, quedó finalmente establecido el ejercicio espiritual católico del Viacrucis como la única forma devocional dedicada al Camino de la Cruz reconocida por el Papado, basada en seguir los pasos que Jesucristo recorrió cargado con la cruz hasta su muerte mediante la meditación de catorce escenas, conocidas como estaciones. El complejo desarrollo de la espiritualidad pasionista, cuna del Viacrucis, tuvo dos focos principales: Europa donde, especialmente a partir de la Edad Media, surgieron un sinfín de devociones a la Pasión de Jesús resultado del auge de la literatura espiritual y mística; y Jerusalén, donde los peregrinos europeos viajaban para visitar los Santos Lugares. Ambos focos tuvieron una estrecha interrelación vital para el nacimiento de las estaciones del Viacrucis pues, mientras que los viajeros querían conocer los lugares palestinos que la espiritualidad europea había imaginado, los fieles europeos querían recrear en su tierra los sitios descritos por los peregrinos, especialmente los de la Pasión sufrida por Cristo, a los cuales difícilmente podrían acceder de otra forma. En este intrincado desarrollo histórico se sitúan las claves para la comprensión teórica e iconográfica que sustenta el valor funcional y estético del Viacrucis artístico, nacido tras el establecimiento oficial de la devoción a la que hace referencia en el siglo XVIII, y fundamentado no sólo en las narraciones neotestamentarias, sino en la tradición subyacente de los textos apócrifos y de la literatura mística y espiritual pasionistas. / El present estudi s'ha fonamentat en la investigació de l'origen i evolució de les Catorze Estacions que conformen el Viacrucis, la revisió de les fonts escrites i la seua repercussió iconogràfica al llarg de la història. En el segle XVIII, el franciscà Leonardo de Porte Mauricio va establir les bases que unificaren una sèrie de devocions cristianes que, a pesar de tindre un substrat espiritual comú basat en el misticisme exacerbat cap a la naturalesa humana de Crist i cap al pathos de la creu, no tenien unitat de culte i de reconeixement oficial per part de l'Església. Durant la primera meitat del segle XVIII, va quedar finalment establit l'exercici espiritual catòlic del Viacrucis com l'única forma devocional dedicada al Camí de la Creu reconeguda pel Papat, basada a seguir els passos que Jesucrist va recórrer carregat amb la creu fins a la seua mort per mitjà de la meditació de catorze escenes, conegudes com a estacions. El complex desenvolupament de l'espiritualitat passionista, bressol del Viacrucis, va tindre dos focus principals: Europa on, especialment a partir de l'Edat Mitjana, van sorgir una infinitat de devocions a la passió de Jesús resultat de l'auge de la literatura espiritual i mística; i Jerusalem, on els pelegrins europeus viatjaven per a visitar els Sants Llocs. Ambdós focus van tindre una estreta interrelació vital per al naixement de les estacions del Viacrucis perquè, mentre que els viatgers volien conéixer els llocs palestins que l'espiritualitat europea havia imaginat, els fidels europeus volien recrear en la seua terra els llocs descrits pels pelegrins, especialment els de la Passió patida per Crist, als quals difícilment podrien accedir d'una altra forma. En aquest intricat desenvolupament històric se situen les claus per a la comprensió teòrica i iconogràfica que sustenta el valor funcional i estètic del Viacrucis artístic, nascut després de l'establiment oficial de la devoció a què fa referència en el segle XVIII, i fonamentat no sols en les narracions neotestamentàries, sinó en la tradició subjacent dels textos apòcrifs i de la literatura mística i espiritual passionistes. / Buleo Espada, MI. (2017). EL VIACRUCIS TRADICIONAL. REVISIÓN HISTÓRICO-ARTÍSTICA SOBRE EL ORIGEN Y EVOLUCIÓN DE LAS CATORCE ESTACIONES DE LA CRUZ. REPERCUSIÓN ICONOGRÁFICA EN LOS TEMAS DE LA PASIÓN [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90543 / TESIS

Made available in DSpace on 2016-04-28T19:58:40Z (GMT). No. of bitstreams: 1 Rita de Cassia Bordoni.pdf: 5300151 bytes, checksum: 4531ab9467e1da9cccbd6862ad92c533 (MD5) Previous issue date: 2011-05-25 / Secretaria da Educação do Estado de São Paulo / The main objective of this research is, by means of a comparative method, to do a critical analysis of O vampiro de Curitiba (The vampire from Curitiba) from Dalton Trevisan. This analysis will try to answer a core question: How can Dalton Trevisan rebuild one of the most ancient myths of the human culture the vampire one? To answer this problematic question, we have thought about three hypotheses: 1) The vampire myth is demystified in a parodical way, revealing his two faces: hero and victim; 2) The demystification is done through a sense of emptiness which can be observed in: the narrative, the hero and the narrator as well as in the discourse categories and all of this on the border between fiction and non-fiction; 3) The vampire myth demystification generates a social criticism effect in a time that life in the urban centers is in degeneration. The parody concept that we chose to guide the novel‟s analysis was taken from Bakhtin (1998) and Hutcheon (1985). These authors leaded us to a conclusion that Trevisan takes off the mythical vampire‟s aura. As he does this in the text, he transforms the myth in an unsacred one through resources like: love cannibalism and death, using the sex desire as his via cruces. In his trajectory in Curitiba, he allegorically configures the city as an urban Hades, in an attitude to criticize the values of a society in decomposition, the literary patterns in tension against the urban litter , which is characterized as a non-literary discourse / O objetivo dessa pesquisa é, por meio de um método comparativo, realizar a análise crítica do corpus - O vampiro de Curitiba, de Dalton Trevisan, que buscará responder a uma questão nuclear: como Dalton Trevisan reconstrói literariamente um dos mitos ancestrais da cultura humana o mito do vampiro? Para responder a essa problemática, lançamos três hipóteses: 1) O mito do vampiro é desmistificado parodicamente, revelando a sua face bifronte: a de herói e a de vítima; 2) A desmistificação se faz por meio do esvaziamento tanto de categorias da narrativa, como as do herói e do narrador, quanto do discurso, na fronteira entre o literário e o não-literário; 3) A desmistificação do mito do vampiro gera um efeito de crítica social em termos da degeneração da vida nos centros urbanos. A análise do livro à luz do conceito de paródia de Bakhtin (1998) e Hutcheon (1985), levou-nos à conclusão de que o autor retira a aura do vampiro mítico, dessacralizando-o por meio do canibalismo amoroso e da morte, fazendo do desejo sexual a sua via crucis. Na sua trajetória por Curitiba, acaba por configurá-la alegoricamente como um Hades urbano, numa atitude de crítica seja aos valores de uma sociedade em decomposição, seja aos padrões literários confrontados com o lixo urbano de discursos frontalmente não-literários

Thesis (doctoral)--Universität Beyreuth, 2007. / Includes bibliographical references (p. 331-347).

(ENG) This diploma thesis deals in a complex way with the theme of via crucis, from the kunsthistorical, social cultural and pedagogical point of view, therefore it is a connection of a theoretical study with an exploratory probe and also an art project. It analyses iconography and contexts of particular themes of passion cycle and it shows various appearance and current state of via crucis themselves in the Czech republic. At the same time this part aims to be an inspiration and a theoretical basis for teachers who would decide for the inclusion of a religious theme to the educational process. The thesis also indicates what pedagogical potential does a Christian theme imply in education and what educational aims stated in RVP could be achieved thanks to this theme. The thesis then deals with the theme of via crucis in the educational complex of art lessons and with the possibilities of didactic transformation of a passion story. The suggested and realized theme scheme maps the relationship and opinions of pupils and also the contribution and the difficulties of a religious theme used in educational process. The orientation in opinions, knowledge and experience of pupils concerning religious themes and the orientation in the current state of religiosity in the Czech republic is ensured thanks to...

This thesis categorises some characteristic features in the 20th century Lutheran theology, in order to create a picture of the Lutheran theology and Lutheran pre-understanding of life which leave its marks on Selma Lagerlöf as well as on other contemporary expressions of faith and worldviews. Four Lutheran figures of thought are examined as undercurrents in the discourse of the writings of Selma Lagerlöf. They are a) The understanding of Word and Faith, which includes the understanding of justification by faith. b) Faith in God as Creator and in his providence. c) The doctrine of vocatio and God's two regiments. d) The theology of the Cross that emphasises the descent of God and God's taking part in the human life. This investigation has shown that the epic of Lagerlöf can be read in terms of Lutheran theology. The religious roots of Selma Lagerlöf are often described as ”a nothing” - a traditional background, a friendly non-doctrinal piety, and so forth. But this inconspicuous and unconscious religious background has a content, namely the Lutheran faith in the culture and society in which she grew up. Some of the great novels such as The story of Gösta Berlings saga, Jerusalem and The wonderful adventures of Nils and some stories, sagas and legends are investigated. The study shows how the Lutheran understanding of life is expressed in these texts and their interpretation of the reality.

Thesis (doctoral)--Dortmund, 2006. / Includes bibliographical references (p. 271-295).

Text in German with summaries in German and English / Die Kreuzestheologie erlebt seit Beginn des 20. Jahrhunderts eine anhaltende Renaissance. Die vorgelegten Beiträge gehen zwar von gemeinsamen Wurzeln aus, verzweigen sich jedoch in vielfältige, teilweise disparate Entwürfe. Deshalb ist neu zu fragen, was Kreuzestheologie ist. Die Antwort wird in sieben Schriften des Corpus Paulinum gesucht, welche auf ihren kreuzestheologischen Gehalt befragt werden. Dabei zeigt sich trotz unterschiedlich häufiger Verwendung der kreuzestheologischen Begriffe durchwegs die entscheidende Bedeutung des Kreuzes Jesu in den theologischen Grundlinien. Kreuzesaussagen erscheinen immer im Zusammenhang mit den zentralen Thesen der paulinischen Briefe. Der exegetische Befund führt zum Schluss, dass bei der paulinischen Kreuzestheologie von einem theologischen Ansatz zu sprechen ist, der zurecht umfassenden und kritischen Anspruch auf christliche Theologie und kirchliche Praxis erhebt. / The “theology of the cross” has seen a remarkable come-back since the beginning of 20th century. While the various contributions share similar roots, they differ widely in their approaches and constructions. Therefore, the simple question regarding the nature of a theology of the cross has to be raised again. This study seeks answers in seven writings of the Corpus Paulinum, which will be examined for their use of references to Jesus’ death on the cross. Although these letters differ significantly in their use of crossrelated terminology, they consistently testify to the crucial significance of the cross of Jesus in their theological paradigm. Statements about the cross are always an essential ingredient in the argumentation of these letters. The exegetical survey leads to the conclusion that Pauline theology of the cross is an all-encompassing and critical approach and principle for Christian theology and ecclesial practice. / New Testament / M. Th. (New Testament)

This dissertation is presented in two parts. It first identifies the shape and content of an ancient system of Christian thought predicated on the theology of the cross of Jesus Christ, and proposes the marks typifying its theologians. Over against the ensuing hermeneutic it next finds the project of twentieth century Swiss theologian Karl Barth to exhibit many of the defining characteristics of this system, and Barth himself to be fairly deemed a modern theologian of the cross. He crucially recovers, reshapes and reasserts the classical theologia crucis as a modern theological instrument, one answering enlightened theology’s self-glorifying accommodation to modernity with the living Word of the cross. The crucicentric system itself is found to comprise two major theological dimensions, epistemological and soteriological. Each of these comprises dialectically corresponding aspects connected with false and true creaturely glory. The cruciform Word (or theology) speaking through this system likewise moves in two directions. It declares negatively that any attempt by the creature to circumvent the cross so as to know about God directly, or to condition God's electing decision, is necessarily the attempt to know and act as God alone may know and act - an attempt therefore on the glory of God. It declares positively that in the crucified Christ God formally discloses the knowledge of God, and determines the creature for God. This knowledge and election are appropriated to the creature as, drawn into the cruciform environment, its attempt to glorify itself is negated and Christ's exalted humanity received in exchange. Thence it is lifted to participate in Christ's mind and in his glory, a process guided by the Holy Spirit and completed eschatologically. The database for this research includes selected primary materials in the Apostle Paul, Athanasius, a group of medieval mystical theologians, the reformer Martin Luther - particularly here his Heidelberg Disputation, and Karl Barth. It also pays attention to the recent secondary literature peripherally or more concertedly connecting itself to the theology of the cross, of whatever period. In this literature numerous suggestions for the content of the theology of the cross exist, a major methodological task in the current research being to bring these together systematically. To the extent that the inner structure of the system carrying the cruciform Word has not previously been made explicit, and Barth's crucicentric status not finally determined, in moving towards these achievements this dissertation breaks fresh ground. In the process a new test by which to decide the crucicentric status of any theological project is developed, and a further and crucicentric way of reading Barth proposed. / This dissertation identifies the shape, content, and marks of the theology of the cross, an ancient and still extant epistemological and soteriological system of Christian thought. Applying the resulting hermeneutic it then shows this system to be present with renewed vitality and future significance in the modern project of seminal Swiss theologian Karl Barth (1886-1968).