Cette thèse est consacrée à une analyse doctrinale et philologique du commentaire de Thomas d'Aquin sur la distinction 35 du premier Livre des Sentences de Pierre Lombard. Le sujet de cette distinction est la science que Dieu a de lui-même et des autres choses. La première partie de notre travail est une présentation conceptuelle et historique de l'arrière-fond de cette distinction. Elle est divisée en quatre étapes. Dans la première, nous nous sommes interrogé sur la science divine dans une perspective linguistique. Dans la seconde, nous avons discuté le rôle de l'autre, en tant qu'objet, dans la connaissance divine. Dans la troisième,nous avons étudié la synthèse chez Thomas des éléments aristotéliciens et pseudo-dionysiens, comme la notion d'actus purus et la notion d'esse. La quatrième étape, présente brièvement le contexte historique pour comprendre la méthode du commentaire des Sentences, ainsi qu'un bref panorama de l'Université de Paris au XIIIe siècle. La deuxième partie de la thèse offre une édition critique de la distinction 35. Après avoir collationné les témoins manuscrits selon les critères de la Commission Léonine, nous avons présenté le texte avec une introduction où nous établissons les différentes familles de la transmission textuelle. / This dissertation provides a doctrinal and philological study of Aquinas' Commentary on Book I, dist. 35 ofPeter Lombard's Sentences. At issue is the knowledge that God has of Himself and of the things other thanHimself. The first part of the dissertation investigates the conceptual and historical background of dist. 35. Itdivides into four sections. First, we approach the topic of the divine science from a linguistic perspective.Secondly, we examine the role of things other than God as objects of the divine knowledge. Thirdly, we drawattention to Aquinas' synthesis of Aristotelian and pseudo-Dionysian elements, namely the notions of actuspurus and esse. The fourth section provides an overview of the historical context and the XIIIth-centuryUniversity of Paris, in order to better understand the method of commentaries on the Sentences. The secondpart of the dissertation intends to provide, for the first time, the critical edition of Aquinas' Commentary onBook I, dist. 35 of Peter Lombard's Sentences. The manuscripts are collated according to LeonineCommission's criteria. The critical text is introduced by a philological study in which we investigate the textualtransmission of dist. 35 and we propose a stemma.

Presented work has in its first part tried to evaluate both textual and theological development of the liturgy in the Czechoslovak (Hussite) church. It has focused on Farsky's translation of the Roman Mass from 1919, first liturgical reforms of the young church, liturgical diversification and unifiction in newly conceived liturgy by Karel Farsky in 1923. The work further follows development of such liturgy, especially its revision in 1939 and attempts of liturgical renewal in seventies and eighties of the twentieth century. The final conclusion of the thesis resides in stating that revision was crucial for blurring certain parts of Farsky's liturgy. It was not conciliated with Učení, official doctrinal document of the Church, and also didn't stay in line with its origin. The main part of the work is focused on analysis of singular parts of Second Liturgy s it was adopted by Assembly in 1991. We attempt to compare this liturgy with earlier versions as mentioned above. This thesis particularly states, that recent version of the Second Liturgy presents two parts of the liturgy of the Word,when the first reading is sharply distinguished from the rest. Furthermore, Opening antiphon (Introit) and Communium antiphon (Communio) are misleadingly placed. In fact, only Offertory antiphon (Offertorium) is located...

As Shakespeare composed the three history plays discussed here, English culture faced a shift in its dominant belief system from an animistic perspective that valued nature and superstition to a humanistic perspective based on reason and personal relationships. In Richard II, Shakespeare creates characters that fall on either side of this divide, and he shows humanism triumph over animism when Henry deposes Richard. In 1 Henry IV, Shakespeare shows that this binary is not so easily reconciled, and Hal (the future Henry V) creates a dual nature that subsumes the tenets of both animism and humanism. After the death of his father and his rejection of Falstaff in 2 Henry IV, Hal demonstrates that the only solution to the humanism/animism debate is to entirely reject the tenets of both and, instead, blend the two viewpoints together. The result is a newly formed conception of kingship and a hero-king.

Actuellement, le concept « idole » a basculé dans la sphère triviale du culte de personnes et renferme, néanmoins, des traces du sens antique du mot. Le terme d’idole met l’accent sur le moment de la vénération et c’est précisément là que réside la difficulté : la combinaison de l’adoration et de la plasticité d'une image va à l’encontre de la théologie de l’Ancien Testament de la vénération unique et sans image de JHWH. Le point de départ de cette étude est le mot grec eidôlon, qui est ancré dans le sujet de l’image des divinités depuis la Septante et qui fait office de terme fixe pour désigner les déités étrangères. Il en ressort qu’il n’existe pas d’expression standard pour une image de culte dans la culture grecque. La comparaison et l’analyse exacte des équivalents hébreux et grecs forment la majeure partie de la thèse. Dans le cas d’eidôlon il n’existe pas d’équivalent standard mais un bon nombre de termes hébreux qui sont tous reproduits par le terme grec dans la LXX. Par ailleurs, le terme eidôlon apparaît dans des textes d’importance cruciale pour la foi israélite (voir sa fréquence dans le deuxième commandement du Décalogue et dans le Chant de Moïse). Il s’agit d’une manœuvre stratégique et théologique des traducteurs, car ce terme renferme tous les éléments majeurs des divinités étrangères. Il existe donc une différenciation claire entre le dieu d’Israël et toutes les autres divinités. / The concept “idol” derives from ancient Greek, which is still used today. Nowadays, an Idol designates first and foremost the cult of personality but the traces of the ancient meaning are partly preserved. The term idol focuses on the veneration of foreign deities and their pictorial representations. Therefore, idols contrast with the monotheism and an iconism of the god of Israel. This study elaborates the original meaning of the Greek word eidôlon which becomes the standard expression for divine images since its usage in the Septuagint and afterwards. It seems that there did not exist a major term for cult images in the Greek culture. The comparison and the exact analysis of the Hebrew and Greek equivalents form the major part of the thesis. In the case of eidôlon there does not exist a Hebrew standard equivalent but a variety of Hebrew lexemes which are all translated by the Greek word in the Septuagint. In general, eidôlon appears in important and authoritative texts (Exodus 20: the Second Commandment,Deuteronomy 32: The Song of Moses). Concerning the choice of terminology, eidôlon is astrategic and theological move of the translators because this Greek expression includes allmajor characteristics of foreign deities. A clear distinction between JHWH the god of Israel andall other deities becomes clear.

O plano deste estudo se caracteriza por entender a relação entre lei divina e lei humana concebida por Agostinho no L. I de O Live-Arbítrio e no L. XIX de A Cidade de Deus. Assim almejamos analisar primeiramente a relação entra as duas leis no L. I do diálogo e posteriormente confrontá-la com a análise retirada da Cidade de Deus, verificando as possíveis implicações de uma reformulação no entendimento da política para Agostinho. Desse modo, pretendemos evidenciar como Agostinho reformulou seu pensamento sobre as duas leis e mostrar as conseqüências de tal mudança em noções como justiça, paz, Estado, guerra e escravidão / The purpose of this study is defined by understanding the relationship between divine law and human law conceived by Augustine in On Free Choice of the Will, book I, and The City of God, book XIX. Thus, we aim first to analyse the relation among the two laws in the dialogue, then comparing it with the analysis from The City of God by checking possible implications of a reformulation in the understanding of politics for Augustine. As such, we intend to show how Augustine reformulated his thought about the two laws and the consequences of such a change in notions as justice, peace, State, war and slavery

A presente pesquisa teve como objetivo o estudo da Vita Nova de Dante Alighieri, onde o Amor, as musas e outros personagens surgem da mitologia grega. Esse Amor pagão é cristianizado por Dante, que o transforma na figura de Deus. Beatriz passa a ser a Musa de Dante, que é chamada pelo poeta primeiro de gentilissima, depois donna angelo, santa, filósofa e teóloga. No Convívio, pode-se constatar a aproximação de sua deusa à sabedoria filosófica e teológica. Tudo isso se passa pela elaboração da poesia, bem como a Divina Comédia, que são, segundo o autor, alegorias. Foram feitas algumas incursões na Divina Comédia para confirmar tais configurações entrou-se em trechos do Purgatório e do Paraíso. / The purpose of this research was to study Dante Alighieri\'s Vita Nova, where Love, muses, and other characters emerge from the Greek mythology. This pagan love is christianized by Dante, who transforms it into the figure of God. Beatrice becomes Dante\'s muse, who is initially called by him as very gentle lady, then as donna angelo (woman-angel), saint, philosopher and theologian. In Convivio, an approach between his goddess and a philosophical and theological wisdom can be observed. Convivio, as well as The Divine Comedy, are written in poetry and are both, according to the author, allegories.

As citações, alusões e referências à Divina comédia, de Dante Alighieri, começam a aparecer em quantidade e com vigor na obra de Machado de Assis na década de 1870. Estão em todos os gêneros, da poesia à crítica, da crônica à prosa de ficção, demonstrando a forte impressão que a obra provocou no escritor brasileiro. Esta tese trata das referências dantianas na obra de Machado de 1873 a 1881, começando em Americanas, passando por Helena e Memórias póstumas de Brás Cubas, e encerrando n\' \"O alienista\". Com isso, pretende-se mostrar como Machado de Assis estava às voltas com a adequação de temas, estilos, quadros e assuntos do repertório da alta tradição literária, em especial a da Comédia, em sua obra. Experiências que exibem a oscilação que os estilos elevado e baixo, sublime e vulgar sofrem em sua obra, à força de misturas, fusões, imitações e paródias, formas que encontrou para conciliar estes opostos. / Quotations, allusions and references to Dante Alighieri\'s The Divine Comedy started to appear frequently and significantly in the works of Machado de Assis during the 1870\'s. They can be found in all genres Machado worked with, from poetry to criticism, from newspaper columns (crônicas) to prose, evidencing the strong impression that Dante\'s work left in the Brazilian writer. This thesis is about the references to Dante in Machado de Assis\'s works from 1873 to 1881, beginning with Americanas, passing through Helena and Memórias póstumas de Brás Cubas, and finally \"O alienista\". It aims, accordingly, to demonstrate that Machado de Assis tailored his themes, style, sketches and repertoire to fit in the tradition of high literature, especially that of the Comedy. Such experience shows the oscillation between contrasting styles in Machado\'s work - the elevated and the low, the sublime and the vulgar -, which the author conciliates by employing combinations, fusions, imitations and parodies to bring together such opposite poles.

Cette thèse est la première étude analytique approfondie consacrée à la dimension philosophique et théologique de la pensée de Jérôme de Prague († 1416) qui prend en compte tous les textes connus et conservés de ce philosophe tchèque, maître ès arts des universités de Paris, Cologne, Heidelberg et Prague, ami et collègue du réformateur Jean Hus. Le travail s’occupe des différents sujets philosophiques et théologiques présents dans l’œuvre de Jérôme, plaçant ses idées dans le contexte de l’histoire de la pensée médiévale. Dans ce cadre, la thèse montre de manière nouvelle les doctrines de cet auteur représentatif du courant réformiste de l’Université de Prague au tournant des XIVe et XVe siècles ; elle essaie aussi de présenter une compréhension nouvelle de la pensée philosophique et théologique de Jérôme sur la base des nouvelles trouvailles concernant ses sources anciennes et médiévales. À part la pensée de Jérôme, elle se consacre en outre à l’étude approfondie de sujets voisins, par exemple la question de la représentation de la Trinité par le bouclier de la foi. Ce travail ouvre aussi des nouvelles questions, par exemple le thème de l’influence des successeurs philosophiques de Jean Wyclif à Oxford (par exemple Robert Alyngton) sur les doctrines des maîtres de l’Université de Prague. Une des autres contributions à la connaissance du patrimoine culturel tchèque et européen présentées par cette thèse est l’editio princeps de la quaestio Utrum omne dependens habeat esse aeternum in prima causa d’Étienne de Páleč, accompagnée par une interprétation doctrinale. / This dissertation is the first thorough analytical study of the philosophical and theological aspects of the thought of Jerome of Prague († 1416), based on all the known extant texts of the significant Czech philosopher, master of arts of the universities of Paris, Cologne, Heidelberg and Prague and a friend and colleague of the church reformer Jan Hus. The work deals with individual philosophical and theological topics present in Jerome’s opus, explains his ideas and places them into the context of the history of medieval thought. In this frame, the work newly illustrates hitherto only partially known doctrines of this representative of the reformist current at the Prague University at the turn of the fifteenth century and tries to provide insight into Jerome’s thought, also on the basis of a series of new findings concerning Jerome’s ideas and his ancient and medieval sources. Apart from Jerome’s thought, the work pays attention to and clarifies more profoundly some of the related topics, for example the question of representation of the Trinity by the shield of faith. This dissertation also opens certain new questions, for example the topic of the influence of the Oxford philosophical successors of John Wyclif (such as Robert Alyngton) on the doctrines of the masters at the Prague University. An additional contribution of this thesis to a better knowledge of the Czech and European cultural heritage is the editio princeps of a quaestio of Štěpán of Páleč, Utrum omne dependens habeat esse aeternum in prima causa, accompanied by a doctrinal interpretation.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-03-30T14:10:54Z No. of bitstreams: 1 PAULO AFONSO TAVARES.pdf: 3698076 bytes, checksum: 7fa4953ac0dacc1cf50f22f1f791005b (MD5) / Made available in DSpace on 2017-03-30T14:10:54Z (GMT). No. of bitstreams: 1 PAULO AFONSO TAVARES.pdf: 3698076 bytes, checksum: 7fa4953ac0dacc1cf50f22f1f791005b (MD5) Previous issue date: 2016-12-08 / This investigation tries to analyze how the religious practices (particularly Masses and Novenas) held in the Basilica Sanctuary of the Divine Eternal Father of the municipality of Trindade in the State of Goiás are put under a process of reconfiguration by being televised. In broadcasting these religious practices, the media employed its own rules and methods (or grammars), resulting in a new form of religious practice, which might be called “mediatic”. By analyzing the media practices of the Basilica Sanctuary of Trindade, we have identified two particularities: the use of simulation and the show as an outcome. These particularities have been originated from the process of media development on religious practices, mostly through the employment of techno- symbolic devices, orchestrated by the “mediatic” ceremony, developing from in- person religious practices. During this process of development, some modifications have also taken place in the Basilica Sanctuary of the Divine Eternal Father, as well as with the religious practices held within this church, due to their transmission by television. Grouped in two orders: temporality and spatiality, these modifications go beyond the religious field and can in fact be classified as concessions to another field, since they migrate into a television media classification. The research also shows that the televised religious practices of the Basilica Shrine of the Divine Eternal Father do not take place for the faithful present but for the “tele-faithful,” that is, the consumers of these mediatic-religious practices. The faithful, as well as the entire liturgical body of these religious practices, thus become the assistants of this media construction. To accomplish this investigation, a set of theoretical, methodological and technical procedures has been used, including bibliographical and documentary research, observation, interviews and analysis of media documents. The dissertation is develped in two parts. In the first, it addresses the emergence and development of devotion to the Divine Eternal Father under three distinct different aspects: the first during the colonial period until the proclamation of the Brazilian Republic. The second examines the devotion under ecclesiastical administration – in what we have called “Romanization.” The third deals with the mediatization of this devotion, that is, the use of the media in a first moment in order to “Christianize” it and then to spread it throughout Brazil. In the second part of the dissertation, the main concepts, such as secularization, the role of media, mediatization and the mediatization of religion (with a particular focus on media‟s interaction with Catholicism) are discussed as its hard core, as well as how the religious practices of the Basilica Sanctuary of the Divine Eternal Father are modified by being televised. It has come to a conclusion that religious devotion makes concessions to the media field in the transmissions of its practices and that these concessions not only alter the liturgical formats of its practices, but indeed affect the temple itself. / A pesquisa se propõe a analisar como as práticas religiosas (Missas e Novenas) do Santuário Basílica do Divino Pai Eterno do município de Trindade no Estado de Goiás são reconfiguradas pelos dispositivos televisivos, pois ao televisionar essas práticas religiosas, o Campo Midiático impõe as suas próprias regras e gramáticas, resultando numa outra prática religiosa, a midiática. Ao analisar as práticas religiosas midiáticas do Santuário Basílica de Trindade identificamos que elas são constituídas por duas particularidades: o simulacro e a espetacularização, oriundas desse processo de construção da prática religiosa midiatizada, através do dispositivo tecno-simbólico orquestrado pelo cerimoniário midiático, a partir das práticas religiosas presenciais. Durante esse processo de construção, algumas modificações também acontecem no Santuário Basílica do Divino Pai Eterno e nas práticas religiosas presenciais desta mesma igreja, por causa de suas transmissões pela TV. Essas modificações podem ser classificadas como concessões, uma vez que perpassam do Campo Religioso ao Campo Midiático Televisivo e se agrupam em duas ordens, temporalidade e espacialidade. A pesquisa também mostra que as práticas religiosas televisionadas do Santuário Basílica do Divino Pai Eterno não são realizadas para os fiéis ali presentes, mas sim para os telefiéis, ou seja, os consumidores dessas práticas religiosas midiatizadas. Os fiéis, assim como todo o corpo litúrgico dessas práticas religiosas, são assistentes desta construção midiática. Para tanto, utilizou-se um conjunto de procedimentos teóricos, metodológicos e técnicos que inclui pesquisa bibliográfica e documental, observação, entrevistas e análises de documentos midiáticos. A dissertação está construída em três partes: na primeira, aborda o surgimento e desenvolvimento da Devoção do Divino Pai Eterno em três períodos bem distintos; o primeiro durante a vigência do padroado até a proclamação da República Brasileira; o segundo momento mostra a devoção sob a administração eclesiástica, o que denominamos por romanização; o terceiro período disserta sobre a midiatização desta devoção, a utilização dos meios de comunicação social num primeiro momento para “cristianizá-la” e, depois, para propagá-la para todo o Brasil. Na segunda parte da dissertação, discute-se os principais conceitos que norteiam a pesquisa, como de secularização, campo midiático, midiatização e midiatização da religião com foco no catolicismo midiático. Na terceira parte analisamos como as práticas religiosas do Santuário Basílica do Divino Pai Eterno são modificadas pelos dispositivos televisivos. Conclui-se que o campo religioso faz concessões ao campo midiático nas transmissões de suas práticas e que essas concessões não só alteram os formatos litúrgicos de suas práticas, como também afetam o próprio templo.

A presente pesquisa teve como objetivo o estudo da Vita Nova de Dante Alighieri, onde o Amor, as musas e outros personagens surgem da mitologia grega. Esse Amor pagão é cristianizado por Dante, que o transforma na figura de Deus. Beatriz passa a ser a Musa de Dante, que é chamada pelo poeta primeiro de gentilissima, depois donna angelo, santa, filósofa e teóloga. No Convívio, pode-se constatar a aproximação de sua deusa à sabedoria filosófica e teológica. Tudo isso se passa pela elaboração da poesia, bem como a Divina Comédia, que são, segundo o autor, alegorias. Foram feitas algumas incursões na Divina Comédia para confirmar tais configurações entrou-se em trechos do Purgatório e do Paraíso. / The purpose of this research was to study Dante Alighieri\'s Vita Nova, where Love, muses, and other characters emerge from the Greek mythology. This pagan love is christianized by Dante, who transforms it into the figure of God. Beatrice becomes Dante\'s muse, who is initially called by him as very gentle lady, then as donna angelo (woman-angel), saint, philosopher and theologian. In Convivio, an approach between his goddess and a philosophical and theological wisdom can be observed. Convivio, as well as The Divine Comedy, are written in poetry and are both, according to the author, allegories.