O presente ensaio trata de um resgate do tema \"imagens da infância e da adolescência em Otto Lara Resende\". Para tanto, no cinqüentenário de seu lançamento, destacamos Boca do inferno, segundo livro da obra do autor mineiro. Composto de sete contos, ele o livro - torna-se nosso substrato para a apreensão da vida de um grupo de crianças e adolescentes marcados pela dor. Nas imagens que se oferecem, intimismo, introspecção, recôndito definem um estilo. No trato da mesma infância, o pacto romântico se quebra. Crianças e adolescentes recebem o mal e estão aptos (alguns deles) a praticá-lo e de modo competente. No menos explícito das cenas, a estrutura familiar em suas falhas se evidencia. O masculino que brutaliza também recebe especial atenção. A voz solidária aos que sofrem oculta-se na ação do narrador. / This essay rescues the theme \"Images of the Childhood and of the Adolescence in Otto Lara Resende\". In order to do that, when we celebrate fifty years after it was published, we draw the attention to Boca do Inferno (Hell\'s mouth), second book of the work of the author from the Brazilian state of Minas Gerais. Made up of seven short stories, it becomes our basis for the understanding of the life of a group of children and adolescents tainted by pain. In the images that are offered, intimism, instrospection, recondite define a style. In the way the author creates the circumstances of the same childhood, the romantic pact is broken. Children and adolescents receive the evil and are apt (some of them) to practice it in a very competent way. The evidence of the failure of the family structure is implicit in the scenes. The masculine that brutalizes also receives special attention. The voice that is sympathetic to those who suffer is in between the lines of the narrator.

In this thesis, I take a closer look at the meaning of life from an eschatological point of view. More precisely, the question at hand is whether and in what sense the existence of Hell would impact the meaning of life. The thesis primarily makes use of Joshua Seachris’s theories on what ‘the meaning of life’ denotes, dividing ‘meaning’ up into the subcategories of ‘intelligibility’, ‘purpose’, and ‘significance’. Three different answers to the research question are proposed, which crystallizes three different positions: Hell-optimism, which denotes the view that the existence of Hell would contribute to the meaning of life; Hell-neutralism, which denotes the view that the existence of Hell would have no effect on the meaning of life; and Hell-pessimism, which denotes the view that the existence of Hell would detract from the meaning of life. Arguments are given for each position, most appropriated from the broader meaning of life-discourse. On the basis of the evaluation of each argument, Hell-pessimism is considered the most probable of the three.

1987 AD. When a Satanic cult threatens to usher in Armageddon, the LAPD's top supercop manchild and his crotchety grandma of a partner must punch, kick, and shoot their way through their toughest case yet: protecting a feral 9-year-old girl who just so happens to be the Antichrist.

This study enters into the dialog within Christian theology between annihilationism and traditionalism on the nature of eternal punishment. The positions and issues within the topic will be examined theologically and analyzed doctrinally. In my first chapter I will summarize the views and arguments in the debate, establish operating definitions, address preliminary issues, and provide some historical context. I will establish a thesis agenda with dual aspects: negatively, to examine and critique annihilationism on theological grounds, and positively to offer arguments for a modified traditionalism. Chapters two, three, and four primarily serve the negative purpose. Chapter two critically considers annihilationism on exegetical and hermeneutical issues, concluding that the view is inferior to traditionalism. Chapter three examines annihilationism for consistency with other areas of Christian theology, concluding that the view generates major theological problems in Christology. Chapter four considers both annihilationism and traditionalism regarding the disproportionality problem of hell, concluding that annihilationism and two types of traditionalism can resolve the problem but of these three only one sort of traditionalism can do so whilst also satisfying other important theological criteria. Regarding the negative aspect of the thesis, I conclude that the severe theological problems in annihilationism constitute sufficient reason to reject the view. In chapter five I accomplish the positive aspect of this thesis, offering six criteria of success for any view of eternal punishment. I then provide detailed argumentation for a modified traditionalism called reconciliationism, concluding it best meets these criteria and is the most theologically and exegetically satisfying view on offer. In the concluding chapter I state this thesis' contributions, suggest several areas for further research, and offer some implications for pastoral theology. I finally conclude that annihilationism has seemingly insurmountable theological problems, but a modified traditionalism can succeed as a doctrine of hell.

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This thesis examines the dissemination of visions of the otherworld in the long thirteenth century (c.1150-1321) by analysing the work of one enthusiast for such visions, Helinand of Froidmont, and studying the later transmission of three, contrasting accounts: the vision of the monk of Eynsham (c.1196), the vision of St. Fursa (c.656) and the vision of Gunthelm (s.xiiex). It relies on a close reading and comparison of different versions of these visions as they appear in exempla collections, religious miscellanies, history chronicles and sermons. In considering the process of redaction, it corrects two imbalances in the recent scholarship: a focus on searching for, then discussing ‘authorial’ versions of the narratives and a tendency among students of literature to treat visions of the otherworld as an independent sub-genre, prefiguring Dante’s later masterpiece. Instead, by looking at the different responses of a number of authors and compilers to visions of the otherworld, this thesis shows how they interacted with other elements of religious culture. On one hand it reveals how all medieval editors altered the narratives that they inherited to fit the needs and rules of genre. These rules had an important influence on how visions were spread and received by different audiences. On the other, it explains how individual authors demonstrated personal or communal theological and political motivation for altering visions. In doing so, it notes a divergence in the way that older monastic communities and travelling preachers responded to the stories. By explaining these variations, this study uncovers a range of complex reactions to trends in thirteenth-century eschatology (particularly the development of the doctrine of Purgatory) and how they interacted with wider religious concerns such as pastoral care. Finally, it shows how an examination of the pattern of a vision’s dissemination can lead to a re-consideration of the earlier texts themselves and the religious milieu from which they emerged.

L’objet de notre thèse est l’unité de l’œuvre de Péguy selon Hans Urs von Balthasar. Balthasar est le premier commentateur qui a tenté de relire tout l’itinéraire du poète à la lumière du petit autoportrait que le poète a laissé dans Un nouveau théologien. M. Fernand Laudet : « c’est par un approfondissement constant de notre cœur… que nous avons retrouvé la voie de chrétienté. » En prenant ce mot de « cœur » dans les différentes acceptions que l’écrivain lui a données, Balthasar a été capable de rassembler l’œuvre de Péguy de façon organique en une voûte qui a les Mystères pour clé. À la lumière des plus profondes intentions du cœur du jeune Péguy, Balthasar peut éclairer non seulement le rejet d’un certain christianisme augustinien et la décision de se placer résolument au cœur du socialisme, mais encore le retour progressif au catholicisme. En retrouvant la foi, Péguy entame cependant un approfondissement ultérieur : il médite le mystère même du cœur chrétien et pénètre enfin le cœur du Père. Notre travail a voulu présenter une lecture très originale de l’itinéraire de Péguy. La pertinence de cette lecture est prouvée, entre autres choses, par sa capacité à intégrer les plus grandes interprétations de Péguy qui l’ont précédée et même suivie. / The theme of the present dissertation is the unity of the work of Charles Péguy in the interpretation of Hans Urs von Balthasar. Balthasar is the first commentator who has attempted to re-read the whole trajectory of Péguy’s life and work in light of the brief self-portrait that the poet offers us in Un nouveau théologien. M. Fernand Laudet. “It was,” Péguy writes there, “a constant deepening of our heart . . . that lead us to discover the path of Christendom.” Meditating on the various meanings of the word “heart” in the poet’s thought, Balthasar is able to show his work rising into an organic edifice with the Mysteries as its keystone. He shows how not only Péguy’s repudiation of an Augustinian Christianity and his resolute embrace of the heart of socialism, but his eventual return to Catholicism make sense only in light of what were from the very beginning his heart’s deepest intentions. But Péguy’s rediscovery of faith meant also the entry into a new deepening of the heart: the contemplation of the mystery of the Christian heart and at last of the Father’s heart. This dissertation seeks to present Balthasar’s original reading of Péguy’s trajectory and, at the same time, to show its fecundity, which is demonstrated by, among other things, its capacity to integrate the major readings of Péguy produced both before and after Balthasar’s own work on the poet.

Cormac McCarthy's The Road and Dante's the Inferno contain textual and thematic comparisons. While the Inferno creates a world that exhibits the worst fears of the medieval Catholic subconscious of Dante's time, The Road paints a world of the darkest fears of the current American subconscious. Both texts reflect a critical dystopia that speculates on human spirituality and offers a critique of society through a tour of sin and suffering in a desolate setting.

Dante's Inferno defined hell in Western literature for centuries; it was a physical place for sinners, they were subjected to physical torments, and it was in the afterlife. Dante’s depiction was firmly rooted in Christian theology. However, as fears and morals change, ideas of hell evolve as well. With the popularity of the zombie and other apocalypse narratives, these ideas return to the notion of physical torment and earthly places. In poetry, novels, theater, television, and film, writers examine different interpretations of hell, punishment, and redemption as metaphors for modern sins. In Sartre’s Huis clos, hell is a windowless room, and the tortures are inflicted psychologically by other people. In Romero’s Living Dead films, hell comes to earth, and the torments are both physical and psychological. Joss Whedon’s Buffy the Vampire Slayer shows how hellish the common experiences of high school and growing up can be. Cormac McCarthy’s The Road examines hell as a lack of place, a relentless journey without end. In these and other works, the concept of hell is reinvented and replaced by new ideas, but the influence of the past iterations shapes the new landscapes.

A Dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the degree of master of Arts. / This thesis examines a medieval text which forms part of Italian chevalric literature i.e. The story of Ugone d'Alvernia. Its original name was Huon d'Auvergne. Firstly the text will be examined from the historic angle and then from a more scientific point of view. It shows how the original "chanson de geste", written in French was brought by the French "jongleurs" into Italy and became initialized, producing a unique phenomenon, a linguistic mixture known as franco-venetian. This literature played a decisive part in the diffusion of the stories surrounding Charlemagne. Huon d'Auvergne was elaborated and extended by Andrea da Barberino (c. 1370-1432) and called La Storia di Ugone d' Alvernia (The story of Ugone Of Alvernia). Various descents into Hell are then examined , from both the classic and the Christian point of view. This examination leads on to the comparison of the two "Inferni" described by Andrea da Barberino in his two works La Storia di Ugone d' Alvernia and in Guerino il Meschino with the descent described by Dante in his Inferno. A morphological analysis of the text is then undertaken. It applies the theory propounded and used by Propp in his morphological analysis of some Russian fairy tales. According to the theory there are thirty-one "functions" which can be applied in such an analysis / Andrew Chakane 2018