Text in Afrikaans with summaries in Afrikaans and English / Where do we find the first evidence of a belief in life after death, and a divide or separation in the afterlife? We find answers in the primal and traditional religions in Africa and America, Hinduism, Buddhism, Egypt, Babylonia, Persia, Hellenism, the Bible and the apocrypha. There had been a preparation for the work and words of Jesus. He is unique. After His death and resurrection as historical figure, He never died again. He is our guarantee for life after death. His Gospel includes eternal heaven as well as eternal hell. He is proclaimed as Saviour. The New Testament uses metaphors to convey the reality of heaven and hell. Not only do we find kerugma about the afterlife, but also information. The message has also transformation as a goal. / Hier word ondersoek waar die eerste getuienis gevind kan word dat die mens in die lewe na die dood begin glo het. Daarna word ondersoek waar ons die eerste getuienis vind dat mense begin glo het in 'n skeiding na die dood. Hier word antwoorde gevind by die primate religiee, die tradisionele godsdienste van Afrika en Amerika, die vroee-Hindoelsme van Indie; die Boeddhisme; Egipte; Babilonie (Irak); die Zoroastrisme van Persie (Iran); die Hellenisme van die Grieks-Romeinse wereld; die Ou Testament; die apokaliptiek in die apokriewe - die Intertestamentere literatuur en die Nuwe Testament. Daar was 'n voorbereiding vir die koms van Jesus Christus. As gevolg van sy kruisdood en opstanding staan Jesus uit as historiese figuur in die wereldgeskiedenis. Hy is uniek. Na sy opstanding het Hy nooit weer gesterf nie. Jesus Christus is die waarborg dat mense ook sal lewe na die dood. In sy prediking het Hy by sekere elemente van die bestaande gedagtes oor die lewe na die dood aangesluit. Hy het verkondig dat daar 'n hemel en 'n hel sal wees as ewige seen of ewige straf. Die Evangelie hied die realiteite van die hemel en die hel in beeldspraak aan, om daardeur die dringende boodskap tuis te bring. Christus word verkondig as die Verlosser van sondeskuld en die ewige straf, tot die ewige ]ewe. Die gegewens in die Nuwe Testament oor die hemel en die hel het dus nie net steeds kerugmatiese waarde nie, maar dit bevat ook inligting (informasie) en het ook transformasie ten doel. / Systematic Theology and Theological Ethics / D.Th. (Systematic Teology)

Text in Afrikaans with summaries in Afrikaans and English / Where do we find the first evidence of a belief in life after death, and a divide or separation in the afterlife? We find answers in the primal and traditional religions in Africa and America, Hinduism, Buddhism, Egypt, Babylonia, Persia, Hellenism, the Bible and the apocrypha. There had been a preparation for the work and words of Jesus. He is unique. After His death and resurrection as historical figure, He never died again. He is our guarantee for life after death. His Gospel includes eternal heaven as well as eternal hell. He is proclaimed as Saviour. The New Testament uses metaphors to convey the reality of heaven and hell. Not only do we find kerugma about the afterlife, but also information. The message has also transformation as a goal. / Hier word ondersoek waar die eerste getuienis gevind kan word dat die mens in die lewe na die dood begin glo het. Daarna word ondersoek waar ons die eerste getuienis vind dat mense begin glo het in 'n skeiding na die dood. Hier word antwoorde gevind by die primate religiee, die tradisionele godsdienste van Afrika en Amerika, die vroee-Hindoelsme van Indie; die Boeddhisme; Egipte; Babilonie (Irak); die Zoroastrisme van Persie (Iran); die Hellenisme van die Grieks-Romeinse wereld; die Ou Testament; die apokaliptiek in die apokriewe - die Intertestamentere literatuur en die Nuwe Testament. Daar was 'n voorbereiding vir die koms van Jesus Christus. As gevolg van sy kruisdood en opstanding staan Jesus uit as historiese figuur in die wereldgeskiedenis. Hy is uniek. Na sy opstanding het Hy nooit weer gesterf nie. Jesus Christus is die waarborg dat mense ook sal lewe na die dood. In sy prediking het Hy by sekere elemente van die bestaande gedagtes oor die lewe na die dood aangesluit. Hy het verkondig dat daar 'n hemel en 'n hel sal wees as ewige seen of ewige straf. Die Evangelie hied die realiteite van die hemel en die hel in beeldspraak aan, om daardeur die dringende boodskap tuis te bring. Christus word verkondig as die Verlosser van sondeskuld en die ewige straf, tot die ewige ]ewe. Die gegewens in die Nuwe Testament oor die hemel en die hel het dus nie net steeds kerugmatiese waarde nie, maar dit bevat ook inligting (informasie) en het ook transformasie ten doel. / Systematic Theology and Theological Ethics / D.Th. (Systematic Teology)

À l'opposé du Paradis céleste que rejoignent les élus, les artistes romans ont imaginé le monde de tourments qui attend les pécheurs. Ce lieu de terreur, duquel s'élèvent « des pleurs et des grincements de dents » (Matth. 22, 13), ne peut être illustré sous des formes simples et communes. L'imagerie médiévale, précocement, dès le IXe siècle dans le domaine anglo-saxon, donne à l'Enfer l'apparence d'une tête hybride, la Gueule d'Enfer. Sculpteurs et enlumineurs se sont-ils inspirés de monstres issus des mythologies païennes anciennes et contemporaines ? Sur quelles sources textuelles se sont-ils appuyés pour élaborer ce motif ? Aisément reconnaissable, l'image de la Gueule s'inscrit dans les nombreuses représentations du Jugement Dernier et de la Descente du Christ aux Enfers. Une étude typologique pourra déterminer l'influence de la présence et de l'aspect de la Gueule d'Enfer sur la signification de ces épisodes fondateurs du Christianisme. La Gueule terrifiante devient le symbole même d'un Enfer fantasmagorique et vivant ; elle envahit progressivement toute l'iconographie religieuse et il convient de voir si elle ne modifie pas le sens de nombreux épisodes bibliques. Présente encore à l'époque gothique, la Gueule d'Enfer est transformée par les artistes de la fin du Moyen Âge, avant de disparaître progressivement de l'iconographie religieuse. Si l'Enfer médiéval a suscité de nombreuses études, le motif de la Gueule dévorante a paradoxalement peu attiré l'attention des Historiens de l'Art. Cette thèse tend à combler, au moins en partie, cette lacune. / Opposed to the Celestial Heaven waiting for the blessed, the roman artists invented a netherworld waiting for the sinners. This terrifying place, from where « tears and gnashing of the teeth » arrive (Matth, 22 , 13 ) cannot be illustrated in simple and common ways. As soon as the 11th century, in the anglo-saxon world, Hell was represented as an hybrid head, the Maw of Hell, in the medieval imagery. Did the sculptors and the illuminators get their inspiration from the monsters belonging to the oldest and contemporary pagan mythology ? Which textual sources did they use to elaborate this pattern ? Easily recognisable, the image of the Maw is one of the many representations of the Last Judgment and of Christ's Descent to Hell. A typological study will determine the influence of the presence and the aspect of the Maw of Hell on the meaning of those founding episodes of Christianism. The terrifying Maw became the symbol of a fantasmagoric and real hell slowly invading the whole religious iconography and it is worth wondering if it didn't change the meaning of many biblical episodes. Still present during the Gothic period, the Maw of Hell was changed by the artists of the late Middle Ages, before disappearing slowly from religious iconography. If medieval Hell was the subject of many studies, the Maw of Hell surprisingly attracted few Art History researchers. This thesis partially tries to fill this gap.

“LINDA LAND” is a short story about a man who created an amusement park based on Hell, and his teenage son, who has developed a crush on the preacher’s daughter. Though there are many real-life muses that inspired the story—like Simon Rodia, the artist behind the Watts Towers—the four main literary sources are William Shakespeare’s play, “Romeo and Juliet,” Karen Russell’s novel, “Swamplandia!,” Sylvia Plath’s poem, “Mirror,” and Charlie Kaufman’s screenplay, “Adaptation.”

This study will embrace certain features of postmodern experience so as to underline subjective embodiment as the condition, corollary, and appropriate focus of textual, rhetorical, and sociopolitical criticism. It will theorize somantics as a conceptual toolkit for mapping the structural correspondence of embodiment to the symbolic order, each thus emerging as the other’s non-foundational “efficient reason.” This study will argue that the flesh mediates the theoretic divisions of structuralism, deconstruction, psychoanalysis, and existentialism, although not in a priori or essentialist ways. It will draw from their vocabularies, combining them into a vocabulary of its own while retexturing their relation to one another. It thus aspires to reduce all rhetorics and metaphysics to the somantic, so as to sabotage conservative fundamentalisms and to establish the terms for an argument with enthusiasts of transhumanism. Moreover, this study will suggest that theoretic systems, cultural messages, and sociopolitical speech-acts inattentive to the condition of embodiment—whether that of their agents, interlocutors, or material mediums of expression— must then seem at once suspicious, maladaptive to the sense contingencies of the moment, and deserving of somantic reduction. In correcting these faults, it will also resist systematizing or universalizing sense-experience; it will function rather as a corpus of maps that rechart the volatile, moment-to-moment interimplication of the somatic and the symbolic. Thus this study takes axiomatically Frederic Jameson’s claim that intertextuality replaces history in the era of transnational capital, seeing in this argument the strategic advantage of taking a theoretic standpoint against diachronic modalities of time. Arguing for the reconstruction of certain narratives as distortions, if not outright falsifications, of the simultaneation of needs, impressions, and changes in a subject’s sense-experience, this study will redirect attention to the relation of certain discourses to the bodies of their interlocutors.

Thesis (Ph.D.) - University of St Andrews, May 2008.

Le paradis constitue un des aspects essentiels de chacune des deux religions. Imaginé comme un lieu de bonheur et de perfection, il est décrit à partir des réalités terrestres. C’est un lieu dont les textes bibliques et coraniques, les écrits des Pères de l’Église, les hadîths et la littérature ont fourni différentes présentations. Un lieu dont les visionnaires ont donné de surprenantes descriptions. Un lieu de beauté que les artistes n’ont cessé d’illustrer pendant des siècles. Le faire découvrir, comprendre ses multiples éléments a nécessité non seulement de l’insérer dans un contexte historique mais aussi de le situer dans un cadre eschatologique, en examinant les autres lieux de l’au-delà. Notre recherche a tenté une étude comparative de ces textes scripturaires dans le christianisme et dans l’islam. Il s’agit de confronter les données exégétiques, dogmatiques et iconographiques dans l’espoir de découvrir les approches respectives et les principales différences entre les visions du paradis et du monde de l’au-delà dans le christianisme et dans l’islam. À travers cette réflexion, il apparaît que l’imaginaire du paradis dans ces deux religions dépend dans une large mesure de la manière de concevoir les textes de référence et de les interpréter. Mais il reste toujours la question de savoir comment ce terme est utilisé aujourd’hui, surtout dans le monde islamique. L’aspect militant de cette thèse est une mise en question, voire une réfutation des promesses paradisiaques faites aux musulmans exerçant de nouvelles formes de violence qui suscitent une foule de candidats au meurtre. / Paradise is an essential aspect of both religions, for which earthly realities have been used to imagine a place of happiness and perfection. Its concepts are to be found in the Bible as well as the Quran, the writings of the Fathers of the Church, the hadiths and more general literature. Visionaries have reported stunning descriptions of it, and its beauties have never ceased to be illustrated by artists over the centuries. In order to discover, know, understand its multiple aspects, it has been necessary, not only to insert it into the context of history, but also to situate it in the realm of eschatology and to examine the other places of the great Beyond. Our research attempts to elaborate a comparative study between the Holy Scriptures of Christianity and Islam. We have confronted exegetic, dogmatic and iconographic data so as to find out the coherence inherent to each religion, hoping thereby to discover their specific approaches and the main differences between their own visions of Paradise and afterlife. Our reflection has led us to conclude that the images of Paradise in Christianity and Islam are derived from the way the texts are considered and interpreted. But the remaining question is the use of the word nowadays, particularly in the context of Islam. This dissertation thus questions, even refutes the promises of Paradise made to Muslims under the guise of new forms of violence calling forth crowds of candidates to murder.

Dependency problems for developers are like sneezing for people with pollen allergies during the spring, an everyday problem. This is especially true when working in multi-repositories. The dependency problems that occur do so as a byproduct of enabling developers to work on different components of a project in smaller teams, where everything is version controlled.Nearly all developers use version control systems, such as Git, Mercurial, or Subversion. While version control systems have helped developers for nearly 40 years and are constantly getting updated, there are still functionalities that do not exist. One example of that is having a good way of managing dependencies and allowing developers to download projects without having to handle dependency problems manually. The solutions that version control systems offer to help manage dependencies (e.g., Git’s submodules or Mercurial’s subrepositories), do not enable developers a fail-safe download or build the project if it contains dependency problems.In this study, a case study was conducted at Saab Training and Simulation to explore methods for dependency management as well as discuss and highlight some of the problems that emerge when working with dependencies in multi-repositories.An argument can be made that the functionality of dependency management systems, both package managers and version control systems’ solutions are not up to date on how dependencies are used in the development, during this time.In this paper, a novel approach to dependency management is introduced with the possibility to describe the dependencies dynamically by providing the utility to describes usages of a repository (such as simulation of hardware or the main project). As well as discussing the necessary functionalities that are required to handle such a system.By re-opening the dialog about dependency management as well as describing problems that arise in such environments, the goal is to inspire further research within these areas.

The Master's thesis is focused on research of the Italian academic discourse from the years 1891-2008 dealing with the influence of the visual culture of Ravenna on Dante's Divine Comedy. One of the scholars that can be placed in the context of Italian discourse is the philologist and aesthetician Jaroslav Hruban, the only Czech scholar who occupied himself with the relationship between Dante and Ravenna and continuously followed up the development of the interwar Italian Dantology. The thesis puts forward two questions: how the scholars of the Italian academic discourse and Jaroslav Hruban reflect the relationship of Dante and Ravenna, and if we can trace the influence of the visual culture of Ravenna (especially of the mosaics from the 5th and 6th centuries) in the text of Dante's Divine Comedy. The questions are solved by application of the historiographic methods that were used to examine Italian Dantology, the methods of literary studies and art history by which analysis and comparison of the text and imagery were performed, and also the methods of visual culture that were used to reconstruct the image of Ravenna during the time of Dante's stay in the town and his "period eye". The scholars believe that the inspirational influences of the Ravenna mosaics and visual culture on Dante's Divine...

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