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Thesis (M.A. in Religion)--Vanderbilt University, May 2008. / Title from title screen. Includes bibliographical references.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2001. / Vita. This is an electronic reproduction of TREN, #033-0622. Includes bibliographical references (leaves [183]-203).

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Thesis--Catholic Univ. of America. / "An inquiry into the Christological doctrine found scattered throughout the Tractatus ... of St. Zeno." Biographical note. "Select bibliography": p. xi-xiv.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2001. / Vita. This is an electronic reproduction of TREN, #033-0622. Includes bibliographical references (leaves [183]-203).

O objetivo desta pesquisa é analisar o conceito da encarnação de Deus, desdobrando-se a uma fluência progressiva na concepção da fenomenologia até a culminação na conclusão de Mircea Eliade, quando apresenta a encarnação como fator integrante de algumas religiões e a suprema hierofania. A partir dessa análise, será descrita a encarnação, perpassando pela perspectiva cristã de vê-la como verdade existencial e seu contexto de controvérsia para ser salvaguardado pelos credos dos seus principais concílios: Niceía e Calcedônia. Chegando ao surgimento de uma nova e atual releitura, que apresenta a compreensão da encarnação como metáfora, proposta por John Hick, embasada pela cosmovisão do pluralismo religioso; buscando problematizar algumas consequências para a autocompreensão do cristianismo / The objective of this research is to analyze the concept of the incarnation of God, unfolding to a gradual creep in the design of phenomenology to the culmination at the conclusion of Mircea Eliade, when present incarnation as an integral factor of some religions and supreme hierophany. From this analysis, will be described the incarnation, passing through the Christian perspective of seeing it as truth and existential context of controversy to be safeguarded by the creeds of its major councils: Nicea and Chalcedon. Coming to the emergence of a new and modern reinterpretation that has the understanding of the incarnation as a metaphor, proposed by John Hick, based worldview of the religious pluralism; seeking discuss some consequences for the self-understanding of Christianity

La coappartenance de l’abstraction et de la liberté constitue le ressort d’un questionnement sur l’être-au-monde à partir du tableau. Tableau ici n’est pas seulement à comprendre dans son acception esthétique, comme œuvre d’art mais comme la monstration, au moyen de la peinture, de la structure qui préside à l’événement de l’être et du monde. Un tableau n’est pas abstrait, souligne le peintre Pierre Dunoyer, mais fondamentalement une abstraction. Un tableau témoigne en effet d’une saisie et d’un dévoilement de ce qui a été oublié et caché. Il atteste de la différence ontologique et plus encore du processus à l’origine de cette scission entre l’être et l’étant. Il montre la liberté se libérant, la puissance de détermination en acte, s’affirmant dans la finitude de l’objet. Face à un tableau, l’être ne se voit pas. Il est convoqué, tenu d’advenir à soit-même comme être s’il veut que le visible lui parvienne. Voir un tableau ne relève donc de la sensation qu’en tant que celui-ci doit être perçu pour que le phénomène ai lieu. Mais il s’agit véritablement de s’éprouver soi-même comme l’« ouvert-ouvrant » qui préside à la phénoménalisation du monde. Le tableau est indissociable de l’avènement de la conscience dans la mesure où c’est par l‘Autre, dans le surgissement de la limite, que la conscience arrive et au rythme du logos qu’elle se déploie. Le tableau est une figure de cette parole ontologique qui nous façonne dans son dire. Cette recherche est le fruit d’un effort pour advenir à soi-même dans la conscience du tableau et renouveler, pour l’ensemble des hommes, la promesse de liberté. / The fact that abstraction and freedom belong to one another eables us to question the “being-at-world” from paintings. Paintings are not to be understood in an aesthetic way, as works of art, but as a structure demonstrating the event : the being and the world together. A painting is not abstract, emphasizes the painter Dunoyer, but fundamentally an abstraction. In effect, a painting unveils what has been forgotten and hidden. It attests to the ontological difference and to the process at the origin of the split between being and beingness. It shows freed, the power of determination in actuality, asserting itself in the finite object. Being cannot actually be seen by looking at a painting. It is summoned, obliged to become itself if it wants to see the world as its own. To see a painting is a matter of sensation only because a painting has to be perceived if the phenomenon is to take place. But it is rather a matter of experiencing oneself as the one who is “opened and opening” and therefore governs the world’s phenomenalization. Paintings cannot be separated from the arrival of consciousness as long as consciousness is first linked to the Other which limits it and secondly, to the logos which rhythms its growth. Painting are figure of the ontological speech that models us while speaking. This research is the result of an effort to become oneself by becoming aware of paintings. It aims at giving us a new insight into freedom’s promise.

In writing these following pages, I have carefully avoided criticism of any kind. In these pages, I have mentioned the main differences between the Hindu and Christian faiths. I have treated this subject of incarnation with due respect to both the religions. If the subject could be discussed on an evaluative basis, then there would be the possibility of coming to the conclusion that there is less truth and more truth in different religious faiths. The most important consideration will be the truth value. In the incarnation stories, man is restored by God’s creative act to his original state.