Defending against an amphibious operation is one of the most complex operations in warfare, especially for a small coastal state. Despite this, there is only a limited amount written about how a small coastal state should defend itself against an amphibious operation. This study explains how a smaller coastal state manages to delay an amphibious landing despite being disadvantaged. The purpose of this paper is to explain how the Norwegian coastal defense managed to delay the German invasion of Oslo on April 9, 1940. The research was conducted using the qualitative text analysis method, to obtain a good overall picture of the invasion with several independent sources. Jacob Børresen's theoretical framework, which deals with how smaller coastal states should defend themselves against overwhelming resistance, was used to analyze the empirical material. His theory is broken down into four analytical dimensions: Coast artillery, Robust command structure, Combined defense and Intelligence. The results show that the main success factor for the Norwegian coastal defense was their coastal artillery, that sank the German cruiser Blücher. The conclusions drawn from the study are that good leadership and timely intelligence are vital for the coastal artillery to be effective.

Indiana University-Purdue University Indianapolis (IUPUI)

Jacob Sjölin var verksam som möbelsnickare under 1700-talet och signerade och numrerade i princip hela sin produktion. Det råder dock en osäkerhet kring exakt hur hans signering och numrering gick till. Han använde nämligen sig av tre olika stämplar samt hade skilda nummerserier för olika möbelkategorier. För att försöka få en klarhet kring detta har en verkförteckning upprättats innehållandes 337 av Sjölins tillverkade föremål från främst museisamlingar, auktioner och litteratur. Det här är den största samlade förteckningen över föremål tillverkade vid Jacob Sjölins verkstad och ger ett grepp om hans verkstads produktion. Vad som är typiskt för Sjölins produktion samt skillnader inom de olika möbeltyperna undersöks genom verkförteckningen. För en djupare förståelse för föremål tillverkade vid Sjölins verkstad undersöks även tre möbler närmare i fallstudier där konstruktion och stilistiska aspekter lyfts. Det kan konstateras att Sjölin använde sig av kategorierna byråar, fällbord och schatull/skrin. Utöver dessa finns det ytterligare kategorier som inte med säkerhet kan fastställas i denna uppsats. Inom de fastställda kategorierna är skillnaderna små, men de finns. Det handlar bland annat om form, storlek och detaljer. När det gäller stämplarna kan det fastställas att typ A kom först och att den även användes parallellt med typ C. Typ B kom därnäst och pryder föremål från verkstaden i Köping. När verkstaden flyttade till Kungsör började typ C att användas.

The purpose of choreographing "Jacob Five: A Journey into the Olive Vineyard" was to artistically express a religious allegory in order to praise God as well as to bring the audience, dancers, and choreographer to a new understanding of the passage from which it was derived. The 39-minute dance was presented April 10, 1993 as a dance fireside. Following the performance, an informal discussion was held to give the audience an opportunity to respond to the dance. These comments were considered and recorded as part of the evaluation of this thesis. Both the thesis and video of "Jacob Five: A Journey into the Olive Vineyard" are available through the Brigham Young University Department of Dance.

The study departs from a technical examination of the panel painting Polyxena is Sacrificed in the Stockholm University Collection of Art, establishing the artistic process, level of ambition, and material choices by means of multispectral imaging techniques and elemental analysis. The artist, Jacob de Wet I, was both a well-reputed Haarlem-painter who specialized in small scale history paintings and headed a mass-producing workshop which supplied the low-end art markets of Haarlem and Amsterdam. The study places this artwork within the artist’s broad range of production. Further, the social and cultural contexts of the painting are investigated by comparing it to other artist’s versions of the subject, by means of an iconographical analysis of the image, and by examining its prominent theatrical features in relation to Dutch theatre traditions. By combining the technical, social, and cultural findings, the study aims to establish – and to delimit – a specific place in the art market and to suggest a possible type of customer for the painting. Confirming the work’s originality and authenticity, the results show an intuitive, thus likely time-consuming artistic process, a wide palette including expensive pigments – all indicative of a high level of ambition. In combination with the subject matter, these results suggest the painting to be a commissioned work. Further, the image and its social and cultural context, indicate the commissioner to be a person of some formal power within the Amsterdam society, seeking to communicate high erudition and to express liberal political views.  De Wet effectively expresses his message using a combination of painterly effects, including the materiality of the paint.

During the 5th-6th century multiple clashes of theological debate engulfed the Roman empire after the heated council controversies of Ephesus and Chalcedon. The aftermath sparked factions and formulated alliances dependent on their hermeneutical and dogmatic positions. This study inquires Narsai of Nisbis and Jacob of Serugh who are characterized by the late-antique’s drama and compares their hermeneutical backgrounds in relation to their beliefs.

L’histoire de Joseph, corpus choisi pour notre analyse, a été souvent étudiée d’une manière qui demeure fragmentaire, au travers de différentes approches : typologique, mythologique, légendaire, historique, sapientielle, contextuelle… Plus récemment, l'interprétation historico-critique cherche à discerner comment le texte de Gn 37-50 a été produit. Cette lecture prend également en compte la question du milieu de production, de l’auteur réel et de ses destinataires historiques. André Wénin, dans son ouvrage intitulé Joseph ou l’invention de la fraternité. Lecture narrative et anthropologique de Gn 37-50, a fait une brillante analyse narrative de ce texte. L'auteur porte attention à la manière dont le récit est raconté, et dont le narrateur déploie une stratégie de communication à l'intention du lecteur. Son souci est de voir comment le texte exerce efficacement une influence sur le lecteur. Il déplace donc l’intérêt du pôle de l’auteur vers le pôle du lecteur. En nous situant dans une approche narrative telle que développée par Wénin, nous cherchons ici à approfondir plus particulièrement la question de la voix narrative du récit biblique, pris comme tel dans son état final. L'objectif de notre recherche est de répondre à la question : comment le narrateur parle-t-il dans le récit ? Pour atteindre ce but, nous établissons un cadre théorique à partir de la proposition de Daniel Marguerat sur la voix narrative (Pour lire les récits bibliques). Nous nous appuyons aussi sur la théorisation de la voix narrative réalisée par Gérard Genette (Figure III). Sur ces bases théoriques et en recourant à certains critiques littéraires tels que Mieke Bal, Lucien Dällebach, Philippe Hamon, Vincent Jouve, Jean Ricardou, nous cherchons à identifier la « voix » qui raconte l’histoire et qui guide le lecteur dans le récit. Un narrateur peut commencer son récit en ces termes : je vais vous raconter l’histoire de Joseph. En ce cas, la voix narrative s’exprime par le « je » du narrateur, présent dans l’histoire qu’il raconte. Le narrateur peut également exprimer sa voix via des procédés narratifs et c'est le cas dans l'histoire de Joseph. Dans cette situation, même si c'est toujours le narrateur qui parle, sa voix n’est perceptible qu'à travers les dispositifs narratifs. Ceux-ci sont donc des moyens que le narrateur met en œuvre pour entrer en communication avec le lecteur. Pour notre analyse, nous choisissons trois procédés littéraires qui nous permettent d'illustrer les trois fonctions les plus significatives, à notre sens, de la voix narrative : les dispositifs évaluatifs pour la fonction idéologique, la mise en abyme pour la fonction de régie et la transtextualité pour la fonction testimoniale. En exploitant ces dispositifs, nous proposons une lecture renouvelée de l'histoire de Joseph. Au terme de notre parcours, nous montrons dès lors aussi comment faire de la théologie, en l'occurrence une théologie de la réconciliation, sur la base de la méthode narrative. / The Story of Joseph, corpus chosen for our analysis, was often studied in a way that remains fragmentary, throughout different approaches: typological, mythological, legendary, historical, sapiential and contextual. More recently, the interpretation of historical criticism seeks to identify how the text was produced. This reading also takes into account a question of the means of production, of the real author and of the historical recipients. André Wénin, in his book entitled “Joseph ou l’invention de la fraternité. Lecture narrative et anthropologique de Gn 37-50”, made a brillant narrative analysis of this text. The author pays attention to how the story is related and to the manner with which the narrator deploys a communication strategy directed towards the reader. His concern is to see how the text exercises efficiently an influence upon the reader. Thus, he moves the interest from the point of view of the author to the point of view of the reader. By situating ourselves in a narrative approach as developed by Wénin, here we seek to deepen more particularly the question of the narrative voice of the biblical story, taken as it is in its final state. The object of our search is to answer the question: How does the narrator speak in the narrative? In order to attain this goal, we establish a theoretical structure starting from the proposal of Daniel Marguerat on the narrative voice (Pour lire les récits bibliques). We also emphasize the theorization of the narrative voice realized by Gérard Genette (Figure III). In these theoretical bases and having recourse to certain literary critics like Mieke Bal, Lucien Dällebach, Philippe Hamon, Vincent Jouve, Jean Ricardou, we seek to identify the “voice” that relates the story and which guides the reader in this story. A narrator can begin his story in this way: I will tell you the Story of Joseph. In this case, the narrative voice is expressed by the “I” of the narrator, present in the story that he is relating. The narrator can also express his voice via the narrative devices and this is the case in the Story of Joseph. In this situation, even if it is always the narrator who is speaking, his voice is only perceptible through the narrative devices. These devices are the means by which the narrator uses to enter into communication with the reader. For our analysis, we chose three literal devices that permit us to illustrate three functions which are the most significant, in our understanding, of the narrative voice: The evaluated devices for the ideological function, the “mise en abyme” for the directing function and the transtextuality for the testimonial function. By exploiting these devices, we propose a renewed reading of the Story of Joseph. At the end of our literal journey, we therefore show how to use theology, in the occurrence of a theology of reconciliation, on the basis of the narrative method.

Thesis advisor: Andrew Davis / Thesis advisor: Ernesto Valiente / Thesis (STL) — Boston College, 2023. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

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