Religion och film är ett ämne som fångat mångas intresse, inte minst de som önskar veta huruvida film är ett lämpligt medium för religion och för de som önskar använda filmer i sin religionsundervisning. Denna undersökning kom till för att ge svar på några sådana funderingar genom att undersöka hur två filmatiseringar, Prince of Egypt och Exodus Gods and Kings, skiljer sig från ursprungsberättelsen kring Exodus som finns i andra Moseboken. För att göra detta togs tre frågeställningar fram; om det finns skillnader mellan filmateringarna och grundhistorien och hur dessa i så fall yttrar sig, hur dessa eventuella skillnader påverkar berättelsens framställning samt huruvida filmatiseringarna kan användas i ett undervisningssammanhang. Undersökningen gjordes genom att använda en komparativ metod för att jämföra utvalda scener ur berättelsen med deras motsvarighet i filmatiseringarna och undersöka aspekter så som tidshantering, karaktärer och vilken typ av text de bedöms vara utifrån några förvalda kriterier. Resultatet visade att det finns stora skillnader i tidshanteringen i de utvalda scenerna och att många karaktärer fick en marginell roll som inte uppfyllde samma syfte i filmatiseringarna som de gjorde i den ursprungliga historien. Det gick också att utröna att filmatiseringarna främst var berättande snarare än beskrivande och alltså inte hade återberättande som sitt huvudsakliga syfte utan snarare underhållning. Baserat på dessa resultat kunde slutsatsen dras att det finns ett flertal olika skillnader mellan filmatiseringarna och ursprungshistorien och att dessa påverkar berättelsens framställning i hög grad. Hur framställningen påverkas av dessa ändringar hade behövt undersökas ytterligare. Det gick även att dra slutsatsen att de inte är lämpliga att använda i ett undervisningssammanhang utan att göra eleverna medvetna om de skillnader som finns och föra en diskussion kring dem, vilket är högst tidskrävande.

Magister Theologiae - MTh / In this minithesis, I argue that the prime reason of the Deuteronomistic Historian (Dtr) for inserting the incomparability of God in Solomon's prayer is to convey his (Dtr's) theological interpretation of the history of Israel as history controlled by her sovereign God, Yahweh. Other reasons are also considered. In order to argue the main reason and others, the sociohistorical aspects of the Davidic-Solomonic era are briefly highlighted as well as the Deuteronomistic Historian, his time and theology. A closer look at the Babylonian exile shows the significance of this event in terms of the theological thought of Dtr conveyed in the passage 1 Ki. 8:23-26 and the rest of Solomon's prayer. A brief exploration of the theme "The Incomparability of Yahweh" as seen in the Deuteronomistic History is then undertaken to acquire a full comprehension of the incomparability formula within the Deuteronomistic writings. This also helps to place the formula within its immediate context, i.e. the passage and the prayer itself, and within its broader context, viz., the Deuteronomistic writings An exegesis of 1 Ki. 8:23-26 is undertaken giving further rise to lexical data leading to major themes. This critical exegesis, the lexical data and major themes lead to the postulation of the assumed reasons for the insertion of the incomparability formula by Dtr. Arguments for each reason are then put forth culminating in my argument that Dtr wants to conveys his theological interpretation of the history of Israel as history controlled by her sovereign God, Yahweh. The minithesis is concluded with an overview, reflections and theological perspectives of Dtr gleaned especially from the postulated reasons. Finally, this research shows the actuality of Dtr's theological thoughts for his time as well as for today's readers, especially in terms of the sovereignty of God, his hesed for his people and the motif of conditionality expressed in the Deuteronomistic theology permeating Solomon's prayer.

Scale 1 inch = 8 km. Drawn by William D. Bowman (July 1968). Shows route from Sycamore Shoals near Elizabethton to Kings Mountain. / https://dc.etsu.edu/rare-maps/1125/thumbnail.jpg

Submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree B.A. Honours in the Department of History at the University of Zululand, South Africa, 1993. / The History of the Mkhwanazi tribe between the UMhIathuze and the UMlalazi rivers in the east and west respectively and the Indian Ocean and the Ongoye moun tains in the South and North is an off shoot of the Mkhwanazi tribe of the chief Somkhele in the Hlabisa district • Its history can be clearly' understood by first looking at the history of the Mkhwanazi tribe in the Hlabisa district.

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During field experience as a storyteller constructing a performance based on the Battle of Kings Mountain on behalf of the Overmountain Victory Trail Association and the Overmountain Victory National Historic Trail, I encountered ethical and philosophical dilemmas. This challenge centered on ethical and spiritual convictions that put me in potential conflict with the task of creating a performance about war. This experience forms the basis of an autoethnographic approach to the art form, revealing the critical role played by personal ethics and a functioning engagement with historiography and narrative theory in producing effective performance stories. Historical performance storytelling has little developed theoretical discourse that takes into account contemporary theories of historiography and interpretation. My experience suggests that interdisciplinary thought on narrative, counternarrative, performance, and historiography should be incorporated by storytellers to aid in the production of ethical and effective historical storytelling performances.

<p> Hezekiah is portrayed as a pious and faithful king in three biblical accounts: 2 Kgs 18-20, Isa 36-39 and 2 Chr 29-32. The way Hezekiah is characterized, however, is quite different in each of these three biblical accounts. Utilizing narrative analysis, this dissertation concentrated specifically on the characterization of Hezekiah in the literary context of these three biblical accounts. Hezekiah's story was examined first as a discrete account applying narrative features separately and then as a story within the larger context of each book. Then, the portrayal of Hezekiah in the three biblical books was compared in conclusion. This dissertation demonstrated that these three biblical accounts relate the same reign of King Hezekiah in their unique way according to their purpose and their individual point of view. The Kings account focuses on Hezekiah's political events including his negative aspects in order to show the faithfulness of the LORD in His promise to David (2 Sam 7) through Hezekiah's faithful actions to the LORD. Hezekiah is portrayed as a round character whose characterization is developed within the story. In Isaiah, the Hezekiah story is reshaped by the narrator by omitting and inserting some parts of Hezekiah's narratives in the Kings account. Hezekiah is portrayed as a more faithful king than his father, Ahaz, in order to encourage the people who heard the visions of Isaiah, to trust in the LORD sincerely. In Chronicles, the Hezekiah narratives are related differently by expanding, abridging, and rephrasing his Vorlage. The Chronicles account depicts Hezekiah as the best king among the Davidic kings in order to indicate the beginning of the reunited kingdom. Thus, the Chronicles account fully expands Hezekiah's religious reforms and abridges his political events in order to portray him as a second David and Solomon. In the three accounts, Hezekiah is not portrayed as a perfect king, but instead as a limited human king in order to encourage the readers to see the LORD, the heavenly King.</p> / Thesis / Doctor of Philosophy (PhD)

The dissertation re-examines a fragmentary and understudied group of nearly 150 portrait statues representing Hellenistic kings. The surviving portrait statuary comprises a small fraction of those originally produced for kings in marble, bronze, gilded bronze, and other materials during the Hellenistic period. The corpus of extant statuary presents many interpretive challenges, from fragmentary conditions to often uncertain provenance, and from unrecognizable physiognomies of rulers to unstandardized royal iconographies. Most previous scholarship was concerned with identifying kings in their portraits, unfortunately without much success. As a result, the portraits have received relatively little attention over the past few decades, despite robust and relevant scholarly advances related to Greek portraiture and Hellenistic kingship. While most studies have focused on identifying faces and interpreting portraits in thecontext of specific reigns, the present study collates the art historical, archaeological, and textual evidence for royal portraits’ forms, iconographies, and original placements to gain a fuller understanding of the corpus. Analysis of surviving royal statue bases, literary accounts, honorific decrees detailing royal portrait commissions, and royal portraits in other media (e.g., coins, seals, bronze figurines, mosaics, etc.) reveals that royal portrait statues were often more diverse, conspicuous, theatrical, and divinizing than portrait statues representing non-royal individuals. The study demonstrates the resonances between these portrait features and the marvelous bodily adornments, choreographed movements, and calculated performances of kings' real bodies in royal rituals and spectacles, ultimately revealing that like the staged appearances of kings, Hellenistic royal portrait statues were conceived as conspicuous material syntheses of royal actors and royal roles.

In this thesis, we sought to understand the use of emotions as a political tool within the context of Spanish History in the 15th century.  Using the theoretical and methodological approach of Emotional History, heavily influenced by Barbara Rosenwein, Piroska Nagy, and Damien Boquet; we go through the royal chronicles written by Diego de Valera and Alonso de Palencia, analyzing the uses of emotions as a way of controlling the narrative of the kingdom.  We see that emotions not only had a complex range of meanings and symbolism attached, but also that these were used to paint the image of monarchs in a brighter or darker light.

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