Made available in DSpace on 2016-08-03T12:19:02Z (GMT). No. of bitstreams: 1 Lech Leszek Antoni.pdf: 1063520 bytes, checksum: 6ca5632790d5fbff138bcc7cf04d0538 (MD5) Previous issue date: 2006-03-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / John of Patmos, using literary and dramatic elements and the scenic and liturgical structure, created in his Book of Revelation a specific symbolic universe. The protagonists of this universes images are divine beings as well as humans that are present among them, exaltedly singing and praising God. During the process of composition, the author inspired himself by the apocalyptic and eschatological traditions of the merkavah vision traditions present in the books of Ezechiel, Daniel and 1 Henoch, and made his own reading of these traditions that complies with his own literary objectives and the needs of the readers / auditors of his writing. The celestial and human beings emphasized in the images, and the presence of merkavah traditions, indicate that Revelation is part of a certain current of the contemporary apocalyptic literature. It is noteworthy that in apocalypticism, Qumran, and the hekhalot literature, as well as in Revelation, there are evidences of an intense ecstatic experience of heavenly cult groups. The scenery of these visions is mainly liturgical, located inside a heavenly temple. The images, produced by interpretations of mystical experiences in Ezechiel, 1 Henoch, and other mystic writings, were meditated and enriched by experiences of heavenly journeys which prophetic groups experimented during their earthly cults. In the mystical experiences registered in the analyzed parts of the Revelation of John could be perceived certain characteristics of the heavenly voyagers. In the discourse about the vision of universe they see and describe, they reveal their beliefs, challenges and expectations; this means: they reveal their religious self-understanding. Beyond the identity of the heavenly cults performers, we also perceive the highly creative character and function of the ecstatic phenomena in general and specially in the Revelation of John. The writing reveals and promotes the structure of a perfect and complete divine-human world which is in permanent move. By means of its inherent symbolism, this world manifests the idea of creating, recreating and governing the entire universe. The human beings participate actively in this universe and cooperate with its reconstitutive function. This cooperation with the reconstitution of the universe is present and actual, even though the plenitude of this reconstitution is reserved for the future. / João de Patmos, através de elementos literários e dramáticos e da estrutura cênica e litúrgica, criou no Apocalipse um universo simbólico específico. As imagens deste universo são protagonizadas tanto por seres divinos como também por pessoas humanas que se encontram exaltadas entre os seres celestiais, cantando e louvando a Deus. Durante o processo da composição, o autor da obra se inspirou na tradição apocalíptica e escatológica das tradições visionárias merkavah presentes em Ezequiel, Daniel e 1 Enoque, e fez uma leitura própria destas tradições que obedece aos seus próprios objetivos literários e às necessidades dos leitores / ouvintes do escrito. Os seres celestiais e humanos destacados nas imagens, e a presença de várias confluências de tradições merkavah indicam que o Apocalipse se insere numa vertente da literatura apocalíptica contemporânea do escrito. É notável que, tanto na apocalíptica, em Qumran, na literatura hekhalot como no Apocalipse, há indícios de uma intensa experiência extática de grupos de culto celestial. O cenário de visões é prioritariamente litúrgico, dentro de um templo celestial. As imagens geradas pela leitura das experiências místicas de Ezequiel, 1 Enoque e outros escritos místicos eram contempladas e enriquecidas pelas experiências de viagens celestiais de grupos proféticos durante cultos terrestres. Nas experiências místicas registradas nos fragmentos analisados do Apocalipse de João podem ser percebidas certas feições dos viajantes celestiais. Nos seus discursos sobre a visão do mundo que contemplam e definem, eles revelam suas crenças, desafios e expectativas, a sua auto-compreensão religiosa. Além da identidade dos protagonistas dos cultos celestiais percebe-se também o caráter e a função altamente criadores do fenômeno extático em geral, como também, em particular, no Apocalipse de João. O escrito revela e promove uma estrutura do mundo divino-humano completo e perfeito que está num movimento contínuo, um mundo que, com toda a simbologia inerente, expressa a idéia de criar, recriar e governar o universo inteiro. Os seres humanos participam ativamente deste universo e cooperam com a função reconstituinte dele. Essa cooperação na reconstituição do mundo tem um caráter presente e atual, embora a plenitude desta reconstituição esteja reservada para o futuro.

This study strives to chart the occurrence of mystic and kabbalistic influences inthe textual liturgic material of Jewish prayer books - siddurim - in Stockholm,during the 19th century as well as of today. Two prayer books, both focusing onthe prayer service for sabbath and festivals, were studied and compared to amaterial corresponding to a more traditionally inclined ashkenaz liturgy. Alongsidethis comparative method, the study made use of the hermeneutics of Hans-GeorgeGadamer in order to gain a more thorough understanding of the backgroundleading up to the selection of materials within the Swedish siddurim. This involveda broad historical research of Jewish mysticism, Jewish liturgy and Jewish life inSweden. Furthermore, the reception history theory of Gadamer and Hans-RobertJauss was employed to analyze the reception of mystic and kabbalistic influencesupon the Swedish prayer books, taking in account the ways in which religioustexts are viewed within a certain tradition, depending on theological agendas,historical context, and the intercommunion between these, especially taking thereformist wave of Judaism in the 19th century under consideration. The results andanalysis came to show that, although there had been an extensive purge of explicitkabbalistic materials in the 19th century, texts with very clear connotations tomerkavah mysticism still remained. The siddur in use today has also reintroducedkabbalistic material to the liturgy. Through the lens of reception history theory,mystic and/or kabbalistic influences are shown to be a part of Jewish liturgy inStockholm, sometimes understood as an integral part of a wider liturgic tradition,sometimes as a devotional - but not explicitly esoteric - addition to the prayerservice.