Thesis (M.A.)--Missouri State University, 2008. / "May 2008." Includes bibliographical references (leaf 57). Also available online.

The nature of Matthew’s community has been investigated by a number of scholars in the past and present. Currently, the debate centers on whether the Matthean community was a society with egalitarian structure consisting of equals. This study has also focused on the social structure of the Matthean community. The basic question is whether (or not) the Matthean community was an egalitarian group in an ancient advanced agrarian society in the first century Mediterranean world. If so (or if not so) does the Matthean community lack a hierarchical structure? This study suggests that the Matthean community was not an egalitarian structured society. The term “egalitarian” would not be applicable to the Matthean community, because the term “egalitarian” is a modern Western political and philosophical concept, which has its origin in the French revolutionary movement. The Matthean community was rather a socially stratified group in an ancient advanced agrarian society in the first century in the Mediterranean world. Consequently, the Matthean community was not a society with an egalitarian structure; rather, it was an inclusively structured society. This study has utilized two methodologies. Firstly, the investigation uses narrative criticism to analyse Matthew’s intention of his inclusive structured community depicted through Jesus’ inclusive ministry. This methodology considers the narrator’s point of view concerning Jesus’ ministry as he journeyed from Galilee to Jerusalem. Secondly, this research uses social scientific criticism to explore the Matthean text in order to consider Jesus’ ministry. This approach on Jesus ministry was reflected in the context of Matthew’s inclusive structure community. The Matthean community was socially mixed, consisting of Israelites and Gentiles. It was written in the years between 80 to 90 CE. The city of Antioch was the most likely setting for Matthew’s inclusive community, however hierarchically structured. A narrative point of view reading of Matthew’s story shows that Jesus was the protagonist involved in an inclusive ministry in accordance to God’s plan for the salvation of all people. The Israelite leaders are antagonistic to Jesus’ ministry, and they exclude social and religious outcasts. The disciples of Jesus help Jesus with his inclusive ministry, while the crowds help the Israelite leaders. However, there are times when the disciples do not understand Jesus’ inclusive ministry. The audience of Jesus’ inclusive ministry was the crowd. This inclusive ministry shifts from Galilee to Jerusalem and his ministry comes into conflict with the ideology of the Israelite leaders. Jesus’ focus was inclusive but the Israelite leaders were exclusive. Matthew’s depiction of Jesus’ inclusive mission completed with his death on the cross. A social scientific approach reveals that Matthew’s interpretation of Jesus’ inclusive ministry is directed to social and religious outcasts. His ministry includes sick people, sinners and tax collectors who are from the lower classes within a hierarchically structured society. Jesus’ ministry was reflected in the context of Matthew’s inclusive community. This study shows that the Matthean community was not a society with an egalitarian structure; rather, it was an inclusively structured society within a hierarchical context. / Thesis (PhD (New Testament))--University of Pretoria, 2006. / New Testament Studies / unrestricted

Made available in DSpace on 2016-03-15T19:45:21Z (GMT). No. of bitstreams: 1 Paula Silveira de Aquino.pdf: 649184 bytes, checksum: ea91ece85f2f7b8435a364d34eb034f5 (MD5) Previous issue date: 2011-02-09 / This Mastership Dissertation presents analysis of the narrative point of view in the short-stories "The fall of the House of Usher", "The Tell-Tale Heart", and "Berenice", by Edgar Allan Poe, with basis on theories by Norman Friedman, which is approached by Ligia Chiappini Moraes Leite (2002), and Wayne C. Booth, about the unreliable narrator Some theoretical considerations approached by Poe, in the "Philosophy of the composition" (1846) and in other essays translated by Baudelaire (2003), are also utilized. Considerations by Todorov (2004), Freud (1919), Jung (1961) apud Philippov (1999), and Castex (1951) apud Philippov (1999), about fantastic theories are also approached. It is verified that all the analyzed works are narrated in first person. It means that the narrator is always a participating character of the story. It was possible to evidence that there is, in all of them, a contradiction between what the narrator proposes himself to do and that which is permitted by the situation he is inserted in. The trials in helping a friend, who lives in a full of melancholy house, to alleviate a nervous agitation are all vain, since it is the mansion‟s owner who ushers the narrator to execute his habitual activities. In the second short-story, the character who does not accept to be called mad and wants to show all the calm, precaution and perfection he had when he killed the old man he used to look after, suffers from an acuteness of the sense of hearing, which makes him hear the beats of the murdered man‟s heart. This sound shows the limits between the narrator's calm and fury, until the moment in which he, believing that the policemen could hear the same thing he could, and would be making a mockery of him, confesses the crime. Finally, the narrator Egaeus is conscious that he always had a bad health and recognizes that his reality of life is different from the one of other characters around him. In spite of saying that he does not seek to convince, Egaeus makes long explanations about the features of his illness and tries to avoid technical language, so that the common reader is able to comprehend him. He hopes that the revelation of his consciousness of the crime, and of the consequent family dishonor could assuage his guilt. / Esta Dissertação de Mestrado apresenta análises do ponto de vista narrativo nos contos "A queda da Casa de Usher", "O coração denunciador" e "Berenice", de Edgar Allan Poe, com base nas teorias de Norman Friedman, abordada por Ligia Chiappini Moraes Leite (2002), e de Wayne C. Booth (1980), a respeito do narrador pouco digno de confiança. Também são utilizadas algumas considerações teóricas abordadas por Poe na "Filosofia da composição" (1846) e em outros ensaios traduzidos por Baudelaire (2003). Em se tratando de teoria fantástica, abordam-se considerações de Todorov (2004), Freud (1919), Jung, (1951) apud Philippov (1999) e Castex (1961) apud Philippov (1999). Verifica-se que todas as obras analisadas são narradas em primeira pessoa. Isso significa que o narrador é sempre uma personagem participante da história. Foi possível constatar que há, em todas elas, uma contradição entre o que o narrador se propõe a fazer e aquilo lhe é permitido pela situação em que ele se insere. As tentativas de ajudar um amigo, que vive em uma mansão cheia de melancolia, a aliviar sua agitação nervosa, são todas vãs, já que é o dono da mansão conduz o narrador a realizar suas atividades habituais. No segundo conto, a personagem que não aceita ser chamada de louca e quer demonstrar toda a calma, precaução e perfeição que teve ao matar o velho de quem cuidava, sofre de uma acuidade do sentido da audição, que faz com que ela ouça o bater do coração do homem assassinado. Este som mostra os limites entre a calma e a fúria do narrador, até o momento em que ele, acreditando que os policiais podiam ouvir o mesmo e estavam zombando dele, confessa o crime. Por fim, o narrador Egaeus é consciente de sempre teve uma má saúde e reconhece que a sua realidade de vida é diferente da de outras personagens ao seu redor. Apesar de dizer que não pretende convencer, Egaeus faz longas explicações sobre as características de sua doença e tenta evitar linguagem técnica para que o leitor comum possa compreendê-lo. Ele espera que a revelação de sua consciência do crime, e da consequente desonra familiar, possa amenizar sua culpa.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-03-04T11:37:19Z No. of bitstreams: 2 Tese - Rejane de Souza Ferreira - 2014.pdf: 1564158 bytes, checksum: d4cde772241ab8bc9319f126773e056e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-03-04T12:25:18Z (GMT) No. of bitstreams: 2 Tese - Rejane de Souza Ferreira - 2014.pdf: 1564158 bytes, checksum: d4cde772241ab8bc9319f126773e056e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-03-04T12:25:18Z (GMT). No. of bitstreams: 2 Tese - Rejane de Souza Ferreira - 2014.pdf: 1564158 bytes, checksum: d4cde772241ab8bc9319f126773e056e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-12-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This doctoral dissertation has as its aim to analyse in three Irish novels (The Gathering, by Anne Enright, The Blackwater Lightship, by Colm Tóibín, and The Light of Evening, by Edna O‟Brien), how the female main protagonists of the novels perceive or understand their families, from the point of view through which their stories are narrated, as well as through the way they understand their own generation and those of their mothers and grandmothers. Through these perceptions the dissertation also tried to analyse the political and cultural transformation Ireland went through in the Twentieth Century. This period witnessed two great historical events for the country: its Independence in 1922, and its glorious years of economic development, which began around 1990, with the so called Celtic Tiger Years, and lasted until 2008. The analysis of the selected novels as the corpus of this dissertation according to their narrative points of view and the historical, political and cultural contexts in which they are set is also a way of analysing the contribution their authors gave to our own understanding of Ireland as a nation. / Esta tese tem por objetivo analisar, em três romances irlandeses (The Gathering, de Anne Enright, The Blackwater Lightship, de Colm Tóibín e The Light of Evening, de Edna O‟Brien), como as protagonistas das obras percebem ou entendem suas famílias, tanto a partir do ponto de vista através do qual suas histórias são narradas, quanto através do modo como compreendem suas próprias gerações e as gerações de suas mães e avós. Através dessas percepções, procurou-se analisar também as alterações políticas e culturais pelas quais a Irlanda passou, ao longo do século XX. Esse período marca dois grandes acontecimentos históricos para o país: sua independência, em 1922, e seus anos de glória e crescimento econômico, iniciados por volta de 1990, com o chamado Tigre Celta, e que durou até 2008. A análise dos romances selecionados como corpus desta tese, de acordo com seus pontos de vista narrativos e os contextos histórico, político e cultural em que eles estão inseridos é também uma forma de analisar a contribuição que seus autores deram para nosso próprio entendimento da Irlanda enquanto nação.