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Ricoeur advances a theory of metaphor as discourse. The notion of metaphor as event and as meaning is complicated by the form of written discourse and the distanciation which inscription engenders. By specifying the autonomy of the text in relation to the author's intention, the original audience, and the original context, Ricoeur argues that metaphor refers to its own world. Suggesting that the metaphorical arises from a "seeing-as" which contains a non-verbal element, he contends metaphors indicate a extra-linguistic mode of existence. The possibility of conceptualization lies for Ricoeur, at the core of the dynamism of the metaphorical. It is proposed in this thesis that Ricoeur's defence of the autonomy of speculative discourse is inadequate.

Paul Celan (1920-1970), the Jewish poet of German descent, lived through the greatest catastrophe of European Jewry of the modern age. He survived, as his parents and innumerable others did not, and dedicated his writing, his voice, to the reality he had witnessed. It would be a mistake, however, to think of him solely as a "Jewish" poet, a term he considered anti-Semitic (see Christina Ivanovic's '''All poets are Jews:' Paul Celan's Reading of Marina Tsvetaeva"). Celan wrote of the world as such; a world that was able to reorganize itself towards the annihilation of countless human beings. In its midst, he questioned how one could live, how brotherhood could still be possible, and how a God could possibly appear in such a place. This thesis follows his questioning and pursues, along with him, the course of poetry and poetic language through the appearance of atrocity.

This thesis investigates the relationship between the portraits of new creation in the Hauptbriefe (specifically, in 2 Corinthians and Galatians) and Ephesians. The thesis partly responds to those scholars who argue for a limited understanding (whether cosmological, anthropological, or ecclesiological) of the phrase kainh; ktivsiV in 2 Cor 5.17 and Gal 6.15. This thesis also partly responds to the lack of attention devoted to the new creation theme in Ephesians by investigating the depiction of new creation in Eph 1–2. Chapters two and three of this thesis investigate the background of new creation in the Pauline tradition through an analysis of various texts in Isaiah, Jeremiah, Ezekiel, 1 Enoch, and Jubilees. These chapters demonstrate that new creation and restoration were frequently associated with anthropological and cosmological renewal, the salvation of the Gentiles, and an Urzeit-Endzeit typology. The strong correlation between Isaiah’s new exodus and ANE temple-building traditions is a particularly significant contribution of the inquiry of Isaiah. Chapters four and five of this thesis primarily analyze the depictions of new creation in Gal 6.11–16; 2 Cor 5.11–21; and Eph 1–2. A salient point of this analysis is the suggestion that Eph 1.20–2.22 may be understood as an extended discussion of new creation modeled after Isaiah’s portrait of the new exodus as an act of temple-building. This examination demonstrates that the descriptions of new creation in all three of these texts are strongly linked with anthropological, eschatological, and ecclesiological notions, as well as an Urzeit-Endzeit typology. This thesis also points to a number of other correspondences between the portraits of new creation in the Hauptbriefe and that of Ephesians.

This thesis investigates the social context of the Apostle Paul and the communities to which he preached with the aim of showing that early Pauline Christianity was shaped by a social milieu that included: first, a Greco-Roman and particularly Stoic philosophy, second, a universalizing Jewish movement and third, an overarching Roman political framework. Paul’s philosophy was built on a foundation of Judaism, interpreted with the tools of Stoic philosophy, and communicated to a largely Roman audience. Chapter One presents the figure of Paul as a Jew and Roman citizen with a Greek education, a product of three cultural worlds. Chapter Two argues that through allegory, Paul replaced Jewish nationalistic and ethnocentric aspects with symbolic ones, and communicated its ethical core with Stoic language and concepts to a primarily Roman audience. Chapter Three examines this audience and determines that they were largely Roman citizens who were both steeped in the prevalent philosophy of the time, Stoicism, as well as being associated with the Jewish community as sympathizers, God-fearers, or “Highest-God” worshippers, as a result of the popular Judaizing movement in the first century. Through the study of Paul, his letters, and his audience, this thesis argues that Pauline Christianity was, at its core, a Stoic interpretation of Judaism. / Graduate / 0579 / dcoad@uvic.ca

Cette thèse examine le dialogue avec le divin mis en scène dans le théâtre de Jean Racine et dans la Trilogie des Coûfontaine de Paul Claudel. Bien qu’éloignés tant par l’époque que par l’esthétique dramaturgique, ces deux auteurs donnent au divin une place importante dans leur théâtre, et en cela peuvent être rapprochés. La représentation du divin qu’on retrouve dans les tragédies profanes et religieuses de Racine éclaire celle, beaucoup plus complexe, du théâtre claudélien. Nous étudions d’abord les transformations que subit le visage du divin dans la dramaturgie racinienne, passant des traits flous et énigmatiques des tragédies profanes à ceux plus précis, parce que plus humains, des tragédies religieuses, en nous concentrant plus particulièrement sur la relation que les personnages entretiennent avec lui et sur les modifications de l’espace et du temps que cause son apparition sur la scène de théâtre. Le rapport au divin présent dans les drames de Claudel est ensuite analysé à la lumière des conclusions tirées de l’étude des tragédies raciniennes.

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