It is the thesis of this paper that the Church possesses traits which are characteristic of the human personality; therefore, her spiritual movement can be understood and dealth with through the insights of te Oedipus Complex Theory initially described by Sigmund Freud in his discussion of personality development, and greatly elaborated upon by Erich Fromm in his book, "The Forgotten Language".

No abstract available / Systematic Theology and Ethics / D. Th.(Systematic Theology)

This thesis examines Augustine of Hippo's support of the cult of relics through the lens of Peter Brown's revision of the two-tiered model which was proposed in his 1981 book The Cult of Saints. More specifically, this thesis attempts to explain the introduction of saint's relics in the final book, book 22, of Augustine's magnum opus The City of God (De Civitate Dei). After providing proof of the theologian's opposition to the cult of relics in his youth, historical, biographical, and textual evidence is used to trace his later change of heart. This change in position is crystallized in a series of miracle accounts in the 8th chapter of the 22nd book. The analysis of this 'chain of miracles' is essential in understanding the purpose of the City of God as a whole and Augustine's own theories of death and resurrection.

One of the most fundamental ways of understanding the struggles and delights of an ethnic group is to study the art the group produces. Art –visual, literary, auditory– functions as an expression of the history of the group. Often, what is considered great art in one culture is disparaged in many others. In my thesis, I will be examining how comics function as an expression of simultaneous pride and shame among Ashkenazi Jews, particularly comics created in the 20th century. Perhaps comics do not seem like an obvious expression of Eastern European Judaism. After all, there are far more renowned, and even sophisticated works to look at, such as the whimsical art of Marc Chagall and stately rabbinical paintings of Isidor Kauffman, or even the heady philosophical work of Theodor W. Adorno. “Ashkenazi expression” and “comics” do not seem intuitively connected. This disconnect is precisely why I want to explore the relationship between comics and Ashkenazi Jewry. In addition to many of the most prominent comic creators being Jewish, I posit that there is something inherently yiddish, Jewish, about American comics. The purpose of this essay is not to name individual comic artists in an attempt to prove the Jewishness of the the comic-book industry. Rather, I will explore why Jews of Eastern European descent gravitated toward the comic-book industry in the early to mid 20th century. I posit that American comics acted as an expression of a pride-shame tension found in American Jews of Eastern European descent. To explore this connection, I will first examine the origins of simultaneous Jewish pride and shame by tracing the roots of Eastern European Jewish self-hatred. Next, I will delve into why comics encapsulate this balance of self-deprecation and self-glorification. I will analyze both the nature of the medium itself, and the circumstances grounding the formation of American comics. Ashkenazi Jews, or Jews of Eastern European, specifically German descent, have been at the center of much scholarly literature. Although an extremely small percentage of the world's population, the bulk of Jews are Ashkenazi, as opposed to Sefardic. Much literature has been devoted to Ashkenazi Judaism, as the ethnic division has produced an impressive body of scientific and literary accomplishment. Although the countries from which Ashkenazi Jews originate are diverse, the key words surrounding Ashkenazi discourse are reoccurring. Concepts such as “exile,” “self-hatred,” and “Jewish humor” all arise. Another central concept is Yiddishkeit. Yiddishkeit literally translates to “Jewishness” in none other but the language of Yiddish. Yiddish has been the subject of both outward Ashkenazi expression –there is a great deal of Yiddish literature and art– and scholarly examination. Perhaps most recently, Michael Wex published a book called Born to Kvetch, an in-detail study of the history of Yiddish, and how it embodies Ashkenazi culture. Within this book, a particular theme appears: the theme of simultaneously occuring pride and shame. Jews created Yiddish as a result of the primary culture's rejection. However, after this initial dismissal, great pride emerged out of Yiddish, manifesting itself in rich Yiddish culture. Other scholars have explored the concept of Jewish self-hatred, and the fine line this self-hatred straddles between bona fide self-hatred and isolationist pride. Sander Gilman, who writes extensively about the topic, discusses how language and literature embody this dichotomous tension of pride and shame. While conducting research for the connection between comics and class in 20th century American, I came to the understanding that many of the founders of and participants in the American comic industry were Jewish. I dug up analyses of specific comics/graphic novels (usually Maus) exploring certain Jewish themes in comics, yet I had a hard time finding extensive research asking the question as to why comics and Jews have such a strong connection. In my thesis, I hope to further this question by not only investigating the circumstances surrounding comics that made Jews turn to the industry, but why comics themselves embody Jewish pride and shame. On a much humbler scale, I hope to accomplish what Wex has in Born to Kvetch, a linguistic analysis that provides insight into the greater ethnic group engaging with it. In chapter one, I will establish the pride-shame dichotomy found in Ashkenazi Judaism. I will first explore several biblical passages, including Lamentations, Micah, and Isaiah. By exploring these instances in the tanach, I will try to establish the uniqueness the Jews feel due to their personal and punitive relationship with God. Throughout these passages, we will see the Jews taking pride in the punishment God doles out for them, because such pain is indicative of the Jews' superiority among other nations. Next, I will provide a brief explanation of why I am choosing to focus on the act of conversion in the Medieval time period as an indicator of Jewish pride and shame. In specific, I will focus on infamous Johannes Pfefferkorn, who converted from Judaism to Christianity. Pfefferkorn is the perfect example of a Jew who both detested his Judaism, yet used it to his advantage to speak authoritatively about Judaism to Christians, as his professed textual knowledge gave him clout. Next, I will give an introduction on the connection between Otherness and language, explaining how Hebrew and the Talmud spurred both fascination and disgust toward Jews from their surrounding neighbors. After segueing into the origins of Yiddish as a language created out of exile, I will explain how though Yiddish originated out of spurning, the language became a source of pride of its rejected roots. I will consider the statements of various Yiddish authors, in particular American immigrant Isaac Bashevis Singer. Through both an analysis of Singer's self-reflection of his own life and an analysis of his short story, Gimpel the Fool, I will establish the pride Ashkenazi Judaism takes in its outsider status. Singer himself remarks of the positivity of being lonely and different. His character, Gimpel, is a foolish outcast. Much like the Jews in the biblical passages explored earlier in the chapter, he suffers constant misfortune and mockery, yet his very pain is what lends him favor in God's eyes. In chapter two, I will explore how 20th century American comics reflect the Ashkenazi dichotomy of pride and shame. Much like Yiddish is not a mainstream language, the idea of comics as mainstream art or literature has been greatly contested. I will try to determine which circumstances surrounding 20th century comics, and the comics themselves, connect with this pride-shame tension. I will use Paul Buhle's Jews and American Comics as a frame of reference, since the book often links comics and Yiddish. I will first give a brief history of the American comic-book, starting with the Hogan's Alley comics strip, and exploring up until the mid 20th century. By understanding the working-class origins of comics, we can better understand the low-brow perception of them from the standpoint of both their readers and their critics. I will then explain how American comics in the 20th century contained Jewish themes of pride and shame, despite their characters not being explicitly Jewish. I will more closely explore this idea through an analysis of the character Superman, drawing on both the commentary from the character's creators and the content clues of the character himself. A true foreigner, Superman masks his real identity, his superhuman powers. While his alias is what makes him exceptional, it is also the thing he abhors the most. Will Eisner, a giant in the world of comics, denies inserting Jewish identity in his own characters. However, his assistant, Jules Feiffer, half-jokingly claimed that his character, Denny Colt, featured in Eisner's The Spirit series, is in actuality a secret Jew. Instead of focusing on Colt and The Spirit, I will do a close reading of one of Eisner's other works, A Contract with God, which is an exemplary work of Jewish pride and shame. Contract contains a motif that is similar to that of the biblical passages analyzed in chapter one. The protagonist, Russian-American immigrant Frimme Hershe, has a personal relationship with God that leaves him demoralized and punished. I will then explore the use of visual stereotype in Contract, comparing it to that of Art Spiegelman's Maus, and contrasting it with that of the film Inglorious Basterds. I will argue that through engaging with Jewish visual stereotypes, the first two reveal them as falsehoods. Thus, through an admittance of these shamed images, the comics mock them. The latter film chooses to ignore stereotypes, thus leaving them extant. I will conclude the chapter by positing that Jews have coped with their constant exile through through the self-deprecation of comics. Buhle mentions that comics about Jewish-American gangsters turned into a source of pride, presumably for Ashkenazi American Jews. The trope, hated by others, was lauded by those it was forced upon. Much like Yiddish, comics may have been born out of exclusion, but they came to be a source of pride among Ashkenazi Jews.

Jewish ethicists face a twofold task of persuading audiences that (a) their proposal for an issue of social concern and justice is the right and good thing to do, and (b) their proposal fits within the Judaic tradition writ large. Whereas most scholarship in the field focuses on how Jewish ethicists argue by dividing arguments into halakhic formalist, covenantalist and narrativist categories, these efforts fail both to reflect the diverse ways ethicists actually argue and to explain why they argue in these ways. My project proposes a new methodology to understand how and why Jewish ethicists argue as they do on issues of justice and concern. My project combines philosophical theology and discourse analysis. The first examines an ethicist’s notion of covenant (brit) in light of theories found in the Jewish textual tradition. Clarifying an ethicist’s notion of covenant uncovers that person’s assumptions about the scope and binding nature of elements in the Judaic tradition, and that person’s conception of an audience’s responsibilities to the normative argument s/he articulates. Certain themes come to the fore for each ethicist that, when mapped, reveal striking relationships between an ethicist’s notion of covenant and anticipated ethical rhetoric. These maps begin to show why certain ethicists argue as they do. Discourse analysis then identifies the interrelationships between the speaker, the spoken and the audience – as they are actually articulated in Jewish ethicists’ practical arguments. These relationships form the how of Jewish ethical arguments insofar as they reflect an author’s rhetorical choices. My project applies discourse analysis to the rhetoric of a sample of living Jewish ethicists (J. David Bleich, Elliot Dorff, Eugene Borowitz) who speak out on issues of social concern and justice. As will be seen, a rich and complex relationship exists between an ethicist’s theory of covenant and his subsequent moral rhetoric. This twofold methodology enables the student of Jewish ethics to understand how and why seemingly disparate styles of normative speech are nonetheless participating in a common endeavor and discourse. And it supports the theologically-based rhetoric of religious ethical discourse in shaping justice in multi-cultural societies.

No description available.

Attributes associated with mystical experience among Christians, Buddhists, Jews and Pagans are explored in psychometric data presented in this thesis. Two such attributes in particular, the personality trait of psychoticism and attitudes held towards mysticism, are given focal attention. Psychoticism, a trait at one time supposedly linked with vulnerability to psychosis, has been much assessed in previous research into religiosity- personality correlates, and a more recent emerging literature has assessed this trait in relationship to religious experience. However, as this thesis clarifies, good grounds exist for challenging the view that this is a homogeneous trait. Assessments of traits relating to distinct facets of psychoticism, specifically the three traits of agreeableness, conscientiousness and openness to experience, provided solid grounds for taking apparently significant positive correlations between mystical experience and psychoticism as evidence that the former is associated with creativity rather than psychosis. In each religious group studied, a significant positive correlation was found between attitudes to mysticism and mystical experience. However, this thesis also presents grounds for distinguishing these concepts. The possibility that psychoticism relates in different ways to these constructs, and the implications this has for the question of whether mysticism arises through social learning or reflects an innate tendency invariant across creed, are considered

Donald G. Bloesch, an American theologian and seminary professor, is a leading spokesman for contemporary Protestant evangelicalism, a theological position that lies somewhere between fundamentalism and neo-orthodoxy. Heavily influenced by the German theologian, Karl Barth, Bloesch employs a methodology in which theology is based on revelation alone, unsupported by philosophy or the arguments of human reason. For Blosech, revelation is basically alien to human culture and human thought-forms. Because of this, revelation cannot be comprehended by reason, but only by faith. Bloesch’s view leads to a dichotomy between faith and reason, a dichotomy that ultimately lessons the impact of his theological system in at least three ways. First of all, Bloesch is unable to utilize the insights of secular culture for the benefit of theology. Secondly, Bloesch’s distaste for philosophy results in his inadequate handling of the hermeneutical problem. Finally, Bloesch’s understanding of the alienation between revelation and culture can lead only to the increasing irrelevance of theology in the modern world.

In this study, a new measure of mature religiosity was created. One hundred and fifty students were administered an 80 item scale based upon a consensus meaning of mature religiosity. The results of this administration were factor analyzed. Seven First Order Factors and two Second Order Factors emerged which could be adequately assessed by 50 of the 80 item. The revised 50 item scale was administered to 130 students. During the same administration, the students also responded to measures of personal maturity (Dogmatism Scale, Internal-External Locus of Control Scale, Social Desirability Scale) and other measures of mature religiosity (Intrinsic-Extrinsic Religious Orientation Scale, Interactional Scale from the Religious Life Inventory). One factor was found to overlap with the Intrinsic Religious Orientation Scale. It is also related to both the Interactional Scale and the Extrinsic Religious Orientation Scale, but the correlation was not enough to indicate duplication of those scales. The new scale was also found to be correlated with the Internal-External Locus of Control Scale, the Social Desirability Scale, and to be negatively correlated with the Dogmatism Scale.

The explosive growth of technology today is causing extensive speculation about the future. These ‘technological futurisms’—especially transhumanism—are often imbued with religious value by their adherents. How should Christians respond to the content of technological futurisms and also the way the future is constructed? In this thesis I argue that Christian eschatology has a more robust understanding of the future than technological futurism, as championed by transhumanism, and can allow for radical hope while also maintaining important humanistic virtues which are ultimately lost in transhumanism. Christian eschatology does not only depend on what is actual to create its future. Rather, it is open to the God of possibility and promise who can bring the radically new in the Kingdom of God. This dissertation is broken into three major sections with an introductory and concluding chapter. The first section provides a history of our technological imagination today by looking at visionary approaches to technology and the future in both technological utopias and science fiction. This history provides the conditions for understanding the proposed future of transhumanism. The second section orients the final response by assessing technology and the future in the eschatologies of Pierre Teilhard de Chardin and Jacques Ellul. Both Teilhard and Ellul agree that the technological future without appeal to the Christian God is dangerous. The final section looks at the theological and philosophical issues surrounding technology and the future. Heidegger’s works are used to sharpen themes related to technology and the future; in particular, how technology is related to ontology and how the future is related to possibility. The final chapters construct a Christian response to transhumanism around the themes of possibility and promise by utilising the works of Richard Kearney, Eberhard Jüngel and Jürgen Moltmann. A Christian notion of possibility allows for the radically new in a way transhumanism does not and the Christian idea of promise safeguards human virtues by emphasising the interpersonal as ultimate rather than self-transcendence as with transhumanism.