This dissertation answers the following: "Why did Paul describe Jesus as hilasterion?" Throughout it, I have examined the questions of the "what" versus the "why": "What is the meaning of hilasterion (hilasterion)" versus "why has the death of Christ been metaphorised as hilasterion." Notwithstanding the uniformity among theologians that the meaning (the "what") of the text should occupy centre space, the enquiries of both Bible translators and Pauline scholars have yielded different meanings as far as iA.cronpwv is concerned. The question "why" shifts the project's focus from the meaning of the text to the performativity, which entails asking different questions. As a result, I have problematised "propitiation," "expiation" and "mercy-seat" as interpretational models for hilasterion, because these theological models neglect the rhetorical situation which leads to a misunderstanding of hilasterion. Consequently, applying the three-pronged rhetorical approaches to my text has enabled me to move the discussion away from a purely textual, away from the harmonization of "ideas," away from a traditional theological paradigm thinking only in terms of soteriology and the salvific to a paradigm where the rhetorical, to where the social-cultural and the religiopolitical contexts has been taken into consideration. Dispositio has acted as the foreground for impartiality that facilitated the accommodation of the non-Jews in the Abrahamic family which is hilasterion's performativity. I have argued that apostrophe in service of stasis theory had numerous Jewish fundamentals redefined, without which the notion of hilasterion would not have made sense. I have demonstrated how patron versus client relationship emerged in the depiction of hilasterion as a gift from God, evidence of his righteousness, and how riposte operated in dislodging the non-Jews from their social position and relocating them within the nation of God. The metaphorisation of Jesus' death and his portrayal as hilasterion had a number of tasks. It normalised a situation, it brought about an alternative situation into existence, it endorsed social solidarity, it brought about a different genealogy into effect, it sanctioned the construction of a "new and superior race," and ulitmatley it produced inclusivity of the non-Jews into the Jewish family since Jesus tremendously had high values then extreme value was assigned to the non-Jews. Thus, I have problematised decontextualised theologising, easy theologising (as "propitiation," "expiation," and " mercy-seat"), in order to demonstrate that a socio-rhetorical appraisal of hilasterion requires theologians to rethink the categories they operate with. / New Testament / M. Th. (New Testament)

Les formes personnelles du récit (roman à la première personne et roman épistolaire) se sont imposées comme des formes privilégiées de la narration romanesque depuis la fin du dix-septième siècle jusqu'aux années 1760. L’étude a porté sur ce qui a pu inciter les auteurs, féminins ou masculins, à adopter très fréquemment une voix féminine dans ces narrations à la première personne. Qu'autorise cette voix féminine ? Cette adoption implique-t-elle une identification possible au féminin ? S'agit-il au contraire de mieux « construire » une représentation du féminin auquel d'ailleurs, en retour, les femmes peuvent finir par s'identifier ? L’étude a d'abord porté sur l'héritage des voix féminines en revenant à la situation de ce qu'on peut qualifier de « genres féminins » au dix-septième siècle : l’écriture épistolaire et mondaine pratiquée par Madame de Sévigné, les contes de fée, et le genre du roman-mémoires qui se développe sous la plume de romancières comme Mme de Villedieu ou Mme de Murat. Tous ces genres mettent en place certaines images de la féminité et de la narration féminine marquées par l’audace, l’humour, le badin et parfois la mise à mal des modèles héroïques. Ceci nous a menée à la voix de la Marianne de Marivaux qui est le pivot de cette réflexion, en ce qu’elle a incarné le féminin dans le roman-mémoires pendant plusieurs décennies. En amont, il s’agissait de voir en quoi la voix imaginée par Marivaux n’avait pas surgi ex nihilo, mais comment elle avait été préparée par les romancières et écrivaines de la seconde moitié du XVIIe siècle, et de quelle manière les conditions étaient réunies pour qu’émerge cette voix véritablement fondatrice. En aval, l’étude nous a permis de voir en quoi cette voix a influencé et inspiré les auteurs contemporains de Marivaux ou ceux qui l’ont suivi. L’étude se poursuit par une confrontation entre La Religieuse de Diderot et la Nouvelle Héloïse Rousseau afin d’observer la manière très différente mais en écho dont les deux romanciers faisaient parler des personnages de femmes et ramenaient dans le champ du romanesque une forme de tragique ou de pathétique qui semblait éteindre la voix de Marianne et donc avec elle les voix des romancières et conteuses de la fin du XVIIe siècle. / The personal narrative forms (novels written in the first person and epistolary novels) are among the most commonly used narrative forms in novels written between the end of the seventieth century and the period circa 1760. This research aims to identify the motivations of many male as well as female authors to use very frequently a woman’s voice in their first person narration. What does this woman’s voice allow? Does it mean the author identifies himself with a woman ? Or is it a way to shape a woman’s representation, to which the women, in return, might identify themselves ? This research studies the legacy of women’s voices, through what we may call the feminine narrative forms in the 17th century : the epistolary and mundane writtings of Madame de Sévigné, the fairy tales and the memoir-novels from Mme de Villedieu or Mme de Murat. All these narrative forms convey an image of feminity and feminine narrative forms full of audacity, humour, « badin » and also a certain undermining of the heroic role model. “The voice of Marivaux’s Marianne” is at the center of this reflexion, as she embodied the feminine in the memoir-novels for several decades. A feminine voice who did not appear ex-nihilo but whose emergence was fully prepared by the female novelists and writters of the second half of the 17th century. And a feminine voice who did not disappear with her author, as many Marivaux’s contemporaries and authors in the following years gave new inspirations to this voice. This study also confronted La Religieuse de Diderot and La Nouvelle Héloïse de Rousseau in order to identify the very different, although mirroring ways in which the two authors have the women characters express themselves and bring forward a form of tragedy and pathetic that seems to silence Marianne’s voice and close the era of the female authors and storytellers of the end of the 17th century.

Anyone familiar with the Rastafari movement and its connection with the Bible is struck by the prevalence of I-locution found in them both. Because the phenomenon is important in the canonical Testaments, more so the New, this study seeks to investigate its significance in certain epistolary pieces (Romans 7 :14-25 ; 15 :14-33), the bio-Narratives and the Apocalypse, in their historical and cultural milieu. The next stage of the investigation then compares the findings of the aforementioned New Testament books with corresponding statements of the Rasta community to determine their relevance for the ongoing Anglophone theological discussion. In this connection, the following questions are addressed: (1) what are the inter-textual link(s) and function(s) of the `I' statements in Romans? (2) How do they relate to similar dominical sayings? And (3) can any parallel be established between the language of Rastafari and these? In sum, the study seeks to bring into critical dialogue the permutative `I' of the NT with the self-understanding of Rastafari. / NEW TESTAMENT / DTH (NEW TESTAMENT)

Title in German and English, text in German, abstract and keywords in English / This thesis deals primarily with the questions: Is Israel constantly chosen by God or have the devine promises gone over to the chuch? Are jews to be saved without the sacrifice of Christ? Should jews be missionised as gentiles alike? To give responses, the followings steps are worked out: At first an overview on the israelological models that have been opined during church- history is presented. Secondly church-documents are analyzed in spite of their missiological content. Thirdly an exegesis of Romans 9-11 is offered. Following this, those of the church-documents, whose israelology is closest to the witness of scripture, are presented. Finally a conclusion is offered, which states, that jews are constantly chosen, but not to be saved in another manner as gentiles. Therefore the church is continually obliged to bear the Gospel also to Israel. Jews and gentiles alike are to be saved by nothing but the blood of Jesus. / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This dissertation answers the following: "Why did Paul describe Jesus as hilasterion?" Throughout it, I have examined the questions of the "what" versus the "why": "What is the meaning of hilasterion (hilasterion)" versus "why has the death of Christ been metaphorised as hilasterion." Notwithstanding the uniformity among theologians that the meaning (the "what") of the text should occupy centre space, the enquiries of both Bible translators and Pauline scholars have yielded different meanings as far as iA.cronpwv is concerned. The question "why" shifts the project's focus from the meaning of the text to the performativity, which entails asking different questions. As a result, I have problematised "propitiation," "expiation" and "mercy-seat" as interpretational models for hilasterion, because these theological models neglect the rhetorical situation which leads to a misunderstanding of hilasterion. Consequently, applying the three-pronged rhetorical approaches to my text has enabled me to move the discussion away from a purely textual, away from the harmonization of "ideas," away from a traditional theological paradigm thinking only in terms of soteriology and the salvific to a paradigm where the rhetorical, to where the social-cultural and the religiopolitical contexts has been taken into consideration. Dispositio has acted as the foreground for impartiality that facilitated the accommodation of the non-Jews in the Abrahamic family which is hilasterion's performativity. I have argued that apostrophe in service of stasis theory had numerous Jewish fundamentals redefined, without which the notion of hilasterion would not have made sense. I have demonstrated how patron versus client relationship emerged in the depiction of hilasterion as a gift from God, evidence of his righteousness, and how riposte operated in dislodging the non-Jews from their social position and relocating them within the nation of God. The metaphorisation of Jesus' death and his portrayal as hilasterion had a number of tasks. It normalised a situation, it brought about an alternative situation into existence, it endorsed social solidarity, it brought about a different genealogy into effect, it sanctioned the construction of a "new and superior race," and ulitmatley it produced inclusivity of the non-Jews into the Jewish family since Jesus tremendously had high values then extreme value was assigned to the non-Jews. Thus, I have problematised decontextualised theologising, easy theologising (as "propitiation," "expiation," and " mercy-seat"), in order to demonstrate that a socio-rhetorical appraisal of hilasterion requires theologians to rethink the categories they operate with. / New Testament / M. Th. (New Testament)

Ce mémoire se propose d’analyser le pessimisme en littérature pour la jeunesse, en s’intéressant particulièrement à sa manifestation dans les dystopies pour adolescents. La littérature pour la jeunesse est issue d'une tradition qui la définit comme optimiste, ce que démontrent les processus de censure auxquels elle est souvent soumise, entre autres par le milieu éditorial. Dans un tel contexte, il paraît difficile d’expliquer la vague de popularité qu’ont connue les romans dystopiques adressés aux adolescents publiés au début du XXIe siècle. Ce genre, montrant une société fictive la plupart du temps futuriste dans laquelle évolue un protagoniste qui y souffre et qui désire se révolter contre elle, est en effet caractérisé par un pessimisme assez prononcé. Le présent mémoire s’interroge sur la façon dont les auteurs de dystopies pour adolescents parviennent à faire s’harmoniser l’optimisme de la littérature pour la jeunesse et le pessimisme du genre dystopique et pose l’hypothèse que ce pessimisme est présenté de manière édulcorée au jeune public visé. Une comparaison entre un corpus d’œuvres pour adolescents et un autre destiné à un public adulte nous a servi à mettre cette hypothèse à l’épreuve en considérant deux aspects principaux, le personnage et la société, ainsi que d’autres facteurs d’atténuation qui se voient au fil de la lecture. Ces divers éléments contribuent selon nous à édulcorer le pessimisme des dystopies pour adolescents en créant un effet de familiarité pour les lecteurs et en allégeant le poids mis sur leurs épaules et sur celles des protagonistes. / This master’s thesis aims to analyse the pessimism in children’s literature, focussing particularly on its manifestation within dystopias for young adults. Children’s literature is traditionally regarded by many as an inherent optimist genre, as shown by the censorship to which it is regularly subjected, principally by the editorial process. In this context, it seems hard to explain the massive popularity wave that the dystopian novels for young adults experienced in the wake of the XXI century. This genre, displaying an usually futuristic fictional society in which evolves a character who suffers and who desires to revolt against it, is indeed characterized by a pronounced pessimism. This master’s thesis questions the way authors of dystopias for young adults harmonise the inherent optimism of children’s literature and the pessimism of the dystopian genre, while posing the hypothesis that the said pessimism is presented to the young target audience in a much attenuated state. A comparison between a corpus of novels intended to teenagers and another one that has an adult target audience was used in order to study our hypothesis within two main aspects, the character and the society, as well as other mitigating factors that can be seen throughout the book. We think these various elements all contribute to reduce the pessimism in dystopias for young adults by creating a familiar feeling for the readers and by lightening the burden that is resting on their shoulders and on those of the protagonists.

L'œuvre présentée dans la première partie de ce mémoire repose sur la quête d'identité et l'acceptation de soi. Tout au long de l'intrigue, le syndrome de l'imposteur et la difficulté qu'ont les protagonistes à s'attribuer un mérite qui leur revient de plein droit apparaissent en filigrane. Chacun porte une croix qu'il s'impose, une croix fabriquée de toutes pièces par des sentiments non fondés de péché et de culpabilité. Notre société a établi au fil du temps ses règles de fonctionnement, qui vont des plus évidentes, comme les lois et règlements, aux plus subtiles, comme les piliers judéo-chrétiens de péché, de culpabilité et d'expiation. Des leviers qui affectent encore aujourd'hui le quotidien de tous, y compris celui des écrivains. Par le biais de deux œuvres, soit L'imposture de Georges Bernanos, et Le trou dans le mur de Michel Tremblay, nous examinerons dans la seconde partie du mémoire, l'influence de la religion judéo-chrétienne dans la littérature et son lien avec le sentiment d'imposture. / The work presented in the first part of this dissertation is based on a quest for identity and self-acceptance. Throughout the plot, the Impostor Syndrome prevents the characters from taking credit for themselves. Every protagonist carries a cross that he/she imposes on himself/herself; a cross fabricated by unfounded feelings of sin and guilt. Over time, our society has established its rules of operation, which range from the most obvious, such as laws and regulations, to the more subtle, such as the Judeo-Christian pillars of sin, guilt, and atonement. These factors still affect the daily lives of all, including writers. In the second part of the dissertation, through the analysis of two novels, L'imposture by Georges Bernanos, and Le trou dans le mur by Michel Tremblay, we will examine the influence of the Judeo-Christian religion in literature, and its link with the sense of imposture.

Ce mémoire de maîtrise en recherche-création s'articule en un essai théorique et un projet d'écriture romanesque. Dans l'essai La réception universelle du film lyrique du quotidien de Stan Brakhage, nous soumettons les œuvres Anticipation of the Night (1958), Wedlock House: an Intercourse (1959) et Window Water Baby Moving (1959) au test de la fictionnalisation, mode de production de sens et d'affects proposé par Roger Odin dans son approche sémio-pragmatique du cinéma. En nous questionnant sur la part familiale des œuvres de notre corpus, nous souhaitons suggérer une approche susceptible d'éclairer la réception publique à laquelle se destine le cinéma lyrique de l'artiste-cinéaste américain. Poursuivant notre réflexion concernant l'appropriation de l'imagerie familiale, le roman Marée tranquille s'inscrit dans un geste d'écriture rendu possible par la fictionnalisation et deux des opérations qu'elle prévoit, à savoir la diégétisation et la narrativisation. Roman de la route illustré d'une vingtaine de photographies tirées des archives familiales de l’auteur, Marée tranquille cherche à témoigner de l'adéquation entre le fond et la forme au moyen d'une narration non fiable, ici mise au service des principaux thèmes du roman, soit l'oubli, la fuite et le double. Faisant à la fois office de posture méthodologique pour le projet de création ainsi que pour l'essai, la fictionnalisation agit en tant que consigne de lecture privilégiée afin de comprendre comment l'imagerie familiale amateure, normalement destinée à une réception privée, peut prétendre à un statut universel. / This master's thesis in research and creation is structured into a theoretical essay and a fiction writing project. In the essay La réception universelle du film lyrique du quotidien de Stan Brakhage, we are submitting the works Anticipation of the Night (1958), Wedlock House: an Intercourse (1959) and Window Water Baby Moving (1959) to the test of fictionalization, a mode of production of meaning and affects proposed by Roger Odin in his semio-pragmatic approach to cinema. By questioning the family aspect of the works in our corpus, we wish to suggest an approach likely to enlighten the public reception for which the lyrical cinema of the American artist filmmaker is intended. Continuing our reflection on the appropriation of family imagery, the novel Marée Tranquille is part of a gesture of writing made possible by fictionalization and its first two operations it anticipates: diegetization and narrativization. Marée Tranquille, road novel illustrated with some twenty photographs from the author's family archives, seeks to testify the adequacy between content and form by means of unreliable narrative, here dedicated to the themes of the novel, which are oblivion, escapism and duplicity. Acting as a methodological posture for the creative project as well as for the essay, fictionalization acts as a privileged reading guideline to understand how amateur family imagery, normally intended for a private audience, can claim a universal status.

Text in German / An drei Stellen im Römerbrief verweist Paulus auf die Vergangenheit Israels: auf Abraham in Röm 4,1–25, auf Abrahams Nachkommen, Mose und Pharao in Röm 9,6–18 und auf Elija in Röm 11,1–10. Gegenstand der Untersuchung ist die Bedeutung dieser Verweise auf die Vergangenheit Israels für die Argumentation des Römerbriefs. Nach der Analyse der rhetorischen Situation und der Einordnung der relevanten Stellen in die rhetorische Makrostruktur des Briefs werden alttestamentlicher Kontext und frühjüdische Rezeption der rezipierten Ereignisse untersucht. Auf diesem Hintergrund werden die drei Passagen detailliert betrachtet, indem der Argumentationsgang untersucht und die mögliche rhetorische Wirkung auf die Adressaten aus sechs unterschiedlichen Perspektiven analysiert wird: mit hoher Schriftkenntnis, mit geringer Schriftkenntnis, aus jüdischer, nichtjüdischer, christlicher und stadtrömischer Perspektive. Auf diese Weise können unterschiedliche Aspekte der leserseitigen Rezeption differenziert wahrgenommen werden, bevor sie zu einem Gesamtbild zusammengeführt werden. / New Testament