La Ruah YHWH joue un rôle important dans la transformation créative de l’univers et des entités actuelles; cependant, une réflexion concernant les modalités de ce rôle reste à développer. La théologie processuelle offre une plateforme à partir de laquelle sont examinées diverses facettes des rôles que peut jouer la Ruah YHWH dans un monde où le chaos semble dominer. L’objectif de ce mémoire est justement d’explorer la Ruah YHWH dans son rôle de transformation créative au service, ultimement de l’ordre, de la paix et de l’harmonie dans le monde, les communautés, la vie des entités actuelles, etc. Le Chapitre 1 passe en revue des notions clés de la théologie processuelle. Le concept des “entités actuelles” est d’abord défini. Sont ensuite examinées les différentes phases du devenir d’une entité actuelle. Finalement, les concepts de “créativité” et de “transformation”, dans une perspective de la Ruah YHWH font l’objet d’observations attentives avant d’aborder « trois natures » de Dieu, à savoir primordiale, conséquente, et superjective. Le Chapitre 2 s’intéresse à la péricope centrale de ce mémoire : Juges 13:24-14:20. Le découpage de la structure de cette péricope est basé sur des critères de critique textuelle et d’analyse syntaxique. La première analyse s’attarde aux difficultés que le texte hébreu présente, alors que la deuxième met l’accent sur l’organisation structurelle des propositions grammaticales des versets. Les deux analyses me permettent ensuite de proposer une traduction du péricope. Le Chapitre 3 se veut une application de ce qui a été élaboré au Chapitre 1 sur la péricope analysée au Chapitre 2. Ce troisième chapitre permet de mettre en pratique une approche processuelle originale développée par Robert David dans son livre Déli_l’ ÉCRITURE. Dans la foulée des chapitres qui le précèdent, le Chapitre 4 propose quelques principes herméneutiques contemporains pouvant éclairer le rôle de la Ruah YHWH dans l’avancée créative du monde : vie, amour, et paix. / The Ruah YHWH plays a key role in the creative transformation of both the universe and actual entities; however, that role has still to be developed. Process theology, of which I shall endeavour to define some important notions in Chapter 1, offers a platform I shall attempt to build upon in order to examine such an important role in a chaotic world. The aim of this dissertation is to explore the Ruah YHWH in Her role of creative transformation, which I argue to ultimately be that of bringing order, peace, and harmony in the world, communities, the life of actual entities, etc. Chapter 1 is an overview of some key notions of process theology: first, the concept of “actual entities” is defined. Secondly, I examine the phases of concrescence in the becoming of an actual entity. And finally, I look at the concepts of creativity and transformation in the perspective of the Ruah YHWH prior to examining the “three natures” of God, primordial, consequent, and superjective. Chapter 2 defines the pericope of this dissertation: Judges 13:24-14:20. The structure of the pericope is based upon the methods of textual criticism and syntactical analysis. While the first examination deals with some difficulties the original Hebrew text presents, the second deals with the structural organization of the verses grammatical propositions. The two examinations allow me to propose a translation of the pericope. Chapter 3 is an application of what was laid out in Chapter 1 on the pericope established in Chapter 2. In the course of the third chapter, I employ an innovative (original) processual approach developed by Robert David in his recent book Déli_ l’ÉCRITURE. Then, Chapter 4 proposes, out of the preceding chapters, some contemporary hermeneutical principles which enlighten the role of the Ruah YHWH in the creative transformation of the world: life, love, and peace.

This thesis argues, contrary to Gilles Deleuze’s critique of method and disavowal of textuality, that there is a re-constructive textual method at work in Deleuze’s 1968 treatise Différence et répétition. It is a method not for interpretation, representation, or deconstruction but for prolonging and reactivating historical and contemporary texts into the present and for the future. It is demonstrated how Deleuze’s method synthesises temporally and thematically heterogeneous texts and make them resonate with each other. The analysis is conducted, first, through a notion of telling stories as a complementary device to Deleuze’s definition of philosophy as the creation of concepts. Second, by showing how Deleuze – instead of offering solutions – connects, develops, and repeats problems from which the new is drawn. Third, by discussing his positive and re-constructive concept of critique and by arguing that his use of free indirect discourse should be understood as a metaphysical and political tool. Finally, by claiming that Deleuze’s concept of multiplicity can be viewed as a synthetic and methodological device that brings a heterogeneous given together. In concluding, it is proposed that Deleuze draws on tools and technics developed in literature and mathematics, specifically differential calculus and geometry, to develop methods for philosophy. Studying Deleuze’s method in Différence et répétition not only offers a prism for throwing new light on Deleuze’s philosophy through his understudied methodology, but also contributes to the development of innovative philosophically inspired methods for re-constructing the present. In addition, this study shows that while Deleuze pushed continental philosophy beyond its hermeneutic, structuralist, and existentialist heritage, he also contributed to the development of novel methodologies. (For a copy of the full text, do not hesitate to contact me: emet.brulin[at]gmail.com)

The Sermo antequam iret in exilium and the Sermo cum iret in exsilium are two homilies allegedly pronounced by John Chrysostom in Constantinople at the end of summer 403, some time between the verdict of the Synod of the Oak and the day he left the city for his first exile. The aim of the thesis is to demonstrate that a new critical edition of these texts is needed before any study of their literary and historical value can be conducted. Chapter one sketches the historical background to which the text of the homilies refers and a concise survey about previous scholarship on the homilies on the first exile, from the time of Montfaucon’s edition until our days. The problem of the authenticity occupies the last part of the chapter. Chapter two investigates the history of the texts and takes into account both the direct and indirect traditions. It discusses the existence of double recensions hitherto unknown and provides the prefatory material for the new critical edition of recensio α of Sermo antequam iret in exilium and of the Sermo cum iret in exsilium. Chapter three comprises the Greek editions of the two homilies, as well as a provisional edition of the Latin version of the Sermo antequam iret in exilium. Chapter four is divided into two parts, each presenting a philological commentary on the text of the new editions. Systematic analysis of all the most important variant readings is offered. The final chapter summarizes the new findings and assesses the validity of previous criteria used for discerning the authenticity of the homilies on the exile.

Am Beispiel der altgermanistischen Edition wird dargelegt, dass das Buch als Publikationsort herausgefordert ist: Einerseits haben die Diskussionen zur ''New Philology'' gezeigt, dass die Möglichkeiten des Printmediums erschöpft sind. Andererseits hat sich durch die ''Neuen Medien'' der Erwartungshorizont der Leser-Benutzer gravierend verschoben. Obwohl die elektronische Datenverarbeitung im Editionsprozess seit Beginn des digitalen Zeitalters eine bedeutende Rolle spielt, fällt es dem Fach schwer, diesem Horizont und den daraus resultierenden Ansprüchen gerecht zu werden. Das liegt daran, dass – der Theorie nach – bei Medienumbrüchen das alte Medium dem neuen den Aktionsradius vorgibt, sodass Bremseffekte stets die Entwicklung beeinflussen. In der Praxis bedeutet dies, dass die digitalen Medien nur als Präsentationsvehikel ausgebeutet werden. Zwar werden Handschriften, Buchbestände und Texte erschlossen und im Internet zugänglich gemacht, sodass klassische Editionen (Faksimile, diplomatischer Abdruck, Fassungsedition oder historisch-kritische Ausgabe) nicht mehr nur im gedruckten Buch abgebildet werden. Jedoch macht schon die Rezeption an unterschiedlichen Endgeräten (E-Book-Reader, PC-Bildschirmen, Smartphones, Braille Displays etc.) Grenzen sichtbar. Noch deutlicher wird dies unterhalb der sich wechselseitig treibenden Wirkkräfte Standardisierung, Interoperabilität, Ausdifferenzierung, Kollaboration, Webapplikationen, Semantik, Zugänglichkeit, Barrierefreiheit und Legalität. Sie stellen für die komplexe Textedition einen völlig neuen Anforderungskatalog dar, der die statische Präsentation der Ergebnisse hinter sich lässt. Dieses traditionelle Ziel allen Edierens rückt gegenüber dem Editionsprozess und dem genuinen Potential der digitalen Medien, der Trennung der Präsentation vom Speicher, in den Hintergrund. Entscheidend wird sein, dass Editionsdaten für das fortgesetzte Bearbeiten offen und dabei auf verschiedensten Endgeräten flexibel präsentierbar bleiben. / Looking at recent publications of medieval German texts reveals two challenges to the dominance of the printed book as the principal place for publishing: On the one hand, the ''New Philology'' has shown that the possibilities of print are exhausted. On the other hand, the expectations of the 21st century reader/user have radically changed. Despite the fact that from the beginning, digital data processing has played a major role in the editing process, it is very hard to live up to these expectations. This is because - in theory - the old medium dictates limitations to the new one, slowing down the process of expansion and change. In practice this means that so far digital media have been used only as a vehicle for presentation. With manuscripts, book collections and texts being extensively captured and made available on the Internet, classical editions (facsimiles, diplomatic editions, edited versions and historical-critical editions) are increasingly being published outside the printed book. Nevertheless, the reception of this digital content on different devices (e-book readers, computer screens, smartphones, braille displays etc.) has its limitations. This becomes even more obvious when one considers the mutually active forces of standardization, interoperability, differentiation, collaboration, web applications, semantics, availability, accessibility and legality. These establish a whole new list of requirements that goes beyond the static presentation of the results of the editing process. While the traditional goal of all editing processes is losing its importance, it nevertheless opens up the genuine potential of digital media: the separation of presentation from memory. In the future, publishing data could be kept open for further processing and would remain flexible for presentation on all kinds of devices.

The second edition of Shakespeare's sonnets, titled Poems: Written by Wil. Shake-Speare, Gent, and published by stationer John Benson in 1640, was a text typical of its time. In an effort to update the old-fashioned sonnet sequence in which its contents had first reached print, the compiler or editor of the Bensonian version rearranged the poems from the earlier quarto text, adding titles and other texts thought to have been written by or about the sonnets' author. The immediate reception of the 1640 Poems was a quiet one, but the volume's contents and structure served as the foundation for more than half of the editions of Shakespeare's sonnets produced in the eighteenth century. In part due to the textual instability created by the presence of two disparate arrangements of the collection, Shakespeare's sonnets served only as supplements to the preferred Shakespearean canon from 1709 to 1790. When, at the end of the century, the sonnets finally entered the canon in Edmond Malone's groundbreaking edition of the plays and poems together, Benson's version was quickly overshadowed by the earlier text, which was preferred as both more authorial and, due to Malone's careful critical readings, autobiographical. In contrast to the many scholars since Malone who have overlooked or denigrated the Poems of 1640, this thesis studies the second edition of Shakespeare's sonnets within the framework of the early modern culture that produced it, arguing that Benson's edition provides valuable evidence about the editorial habits and literary preferences of the individuals and culture for which it was originally intended.

No description available.

From the end of the 19th century, the Old Czech apocryphal story of Joseph (son of Jacob), called Life of Joseph, has not been in the center of the scholars' and editors' attention, and therefore many pivotal philological questions concerning this Old Czech composition have not been satisfactory solved yet. This thesis offers a comprehensive analysis of the Old Czech Life of Joseph in terms of textual criticism and literary history and attempts to bring answers to the main problems of its contextualization. The six extant medieval manuscripts of the Life of Joseph, representing the inherent part of the thesis, are provided with critical edition. The Old Czech Life of Joseph is a late medieval work of an anonymous author and should be dated to the second half or to the end of the 14th century. It is based on a Latin model, namely Historia Ioseph, which was composed in the year 1336 by the Spanish Dominican Alfonso Buenhombre (Alphonsus Bonihominis). The Czech Life of Joseph is the unique vernacular translation of Alfonso's Latin text. This Latin text has not been broadly disseminated. I am aware of the existence of 14 manuscripts, six of which originated in Bohemia and represent the specific Bohemian manuscript branch. The Czech translation is admittedly based on the Latin text related closely to...

The doctoral thesis compares the style of the “Romance of Horn”, “King Horn”, and “Horn Childe and Maiden Rimnild”. Each of them is a different version of the same story; the first is an Insular French romance, the second and third are Middle English romances. The stylistic analysis is both quantitative and qualitative, and it is developed employing the lemmatized edition of each witness of each version. The work begins with an introduction to the concept of style. The first chapter focuses on a review of the literature regarding each version, considering specifically the witnesses and textual criticism, metre and genre, language, date, and style. For the Insular French version, a specific review of the literature about the author is offered. The second chapter introduces stylometry and stylistic analysis with a brief literature review. Then, the protocols for the edition and lemmatization of each witness are described. Finally, the methods adopted for the stylistic analysis are explained. The third chapter develops the study of descriptions, anaphors, and formulas in each version. The collected data and their interpretations are considered altogether through the lens of a group of theoretical concepts: connotation, attribution, horizon of expectations and discursive tradition. Via these concepts, a trajectory of stylistic mutations is traced, and a link between style and socio-cultural context is displayed. The conclusions sum up all the information and inferences, suggesting further possibilities for new research. / La tesi sviluppa lo studio comparativo dello stile come osservato nel “Roman de Horn”, in “King Horn” e in “Horn Childe and Maiden Rimnild”, tre versioni della medesima vicenda, la prima in anglonormanno, le altre due in inglese medio. Nella tesi l’indagine stilistica è svolta in maniera qualitativa e quantitativa, lavorando sulle edizioni lemmatizzate secondo codifica TEI dei singoli testimoni di ciascuna versione. Dopo un’introduzione sul concetto di stile, il primo capitolo è dedicato a un’introduzione ai testi e ai testimoni delle tre versioni. Dopo un cappello introduttivo sui rapporti genetici tra le versioni, di ciascuna di esse si opera un'escussione della bibliografia esistente intorno a testimoni ed eventuale stemmatica, metro e genere, lingua, datazione, stile dell’opera; per la versione anglonormanna si aggiunge uno specifico approfondimento sull’autore. Nel secondo capitolo, si inquadrano stilistica e stilometria nel panorama accademico attuale, quindi si espongono i protocolli di edizione e lemmatizzazione adottata, infine i metodi di analisi adottati e le ragioni per cui circoscrivere l’indagine ai fenomeni di descrizione, anafora e formula. Nel terzo capitolo si procede ad analizzare in ogni versione le descrizioni e poi anafore e formule. Per le descrizioni, dopo aver offerto un quadro specifico per versione, si opera una sintesi sulla base dei concetti di connotazione e attribuzione, chiarendo una possibile traiettoria del mutamento stilistico. Parallelamente, dopo un’analisi di anafore e formule in ciascuna versione si offre una visione d’insieme alla luce dei concetti di orizzonte d’attesa e tradizione discorsiva, ponendo così in relazione stile e contesto socioculturale dell’Inghilterra medievale. Nelle conclusioni, si riassumono gli approdi dell’analisi, valutando metodi e risultati e proponendo possibili aperture a lavori futuri.

There is no consensus regarding the interpretation of the "Spirit like a dove" comparison in Jesus' baptism (Mk 1:10). Although scholars have proposed at least fifty different interpretations of the dove comparison, no study appears to have considered Isaiah's three dove texts as the background for the Markan dove (cf. Is 38:14; 59:11; 60:8). This neglect is surprising considering the abundance of Isaianic allusions in Mark's Prologue (Mk 1:1-15), and the growing awareness that Isaiah is the hermeneutical key for both the Markan Prologue and Jesus' baptism within it. Indeed, Mark connects the dove image inseparably to the Spirit's "descent" from heaven, which alludes to Yahweh's descent in a New Exodus deliverance in Isaiah 63:19 [MT]. Furthermore, each Isaianic dove text uses the same simile, "like a dove" or "like doves," which appears in Mark 1:10, and shares the theme of lament and restoration which fits the context of Mark's baptism account. This study therefore argues that the dove image in Mark 1:10 is a symbol which evokes metonymically Isaiah's three dove texts. So the Spirit is "like a dove" not because any quality of the Spirit resembles that of a dove, but because the dove recalls the Isaianic theme of lament and restoration associated with doves in this Scriptural tradition. After discussing the Markan dove in terms of simile, symbol, and metonymy, the study examines the Isaianic dove texts in the MT and LXX and argues that they form a single motif. Next, later Jewish references to the Isaianic dove texts are considered, while an Appendix examines further dove references in Jewish and Greco-Roman literature. Finally, the study argues that the Markan dove coheres in function with the Isaianic dove motif and symbolizes the Spirit's effect upon and through Jesus by evoking metonymically the Isaianic dove texts.

Text in German with summaries in German and English / Includes bibliographical references (leaves 191-195) / Die Elberfelder Bibel prägt bis heute die deutsche Brüderbewegung und ist auch darüber vielen Christen bekannt. 1855 erschien erstmals das Neue Testament, 1871 die gesamte Bibel. Von 1960 bis 1984 wurde eine umfassende Revision durchgeführt. Ihre Sprache gilt als schwierig, gleichzeitig wird sie als sehr genaue Übersetzung wahrgenommen. Bis heute gibt es keine umfassende Forschungsarbeit über die Elberfelder Bibel, obwohl sie mehr als 160 nach ihrer Ersterscheinung immer noch gelesen und neu herausgegeben wird. Die vorliegende Arbeit möchte Ziele und Übersetzungsansatz der Erstübersetzung offen legen. Danach wird die praktische Umsetzung dieses Ansatzes anhand von drei ausgewählten Kapiteln des Neuen Testamentes untersucht. Dabei wird auch der Einfluss der Revision ab 1960 geprüft. Eine Einordnung in die aktuelle Übersetzungsdiskussion und Vorschläge für die Weiterentwicklung dieser Übersetzung runden die Arbeit ab. / The Elberfelder Bibel has had a big impact on the Brethren movement and beyond until today. In 1855, the New Testament was published for the first time, followed by the whole bible in 1871. From 1960 until 1984, a broad revision has been conducted. The Elberfeld Bibel is said to be linguistically difficult; at the same time it is considered as a very accurate translation. Until today, no comprehensive research paper has been written about this translation, which by now is more than 160 years old. This paper deals with the goals and the translation approach of the initial translation. Furthermore, the practical implementation of this approach is examined by means of three particular chapters of the New Testatment. In addition, the impact of revisions starting from 1960 is going to be explored. Its placement in the current discussion on translation and suggestions for further development of this translation will complete the paper. / New Testament / M.Th. (New Testament)