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Dissertations / Theses on the topic 'Jonathan David'

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Published: 4 June 2021

Last updated: 15 February 2022

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Green, Bradley J. "David and Jonathan an evaluation of their relationship based on 1 Samuel 18:1-4 /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.

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Hasenburg, Jonathan [Verfasser], David [Akademischer Betreuer] Bermbach, David [Gutachter] Bermbach, Jochen [Gutachter] Schiller, and Odej [Gutachter] Kao. "Data distribution for fog-based IoT applications / Jonathan Hasenburg ; Gutachter: David Bermbach, Jochen Schiller, Odej Kao ; Betreuer: David Bermbach." Berlin : Technische Universität Berlin, 2021. http://d-nb.info/1238142206/34.

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Little, Michael Robert. "Novel affirmations: defending literary culture in the fiction of David Foster Wallace, Jonathan Franzen, and Richard Powers." Diss., Texas A&M University, 2004. http://hdl.handle.net/1969.1/366.

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This dissertation studies the fictional and non-fictional responses of David Foster Wallace, Jonathan Franzen, and Richard Powers to their felt anxieties about the vitality of literature in contemporary culture. The intangible nature of literature's social value marks the literary as an uneasy, contested, and defensive cultural site. At the same time, the significance of any given cultural artifact or medium, such as television, film, radio, or fiction, is in a continual state of flux. Within that broad context I examine some of the cultural institutions competing with literature for public attention, as well as some of the cultural developments impacting the availability of public attention for literary concerns. With Wallace, I study his efforts in fiction and essays to establish an anti-ironic mode of literary rebellion, in opposition to the culturally pervasive tone of self-protective irony modeled by television. Franzen opens discussion about the transience of cultural authority, a situation in which the imprimatur of the academy, for instance, confers a cultural significance different in kind but not degree from the imprimatur of a popular televised book club. My study of Franzen in particular demonstrates the impact of proliferating sites of cultural authority, addressing the emergence of middlebrow culture and audiences from contested space to authoritative cultural arbiter. The chapter on Franzen also examines the increasing role of corporate interests in the production of cultural artifacts with an eye toward their financial viability more than their cultural impact. And finally, my study of Powers focuses on the animosity between the sciences and the humanities. Powers produces fiction that serves as an indispensable tool for communicating between disparate and otherwise isolated disciplines, and for helping those specialized fields synthesize their information with others.

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Tyson, Kevin C. R. "A cultural study of the David and Jonathan relationship through the ritual in 1 Samuel 18:1-5." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/6897/.

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This thesis introduces a cultural hermeneutic for the study of the David and Jonathan relationship as found in the 1 Samuel 18:1-5 ritual. Its goal is to encourage biblical scholars and theologians to augment the use of exegetical tools in analyzing biblical matter with methods from social anthropology and the social sciences. This will offer a third alternative interpretation of the heroes’ relationship apart from late modern tendencies to engage in either a strict pro-homosexual reading or anti-homosexual rendering of the David-Jonathan narratives. This Ph.D. dissertation sets anthropological gift theory and material from selected comparative ethnography alongside the influence of the alleged Deuteronomistic Historian in an analysis of the socio-political transition of Premonarchical Israel to statehood to propose a textual and socially contextual bond of new male-male intimacy between David and Jonathan now classified as a warriors’ brotherhood. Other key theological and social scientific areas explored are the Yahweh Religion, both chapter 'nineteen narratives' in the Books of Genesis and Judges, the term ‘loyal love’ (in Hebrew, hesed), the Holiness Code and pollution theory, ritualized kinship and identity, patriliny (in which a child acquires social status from its father) and power, and domestic groups.

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Merry, David [Verfasser], Stephen [Gutachter] Menn, Jonathan [Gutachter] Beere, and Richard [Gutachter] Kraut. "Ancient Greek and Roman Methods of Inquiry into the (Human) Good / David Merry ; Gutachter: Stephen Menn, Jonathan Beere, Richard Kraut." Berlin : Humboldt-Universität zu Berlin, 2020. http://d-nb.info/1213294096/34.

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Jewell, Titus M. "How Cohen and Hilbert Fare on the Commonality and Causality Criteria." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1258488515.

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Bauer, Jonathan Orphéo [Verfasser], Carsten [Akademischer Betreuer] Strohmann, Mathias [Gutachter] Christmann, and David [Gutachter] Scheschkewitz. "Funktionalisierte siliciumstereogene Organosilane: Von der Entwicklung einer asymmetrischen Synthesestrategie zu einem mechanistischen Modell der Stereokontrolle / Jonathan Orphéo Bauer. Betreuer: Carsten Strohmann. Gutachter: Mathias Christmann ; David Scheschkewitz." Dortmund : Universitätsbibliothek Dortmund, 2014. http://d-nb.info/110991489X/34.

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Bauer, Jonathan O. [Verfasser], Carsten [Akademischer Betreuer] Strohmann, Mathias [Gutachter] Christmann, and David [Gutachter] Scheschkewitz. "Funktionalisierte siliciumstereogene Organosilane: Von der Entwicklung einer asymmetrischen Synthesestrategie zu einem mechanistischen Modell der Stereokontrolle / Jonathan Orphéo Bauer. Betreuer: Carsten Strohmann. Gutachter: Mathias Christmann ; David Scheschkewitz." Dortmund : Universitätsbibliothek Dortmund, 2014. http://d-nb.info/110991489X/34.

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Daalder, Jurrit. "Straight from the Heartland : New Sincerity and the American Midwest." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ac2cbe67-2938-4d60-ab41-30944cb6c4eb.

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As more and more critics now write about postmodernism in the past tense, the 'New Sincerity' of a group of late twentieth-century American writers, led by David Foster Wallace, Jonathan Franzen, and Richard Powers, has been championed as one of its successors. In response to these increasingly widespread views, this dissertation argues that much more can be learned about these three writers when we stop thinking of their work within this 'end of postmodernism' discourse. Instead of attempting to make claims about its novelty, this thesis conducts a literary-historical inquiry into the New Sincerity, arguing that its roots extend across postmodernism and reach back to regionalism, in particular from the midwestern provinces that all three authors grew up in and that occupy a central place in their work. Though regionalism's subject matter, small-town America, is commonly believed to have died in the postwar period, it is this 'death of the prairie town' and its symbolic afterlife that have opened up new literary possibilities outside the realm of conventional regionalism. The powerful feelings of loss and nostalgia that its death has engendered are precisely those of which Wallace, Franzen, Powers, and the New Sincerity in general make creative use. The thesis examines how they do so in a series of three extended chapters, each of which focuses on one author. The first chapter pays careful attention to Wallace's re-imagining of the Midwest over the course of his career and reveals how he constantly deviated from the literary trajectory he had outlined in his essay 'E Unibus Pluram,' a key text in the 'end of postmodernism' discourse. The second chapter explores what role the Midwest plays in Franzen's authorial self-presentation and his contradictory attempts to balance 'high-art' status with an anti-elitist image. The third and final chapter gets to the root of Powers's problems with flat characters by examining how he all too readily relies on the Midwest and its stereotypical associations with all-American goodness in his attempts to create endearing characters. Here, as well as in the other two chapters, it is the construction of a symbolic 'heartland' that plays a central role in the creative process behind the author's New Sincerity writing.

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Sanders, E. Randall. "Determining duty the fate of Anglo-Protestant Indian missions after the Great Awakening /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p088-0185.

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Krug, Marina. "Die Figur als signifikante Spur : eine dekonstruktive Lektüre zu den Gedichten "Esther" sowie "David und Jonathan" aus dem Zyklus "Hebräische Balladen" von Else Lasker-Schüler : Spurenlegung für eine dekonstruktive & feministische Theorie des Lesens /." Frankfurt am Main : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb39237386n.

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Henderlight, Justin. "Marc-Antoine Charpentier's David et Jonathas : French Jesuit theater and the tragédie en musique." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62134.

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Marc-Antoine Charpentier composed David et Jonathas (1688) for a performance at the Jesuit Collège de Clermont in Paris. The work is described in contemporary sources as a tragédie en musique, though the latter term was usually reserved for works that had been composed for the stage of the Académie Royale de Musique. Some scholars have questioned the validity of the label tragédie en musique for this work on the grounds that it lacks certain features common to the genre: the amount of recitative, dance, and references to the supernatural are proportionately low compared to other works titled tragédie en musique. What is more, the work was originally intended to be performed interwoven with a separate spoken play, titled Saül. Saül and David et Jonathas are dramatically self-contained, but they were meant to be performed together, thus conflating the genres of tragédie en musique and intermède. In fact, the work’s biblical story also raises issues of genre, given that, up to 1688, all works labeled tragédie en musique featured a secular story. This thesis aims to show how this work mixes the traits of several genres both as a result of its Jesuit performance context and its composer’s priorities and past experiences writing music for the stage. Through an analysis of the political, aesthetic, musical, and dramatic features of the work, I reveal how the opera shows some indebtedness to the tragédies en musique that preceded it. Elements that point to this work’s status as a generic hybrid are also brought to the fore, following modern theories of genre that allow for works to participate in several genres without the stipulation to place it into any single category.<br>Arts, Faculty of<br>Music, School of<br>Graduate

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Brewer, Christopher R. "Beginning all over again : a metaxological natural theology of the arts." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7554.

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Following Russell Re Manning, I acknowledge the diversity and persistence of natural theology. Going further than Re Manning, however, I propose a 5-type taxonomy stretching from natural theology as natural religion to natural theology as theology of nature. Having met this descriptive responsibility, I then turn in a second chapter to prescriptive possibility in dialogue with the Anglican theologian Howard E. Root (1926–2007). An early advocate of natural theology and the arts, Root called in his 1962 essay, “Beginning All Over Again,” for awareness (i.e., of the arts) rather than formal argument. Critiqued by E.L. Mascall and others, Root responded in his 1972 Bampton Lectures, “The Limits of Radicalism.” Never published, I discovered these lectures in an uncatalogued box at Lambeth Palace Library, London. Drawing upon these lectures, as well as other archival materials, I consider Root's contribution to a natural theology of the arts. That said, Root's work requires further development, and so in an effort to recover Root I have supplemented his contribution with the more recent work of David Brown, his unacknowledged theological heir. In an effort to recover Root more fully I turn in a third chapter to consider the philosopher William Desmond, the result of which is a metaxologically reformulated Root-Brown hybrid. In a fourth and final chapter, I consider the American contemporary artist Jonathan Borofsky and several others in order to see how this theoretical frame might be applied in practice as a metaxological natural theology of the arts.

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Kneale, Michelle E. "The Electric Company script development process : "Brilliant! The Blinding Englightenment of Nikola Tesla"." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/794.

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Ensemble creation in Canada is a popular form of script development. It began essentially in the 1970’s with The Farm Show, and has become the site for much theoretical and critical discussion. The Electric Company Theatre began as an ensemble in 1996 and since then has created fascinating productions with a range of topics in both site specific and touring venues. Brilliant! The Blinding Enlightenment of Nikola Tesla was a cornerstone piece for this group and existed in a number of incarnations before the script was eventually published in 2004 and the production toured again in 2006. This thesis examines how the Electric Company Theatre developed material for performance as an ensemble. I also discuss how the Electrics were influenced by the various resources they used in order to generate text and imagery for the production. Through these discussions, I argue that the collective creation product has a direct influence on the process. My research has mostly been conducted through interviews with company members, through research of their production history and script.

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Frédéric, Paul. "Convergences aventureuses : L'Écho des années soixante-dix californiennes sur l'art européen des années quatre-vingt-dix et autres essais sur l'art contemporain." Phd thesis, Université Rennes 2, 2008. http://tel.archives-ouvertes.fr/tel-00383238.

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Le contexte artistique californien de la fin des années 60 et du début des années 70 constitue un terrain favorable aux investigations d'une nouvelle génération d'artistes, même s'il ne bénéficie pas de réels soutiens logistiques marchands ou institutionnels. L'art conceptuel promu à la même époque par Seth Siegelaub à New York prépare une alternative à l'art minimal. Ce phénomène a déjà son équivalent en Europe. La dématérialisation de l'oeuvre d'art aura des conséquences décisives en Californie, où elle donnera naissance à un art conceptuel dénué de tout dogmatisme marqué par l'influence de fortes personnalités comme Edward Ruscha et John Baldessari. Des artistes originaires de la côté est comme Douglas Huebler, William Wegman, Robert Cumming, du Midwest comme Ruppersberg trouveront de l'autre côté des États-Unis des conditions de travail plus stimulantes. Des Européens comme Bas Jan Ader ou son complice Ger van Elk suivront le même chemin. Leurs oeuvres ne trouveront pas immédiatement sur place une grande visibilité. Mais après une éclipse d'une quinzaine d'années, voici qu'une nouvelle génération d'artistes européens (citons des artistes comme Claude Closky, en France, ou Jonathan Monk, en Angleterre) se penche sur ces grand frères et les place au premier rang de leurs références. À partir d'exemples sélectionnés d'artistes et d'un corpus de textes constitué depuis le début des années 90, que j'ai écrits pour différents catalogues d'expositions, revues, éditeurs, l'objet de cette thèse est de présenter ce dialogue entre les générations et de mettre en évidence certaines convergences malgré la dissemblance des contextes institutionnels et sociétaux.

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Barbour, David Jonathan [Verfasser]. "The olfactory receptor associated proteome / David Jonathan Barbour." 2006. http://d-nb.info/986721387/34.

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Gauthier, Élaine. "Les fondements naturels du jugement moral : rationalisme et sentimentalisme à l'ère des neurosciences." Mémoire, 2011. http://www.archipel.uqam.ca/4621/1/M12313.pdf.

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Ce mémoire porte sur les fondements naturels du jugement moral et l'objectif principal de ce travail est de faire ressortir l'importance de revoir nos conceptions philosophiques sur ce sujet. C'est en nous appuyant sur deux principaux modèles philosophiques, le sentimentalisme et le rationalisme, que nous identifions les éléments constitutifs du jugement moral. L'étude de ces modèles se réfère aux travaux de David Hume et Emmanuel Kant et permet de souligner que la définition du rôle des émotions et de la raison dans la formation du jugement moral diffère dans chacune de ces conceptions. Ensuite, c'est en nous appuyant sur le modèle intuitionniste social proposé par Jonathan Haidt que nous étudions l'influence humienne sur la conception contemporaine du jugement moral. La problématique soulevée se trouvant essentiellement dans une dichotomie entre les définitions que proposent les modèles sentimentaliste et rationaliste en ce qui a trait aux rôles respectifs des émotions et de la raison, nous tentons d'éclairer le problème en exposant différentes études neuroscientifiques sur la question afin de reconsidérer les définitions présentées. Pour ce faire, nous nous intéressons à la question morale d'un point de vue phylogénique et ontogénique. D'abord, en étudiant les fondements génétiques, les bases neuronales, les fondements émotionnels et les mécanismes fondamentaux, ensuite en étudiant les déterminants sociaux et culturels. Finalement, nous concluons avec l'idée que les théories philosophiques contemporaines peuvent tirer certains bénéfices en considérant les observations scientifiques récentes au sujet des fondements du jugement moral. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Jugement moral, sentimentalisme, rationalisme, intuitionnisme social, neurosciences.

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Trigg, Christopher Peter. "Death in American Letters." Thesis, 2012. http://hdl.handle.net/1807/33831.

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This dissertation examines American attitudes towards death from the colonial era to the end of the nineteenth century. I begin with a close analysis of the thanatology of the Congregational church in New England, before demonstrating the lasting influence of Puritan thought on three later writers: Jonathan Edwards, Henry David Thoreau and Stephen Crane. In contrast to purely cultural studies of mortality in America (including those by Phillipe Ariès, David Stannard and Michael Steiner), my investigation discusses the philosophical difficulties that obstruct any attempt to speak about death. Building on Jacques Derrida’s work in Aporias (1993), I identify three logical impasses that interrupt Puritan writing on mortality: the indeterminacy, singularity and finality of death. While Edwards, Thoreau and Crane write in different circumstances and diverse genres, I argue that they are sensitive to these same three aporias when they discuss death. In this regard, they resist a broader post-Puritan tendency (in both scientific and sentimental texts) to minimize the uncertainties surrounding human mortality and approach death as a universal (rather than radically singular) phenomenon. While my study situates each of its authors in the cultural and intellectual contexts in which they worked, it also challenges the notion that it is possible to write a history of death. Speaking strictly, mankind’s relationship to death can never change. It is always, in fact, a non-relation. The very idea of death destabilizes our most fundamental historical and literary assumptions. Accordingly, my second chapter uses a deconstruction of Edwards’ theory of revivalism to argue that the New-England awakenings of the eighteenth century expressed the converts’ desire to renounce responsibility for their souls, rather than accept it. In my third chapter, I argue that those writings in which Thoreau registers what might seem to be a nihilistic fascination with dead and decaying bodies in fact express a sentimental desire for a peaceful death. Chapter four reads Stephen Crane’s poetry, fiction and journalism in the context of his Calvinist heritage, breaking down the distinction between his textual play with the concept of death and the Puritans’ “serious” attempts to come to terms with mortality.

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