Dissertations / Theses on the topic 'Judas Iscariot'

The following report is on the point of view, conceptualization, and evolution in its final execution of the lighting design by Elisheva S. Siegel for California State University, Long Beach Theatre Department?s 2015 University Player?s production of The Last Days of Judas Iscariot by Stephen Adly Guirgis. It is submitted in partial fulfillment for completion of the Master of Fine Arts degree in Lighting Design. I believe that the core of this story is about challenging what we know is to be true. Furthermore, to physicalize the break down of these philosophical walls throughout the court proceedings against Judas Iscariot, a grid of severe lighting angles was employed. This grid evolved from extreme isolation to a blur as these black and white lines of moral principles becomes grey. Other visual metaphors include personifying Judas? despair, a contrasting atmosphere for the Past, and propelling into another dimension during Pilate?s testimony.

L'interprétation du personnage de Judas connaît actuellement une mutation, à lafaveur de la découverte des Evangiles gnostiques, qui vont au-delà de la versionconservatrice biblique, confinée à l'accusation définitive du personnage. La réécritureromanesque de Judas paraît en effet plus féconde et nuancée, laquelle récuse touteforme de manichéisme et de réduction. A l'appui des romans d'Auguy Makey et deJacques Duquesne qui réécrivent Judas Iscariote, cette thèse étudie le processus decette réécriture qui va du mythe biblique au mythe romanesque et montre encomparant ces oeuvres que la réhabilitation du personnage est en oeuvre. Makeyprésente un Judas faustien et Duquesne un Judas oedipien. Ils se divisent sur le motif dela livraison de Jésus par Judas : la réforme de Jésus menace de mort la Loi de Moïsereprésentée par le Sanhédrin et défendue par Judas (Duquesne), l'apolitisme de Jésuscompromet la libération politique d'Israël sous occupation romaine et déçoit lesespoirs placés sur le Messie rédempteur tant attendu du peuple élu qui atermoie(Makey). Ainsi le Judas romanesque invite-t-il à plus de complexité, d'ambivalence etd'invention, où le rebelle est aussi l'ami, et le " traitre ", l'apôtre pieux. L'antinomie etla nuance sont en vigueur, sous le signe de la mélancolie de Babel. Judas ravive l'utopied'une parole romanesque attachée à la réflexion, à la relativité du jugement, et à unautre sens qui redécouvre les vertus du silence, de la dérision et du renouvellementde la langue

L’interprétation du personnage de Judas connaît actuellement une mutation, à lafaveur de la découverte des Evangiles gnostiques, qui vont au-delà de la versionconservatrice biblique, confinée à l’accusation définitive du personnage. La réécritureromanesque de Judas paraît en effet plus féconde et nuancée, laquelle récuse touteforme de manichéisme et de réduction. A l’appui des romans d’Auguy Makey et deJacques Duquesne qui réécrivent Judas Iscariote, cette thèse étudie le processus decette réécriture qui va du mythe biblique au mythe romanesque et montre encomparant ces oeuvres que la réhabilitation du personnage est en oeuvre. Makeyprésente un Judas faustien et Duquesne un Judas oedipien. Ils se divisent sur le motif dela livraison de Jésus par Judas : la réforme de Jésus menace de mort la Loi de Moïsereprésentée par le Sanhédrin et défendue par Judas (Duquesne), l’apolitisme de Jésuscompromet la libération politique d’Israël sous occupation romaine et déçoit lesespoirs placés sur le Messie rédempteur tant attendu du peuple élu qui atermoie(Makey). Ainsi le Judas romanesque invite-t-il à plus de complexité, d’ambivalence etd’invention, où le rebelle est aussi l’ami, et le « traitre », l’apôtre pieux. L’antinomie etla nuance sont en vigueur, sous le signe de la mélancolie de Babel. Judas ravive l’utopied’une parole romanesque attachée à la réflexion, à la relativité du jugement, et à unautre sens qui redécouvre les vertus du silence, de la dérision et du renouvellementde la langue
Traditional historiography presents Judas as a Devil hero, with a negative influence.That thesis would like to refuse the dogmatic version of the Bible, about Judas, andinvites to another way, more dynamic. How Romanesque literature writes againstthis figure, beyond reductions and Manichaeism? Does-it proposed another version?A comparison between Auguy Makey and Jacques Duquesne attests that arehabilitation of that figure is working. But the divergence of these authors is abouttheir interpretation of Judas’ treatise. Faust myth with the first writer, and Oedipalwith the second, Judas appears as a complexly figure, beyond the violence of uniquemeaning, calling a new description, a deep mutation through an important language’sutopia, where melancholia and enjoying are revisited both, with a stochastic writing,by antinomies, silences and suspensions

Épisode anecdotique du Nouveau Testament, la pendaison de Judas s’est imposée dans la tradition patristique comme un thème récurent. Au Moyen Âge, le suicide est condamné comme péché par l’Église et comme crime par les pouvoirs civils ; il est un tabou, qui n’a pas encore de nom. Le suicide de Judas, au contraire, parce qu’il est symbolique et exemplaire, est commenté, interprété et représenté. Il témoigne de l’hostilité généralisée des mentalités médiévales face à la mort volontaire, la « male mort », mais aussi de la stigmatisation de ceux qui se sont désolidarisés du corps social et des valeurs chrétiennes et qui sont voués à la même mort que Judas, perçue non plus comme suicide mais comme châtiment. Cette étude se propose d’explorer les représentations, les interprétations du suicide de Judas et leur déclinaison et de montrer comment ce thème sert, au-delà de la condamnation du suicide, l’effort de normalisation de la société, la construction des pouvoirs civils, la montée de l’antisémitisme, tout en témoignant aussi d’une meilleure connaissance de l’intériorité, caractéristique de l’Humanisme médiéval
Judas’ hanging, anecdotal episode from the New Testament, asserted itself as a recurrent topic in patristic tradition. During the Middle Age, suicide is reproved as a sin by the Church and as a crime by civil authorities ; it is a yet nameless taboo. On the contrary, Judas’ suicide, because it is symbolic and exemplary, is annotated, interpreted and pictured. It shows general hostility from medieval mentalities towards self-willed death, the “male mort”, as well as stigmatization of those who have dissociated from social entity and Christian moral values and who are doomed to the same death as Judas, not anymore considered a suicide but a punishment. The present study has in view to explore Judas’ suicide pictures, interpretations and their declensions and to point out how this topic serves, beyond suicide’s condemnation, the society normalisation effort, the civil authorities’ construction, the anti-Semitism rising, while showing a better knowledge of interiority, characteristic of medieval Humanism

La présente étude essaie d'analyser les représentations de Judas dans le monde byzantin et post-byzantin, en s'attachant particulièrement à l'étude de son apparence et de ses attributs, dans le contexte particulier de chaque image, et ce par rapport aux sources chrétiennes dont nous disposons. Une telle étude serait incomplète sans un aperçu global de l'iconographie du traître, qui révélera que la fréquence de l'apparition de son image et l'importance accordée à celle-ci ne reste pas invariable dans le temps et dans les différentes régions géographiques. Une étude comparative avec les représentations du traître dans l'art de l'Orient chrétien et dans le monde occidental de la même période, permet de repérer les points communs, ainsi que les différences. L'intérêt de cette recherche repose surtout sur la volonté de comprendre comment le pouvoir religieux intègre dans son répertoire iconographique l'archétype de la trahison, comme celle-ci a été perpétrée par Judas, de façon qu'il finisse paradoxalement par participer à l'oeuvre moralisatrice de celui-ci.

Cette thèse interroge le destin de Judas chez cinq écrivains : Paul Claudel (Mort deJudas), Marcel Pagnol (Judas), Jean Ferniot (Saint Judas), Armel Job (Judas le bien-aimé)et Eric-Emmanuel Schmitt (L’Évangile selon Pilate). Passant du cadre général à celuiparticulier, la recherche se propose d’envisager la figure de Judas dans les transpositionsbibliques contemporaines et d’évaluer les nouvelles visions que le siècle a inventées.L’analyse comprend des approches s’appuyant sur les contributions du domaine du mythe,de l’exégèse biblique, historique, de la sociologie, de la psychanalyse. La plupart des récitscontemporains font de Judas un sujet moderne très complexe : il devient figure de l’artiste,du philosophe et de l’acteur.Les problématiques d’ordre social et politique se révèlent primordiales : dans uncontexte succédant à l’Holocauste, Judas renoue avec l’univers judaïque. Retranscrivant lemythe du Juif errant, Judas devient figure de la scission, du départ et de l’errance ; lesrelations au sein de la famille sont vivement remises en cause. La figure du traître devientaussi le support d’une parole restitutive. L’idiotie de filiation dostoïevskienne attribuée àJudas fait bon ménage avec le contexte littéraire contemporain ainsi qu’avec celuilégendaire réévalué.Constamment hésitant entre la réhabilitation de Judas proposée par Pagnol, Ferniot,Job, Schmitt et la réprobation du personnage par Claudel, le parcours propose un richeréseau construit autour de thématiques communes mais différemment évaluées
This doctoral dissertation questions Juda's destiny in five authors: Paul Claudel(The Death of Juda), Marcel Pagnol (Juda), Jean Ferniot (Saint Juda), Armel Job (TheBeloved Juda) and Eric-Emmanuel Schmitt (The Gospel according to Pilate). Fromgeneral to specific, this research aims at outlining the image of Judas within thecontemporary biblical renditions and to evaluate new perspectives on it. This analysistouches upon myth, biblical and historical exegesis, sociology and psychoanalysis. Mostcontemporary stories make Juda a very complex and modern subject: he embodies theartist, the philosopher, the actor.Social and political issues prove to be crucial: in a context which follows theHolocaust, Juda reconnects with the Judaic universe. By rewriting the myth of thewandering Jew, Juda becomes the figure of the scission, of the departure and of the roving;family relationships are strongly questioned. Furthermore, the figure of the traitor becomesthe repository for a restitutive speech. The idiocy, in the Dostoievskian sense, associatedwith Judas, blends well both with the contemporary literary context as well as with thereconsidered mythical one.Constantly hesitating between Judas' redemption that Pagnol, Ferniot, Job andSchmitt adopt and the condemnation of Claudel's character, this thesis focuses on aconvoluted network built around common themes that are tackled differently

Research Doctorate - Doctor of Philosophy (PhD)
In recent times, some commentators from within mainstream Christianity such as Karl Barth, Hans-Josef Klauck and William Klassen have attempted unsuccessfully to defend or exonerate Judas Iscariot. This thesis will assess the evidence for Judas’ betrayal of Jesus. It has three main original contributions to knowledge. Firstly, a thorough analysis of paradidwmi the verb used for Judas’ act of handing over Jesus, will show that it is consistent with betrayal, it is overwhelmingly a divine act and it is normally coercive. Similarly, Matt’s use of hetairos is a master-stroke, continuing the pattern from the LXX and Josephus, where a previously close friend betrays. These two terms alone suffice to establish Judas’ guilt. Secondly, Judas is not only a traitor as he uniquely encapsulates the three main rivals to God – human, demonic and material. Like other human rivals to God, he is powerless, linked with evil and directly judged by God. Satan enabling Judas to betray Jesus (Luke 22: 3; John 13: 2) shows Judas’ betrayal in the worst light but there is a deeper parallel. Both are named rebels, allowed to remain in God’s presence until irrevocably cast out. The third rival is money: ‘You cannot serve both God and money.’ (Matt 6: 24; Luke 16: 13). Judas was paid to perform the divine like function of handing someone over to death. Although human, he displayed the essential features of an idol. Mark’s stark portrayal of Judas’ guilt is only enhanced by Matthew and Luke. If Mark 3 casts Judas as an outsider, Luke 6 calls him prodotns. If Mark 14 links Judas with the chief priests in plotting against Jesus, Matt 23 inserts three parousia parables to show presumed disciples of Jesus being exposed in increasingly severe terms. Finally, Judas’ disrespectful ‘Rabbi’ to Jesus in Gethsemane (Mark 14: 45), when he knew Jesus was so much more reflects the oral element of blasphemy in 1st CE Judaism. Abrogating to himself the divine privilege of handing over may fairly be called blasphemy by action. In conclusion, there is sufficient evidence to show that Judas is a traitor and a blasphemer who has all the essential literary features of an idol. The electronic form of this thesis uses BSTHebrew and SPIonic. Quotations in English are taken from the NIV, unless otherwise indicated. SBL abbreviations are used.

The Gospel of Judas was found in the 1970s in Al Minya, Egypt. After a series of bizarre events, this long-lost gospel was restored, translated, and published in April, 2006. The National Geographic Society financially supported the project, which resulted in an English translation, a commentary on the gospel, and a televised documentary. This gospel tells the story of Jesus and his disciples in the days leading up to the crucifixion. More specifically, the narrative is focused on the dialogue between Jesus and Judas Iscariot. Although the initial reactions to the Gospel of Judas sought to redeem Judas from his malevolent reputation, further analysis has revealed a negative depiction of his character. Indeed, characterization utilizing a narrative-critical approach in the interpretation of this gospel clearly supports the idea that the figure of Judas Iscariot is characterized as a demon. Jesus is the central character, and as such is the protagonist of the story. It is Jesus who is the divine revealer of the mysteries of the kingdom and the end days. Judas plays a significant role in the plot, but because the implied reader develops a negative relationship with him, he cannot be a protagonist. Judas, instead, plays the role of the deuteragonist. He is the second most important character in the plot and acts as Jesus' subordinate. The Gospel of Judas is a valuable document, as it reveals aspects of second and third century Christianity. Much of the content of this gospel is shrouded in mystery. A narrative-critical approach focusing on characterization will elicit layers of meaning within the Judas gospel.

Este estudo insere-se numa abordagem que tenta observar a Bíblia como literatura. Neste caso, estudar-se-á a figura de Judas Iscariotes, um personagem enigmático e misterioso, que é direitamente relacionado com a traição. Dividindo-se em três capítulos, o presente trabalho abordará num primeiro momento a figura de Judas, na Bíblia e, depois em dois textos literários de dois autores de diferentes momentos históricos e nacionalidades: Amos Oz de Israel e Leonid Andreiev, da Rússia. A partir do estudo realizado gostaría de apresentar uma reflexão teológica a qual é alimentada pela Bíblia e pela literatura. Neste sentido, o estudo mostrará como estas duas áreas podem dialogar e complementar-se.
This study is part of an approach that tries to look at the Bible as literature. In this case, the figure of Judas Iscariot will be studied, an enigmatic and mysterious personage, who has been directly related to the betrayal. This thesis is divided into three chapters and will address, firstly, the figure of Judas in the Bible and then the same figure represented in two literary texts by two authors of different nationalities and historical periods, Amos Oz and Leonid Andreyev, an Israeli and a Russian. Based on the above, it will present a theological reflection that is fed by the Bible and literature. In this sense, it will show how these two can dialogue and nourish each other.

Rozprawa stanowi próbę refleksji nad miejscem tradycji chrześcijańskiej w nowoczesnej i ponowoczesnej literaturze bułgarskiej z punktu widzenia badań historii idei. Przedmiotem badań są literackie parafrazy biblijne ewangelijnego wątki Judasz z XX i początku XXI wieku, pojmowane jako świadectwo poszukiwań światopoglądowych epoki. Strategię interpretacyjną wyznacza relacja do pierwowzoru, a zatem stosunek do narracji konstytuującej chrześcijański system znaczeniowy (kanon), który w przypadku nowoczesnego Bułgara stanowi istotny składnik jego kulturowej tożsamości. W tym świetle analizowane teksty mają charakter apokryfów, funkcjonujących wszakże w odmiennej w porównaniu z odpowiednikami wczesnochrześcijańskimi sytuacji komunikacyjnej. Perspektywę hermeneutyczną nadają trzy konkurujących ze sobą na gruncie europejskim, traktowane jako swoiste paradygmaty poznawcze (czy typy idealne), systemy światopoglądowe: judeochrześcijański, gnostycki (ezoteryczny) i racjonalistyczny (oświeceniowy). Występujące w literaturze bułgarskiej zmienne funkcjonalizacje obrazu apostoła-zdrajcy okazują się swoistym kluczem, pozwalającym uchwycić kierunek następujących przemian kulturowych. W efekcie autorskie parafrazy wątków związanych z Judaszem odsłaniają aksjologiczne poszukiwania pisarzy bułgarskich, ich podatność na intelektualne i religijne mody o fundamentalnych znaczeniu dla bułgarskiej drogi do modernitas. W tym sensie „przypadek bułgarski” stanowi jedynie wymowny przykład szerszych tendencji. Unaocznia nie tylko lokalną specyfikę zjawiska, ale również powiązane z nim procesy charakterystyczne dla wędrówki idei w kulturze i myśli religijnej Zachodu.
The dissertation is an attempt in reflection on the place of the Christian tradition in the modern and postmodern Bulgarian literature from the point of view of the history of ideas. The object of the research is literary paraphrases of the evangelical history of Judas from the 20th and early 21st century, which are perceived as evidence of philosophical exploration of the epoch. The interpretative strategy is determined by the relation to the original, and thus by the approach to the narrative which constitutes the Christian system of meaning (the canon), which is an important component of the cultural identity of the modern Bulgarian. In this light, the texts become apocrypha, functioning, however, in a different, in comparison to their early Christian equivalent, communicative situation. The hermeneutic perspective is defined by the three, considered as epistemological paradigms (or ideal types), worldview systems competing in Europe: the Judeo-Christian, Gnostic (Esoteric), and rationalistic (the Enlightenment) one. The Bulgarian functionalizations of the Judas image are treated as a key for fundamental cultural changes. Therefore, authors’ paraphrases about God’s traitor show axiological experiments of Bulgarian writers as well as their susceptibility to intellectual and religious trends of fundamental importance to the Bulgarian road to modernitas. In this sense, “the Bulgarian case” is only an example for phenomena of universal dimensions. It shows not only its local characteristics, but also the related processes which are specific to the migration of ideas in the culture and the religious thought of the West.

The following thesis, The Judas Iscariot figure, as seen by media and the public, in the 21st century in the context of the state graduation exam and contemporary pop culture, deals with the biblical figure who has betrayed Jesus Christ. The apostle, whose name has become a synonym for betrayal, was mentioned in one of the questions of the didactical test regarding Czech language and literature in the state graduation exam in the Czech Republic in 2015. The pupils were supposed to recognize Judas with help of his cognomen and other hints. Many students have complained about this task, saying that it was too difficult, while others have claimed that the question was not related to the subject. The complaint became an issue frequented in all the significant media and heavily discussed in society. The first chapters of the thesis describe the official requirements for the state graduation exam and the study plans for secondary schools, where the Bible is listed. The following chapters highlight and discuss the media coverage of the affair in the printed and online media, as well as in the radio and TV stations. Additionally, the student's opinions about the issue are mentioned, together with the jokes related to the topic, reactions of the experts and internet users commenting the topic under the internet...