Arts and Humanities Commons^™

The Greek Word "Porneia" In The Matthean Exception Clauses, Philip R. Leineweber

Senior Honors Theses

Matthew 5:32 and 19:9 present an interesting exegetical discussion concerning the acceptability and permissibility of divorce. These verses provoke interest because of their inclusion of an exception clause seemingly allowing for a permissible divorce. The verses state the unlawfulness of divorce “except in the case of porneia.” Porneia is the word around which this discussion revolves and its meaning differs vastly depending upon the interpreter. The word is interpreted specifically as adultery during the betrothal period and also as sexual promiscuity and immorality on the other. This thesis explains both views and then seeks to offer all relevant evidence by …

A Pure Woman, Archetypally Presented: Towards A Jungian Criticism Of Hardy’S Tess Of The D’Urbervilles, Bethany M. Gullman

Senior Honors Theses

Tess Durbeyfield is one of the most memorable characters in English literature. She is at once a working-class woman and a mythic figure. Abused by her superior and caught between classes, she represents the individual struggling for identity.

Tess of the d’Urbervilles appeals universally to the nature of the woman in literature. Her status as the natural or archetypal woman is clear throughout the novel. Hardy created Tess who cannot be defined by just one categorization. Tess certainly fulfills the limited idea of the fallen woman. However, Hardy is appealing beyond this narrow view of humanity to the more ancient …

Ibsen’S Female Characters In Captivity: An Exploration Of Literature And Performance, Christina K. Forshey

Senior Honors Theses

In Henrik Ibsen’s plays, A Doll’s House, The Wild Duck, The Lady from the Sea, and Hedda Gabler, the theme of captivity is demonstrated in the female protagonists Nora, Hedvig, Ellida, and Hedda. The theme of captivity also serves as a performance guide for the portrayal of these characters. Ibsen’s female protagonists are in bondage to an object or person that manipulates the character’s mental and emotional senses. The character’s inner captivity reaches a climax where a decision must be made to abolish the chains of captivity or forever remain enslaved. Since the nineteenth century, the actor has greatly benefitted …