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An author of novels, poems, plays and short stories, Corinna Bille distinguished herself especially through her short stories, which brought her several literary prizes. After having experimented with the real (Douleurs paysannes and L’enfant aveugle), she turned towards its transgression, towards the dream-like and the fantastic (La fraise noire, La demoiselle sauvage, Le salon ovale, Le bal double, Cent petites histoires d’amour, Cent petites histoires cruelles, etc.), an aspect which we mean to explore in the present study. It is especially the dream what impregnates her work with a primitive and mysterious sensual delight, giving birth to ambiguous, original images, to wild and transparent characters, the beauty and intensity of whose feelings stretches beyond the limits of concrete reality., Corina Bille, autora de novela, poesía, teatro y relato breve, destacó sobre todo por sus novelas cortas y sus cuentos, por los que obtuvo varios premios literarios. Después de experimentar lo real (Douleurs paysannes y L’enfant aveugle), Corina Bille se dirigió hacia la transgresión, lo onírico y lo fantástico (La fraise noire, La demoiselle sauvage, Le salon ovale, Le bal double, Cent petites histoires d’amour, Cent petites histoires cruelles, etc.), aspectos que abordamos parcialmente en el presente trabajo. Es sobre todo el sueño el que impregna su obra de una voluptuosidad primitiva y misteriosa, creando imágenes ambiguas, originales, personajes transparentes y salvajes, cuya belleza e intensidad de sentimientos sobrepasan la realidad concreta., Auteure de romans, poésies, pièces de théâtre et récits brefs, Corinna Bille s’est affirmée surtout par ses nouvelles et petites histoires, qui lui ont valu plusieurs prix littéraires. Après avoir expérimenté le réel (Douleurs paysannes et L’enfant aveugle), Corinna Bille s’est orienté vers la transgression, l’onirisme et le fantastique (La fraise noire, La demoiselle sauvage, Le salon ovale, Le bal double, Cent petites histoires d’amour, Cent petites histoires cruelles, etc.), des aspects que nous approchons partiellement dans la présente étude. Le rêve notamment imprègne son œuvre d’une volupté primitive et mystérieuse, donnant naissance à des images ambiguës, originales, à des personnages transparents et sauvages, dont la beauté et l’intensité des sentiments dépassent les limites de la réalité concrète.

This dissertation investigates the ambiguous relationship between God and ‘the angel of the Lord/God’ in early Jewish interpretations of Genesis, for example, Gen 16:7–14; 22:1–19, and 31:10–13. Although the designation ‘the angel of the Lord’ does not appear in Genesis 32, this text is included because it exhibits the same ambiguity as the explicit ‘angel of the Lord-texts’. Moreover, it constitutes an inseparable part of the Jacob saga and the prophet Hosea explicitly identifies Jacob’s opponent as an angel. The study of the identity of ‘the angel of the Lord’ in early Jewish exegesis is set in a wider context as a part of the development of angelology and concepts of God in the various forms of early Judaism (ca. 200 B.C.E.–650 C.E.). When identifying patterns of interpretation in the Jewish sources, their chronological setting has proven to be of minor importance. A more significant factor is the nature of the biblical texts. A typical characteristic of the interpretations is, for example, the avoidance of anthropomorphism. There are obviously chronologically based differences when comparing the sources with the biblical texts; in Genesis, ‘the angel of the Lord’ generally seems to be a kind of impersonal extension of God, while later Jewish writings are characterized by a more individualized angelology. However, the ambivalence between God and His angel remains in many interpretations. In Philo’s works and Wisdom of Solomon, the ‘Logos’ and ‘Lady Wisdom’ respectively have assumed the role of ‘the angel of the Lord’ in the Bible. A possible conclusion is that although the angelology of Second Temple Judaism had developed in the direction of seeing angels as distinct personalities, Judaism still had room for the idea of divine hypostases.

This dissertation investigates the ambiguous relationship between God and ‘the angel of the Lord/God’ in early Jewish interpretations of Genesis, for example, Gen 16:7–14; 22:1–19, and 31:10–13. Although the designation ‘the angel of the Lord’ does not appear in Genesis 32, this text is included because it exhibits the same ambiguity as the explicit ‘angel of the Lord-texts’. Moreover, it constitutes an inseparable part of the Jacob saga and the prophet Hosea explicitly identifies Jacob’s opponent as an angel. The study of the identity of ‘the angel of the Lord’ in early Jewish exegesis is set in a wider context as a part of the development of angelology and concepts of God in the various forms of early Judaism (ca. 200 B.C.E.–650 C.E.). When identifying patterns of interpretation in the Jewish sources, their chronological setting has proven to be of minor importance. A more significant factor is the nature of the biblical texts. A typical characteristic of the interpretations is, for example, the avoidance of anthropomorphism. There are obviously chronologically based differences when comparing the sources with the biblical texts; in Genesis, ‘the angel of the Lord’ generally seems to be a kind of impersonal extension of God, while later Jewish writings are characterized by a more individualized angelology. However, the ambivalence between God and His angel remains in many interpretations. In Philo’s works and Wisdom of Solomon, the ‘Logos’ and ‘Lady Wisdom’ respectively have assumed the role of ‘the angel of the Lord’ in the Bible. A possible conclusion is that although the angelology of Second Temple Judaism had developed in the direction of seeing angels as distinct personalities, Judaism still had room for the idea of divine hypostases.