In the increasingly diverse context of North American schools, cross-cultural understanding is of fundamental importance. Most teachers are mono-cultural – typically white, middle class women. To inform teaching practice, these educators draw primarily from personal cultural backgrounds often to the exclusion or detriment of other cultural ways of knowing brought to the classroom by students. Teacher education programs are challenged to interrupt the norms of their conventional practices in order to help dominant culture teachers become more sensitive and insightful towards issues of cross-cultural pedagogy. In particular, the needs of Canadian Aboriginal students require close attention. Indigenous ways of learning and teaching are rarely included in school curricula. This dissertation argues that not only is an indigenous pedagogy useful for Aboriginal students, it also serves to support learning for all students in a multicultural classroom. This phenomenological narrative study looked at the experience of non-Aboriginal preservice teachers enrolled in a university course taught by instructors from several First Nations of Canada. The course took place on Lkwungen Coast Salish territory and provided direct access to indigenous knowledge as the participants worked with earth fibre textiles. The wisdom keepers created a place for the preservice teachers to participate extensively in a cultural approach to learning that was quite different from their previous educational experiences. While engaging in the indigenous handwork, the preservice teachers carefully observed both their own processes as learners and the ways in which the wisdom keepers in the course acted as teachers. The insight gained through this reflexive work troubled the participants’ deep-seated Eurocentric perspectives. Reflecting on personal shifts in attitudes, values and beliefs about the twinned processes of learning and teaching, the participants reported changes in their teaching practice with both Aboriginal and non-Aboriginal students. Significant themes in the data revolve around issues of personal and social intent, reflective and reflexive practice, spirituality, the endogenous processes of the learner, learning in community, and teachers’ faith in the learner. The data suggest that implementing an eco/social/spiritual framework is useful in cross-cultural learning and teaching environments as well as in the context of educational research.

In this study an ecosystematic approach to sports coaching is forwarded. This approach is illustrated using the analogy of an ecology of ideas. Ideas informing the life span of a coach within an elite team are explored. The researcher engaged four subjects in conversations the life span of a coach in an elite team. these conversations are viewed as co-constructions of realities. The coach abides within a team for a limited time. he or she enters an existing ecology of ideas, which can contribute to, or detract from, the efficacy of the coach in a team. This ecology of ideas evolves as aold meanings shift and new meanings emerge. These menings are explored in this disertation. An awareness of the ecology of ideas within a team can inform the coach to perturb the ecology of ideas in a direction that is mutually qualified as successful / Psychology / M.A. (Clinical psychology)

This thesis is an endeavour to participate in the call for the African Renaissance from a missiological perspective. The study observes how the debate about this African ‗dream‘ persists in the domain of intellectuals and political leaders. It recognises as timely the opportunity to contribute theologically to the development of the renaissance concept. It also observes that ordinary people have jumped onto the African Renaissance bandwagon albeit for reasons that are mainly sentimental. Hence a two-fold appeal to protagonists of the African Renaissance movement: firstly, to be inclusive of all stakeholders especially ordinary people who should be both participants and co-beneficiaries; secondly, to consider spirituality as an indispensable factor in birthing this African ‗dream‘. To help arrive at a well-considered argument the study discusses a brief history of Africa‘s economic, social and political development. Central to this history is how the human factor, actively or inadvertently, and the natural factors have devastated the continent thus necessitating a rebirth. The study notes how especially the political economy and issues of good governance of African states are key concerns to the protagonists of the renaissance movement. It also notes the establishment of structures and policies in addressing these concerns. These interventions are hoped to improve the continent‘s image towards its global counterparts and to lift the hopes of distraught African peoples. The prospect of their success in terms of probabilities and/or perceptions is discussed and Missiologically critiqued. An overview of these endeavours has led to the observation of a lingering chasm of the absence or the apparent sidelining of African spirituality as a necessary component of the African Renaissance discourse. As a major thrust of this thesis the spiritual notion of ‗rebirth‘ is advanced. The basis for this argument lies in the ‗rebirth‘ concept that is inherent in many religions, faith formations and philosophies akin to African spirituality. It is on this understanding that a Missiological dimension is build. In introducing this spiritual dimension towards an African Renaissance a Missiological methodology of a seven pointed praxis cycle is proposed and unpacked. In deconstructing this methodology real models are presented as examples to illustrate Missiology‘s contextual life-long learning philosophy. / Christian Spirituality Church History and Missiology / D. Th. (Missiology)

The present research study is a deconstructive collaborative project situated within a postmodern paradigm. The research is premised on a notion that disability has been constructed by societies to reflect their values and norms. Despite various ancient and contemporary worldviews stabilising this normative paradigm, disability has remained a shifting and fleeting concept. For the most part, it has cast the disabled identity in more negative and alienating ways than positive. The Christian cultural context of Lesotho within which the study is situated has not done any better in terms of portraying people with disabilities. Instead, it has inherited the legacy of the ancient Mediterranean world and further re-read it in the light of the demands of contemporary society on the disabled identity. For instance, people with disabilities are still constructed as „sinners‟, „monsters‟, „add-ons‟, and pathological burdens who cannot by themselves survive the challenges of the contemporary world. Using the ideas of Foucault and Derrida, the study examines ways in which such a notion of disability is not only linguistically unstable but also founded on the binary opposites. The participatory nature of the study brings the important voices of people with disabilities to further destabilise the notion of disability and to deconstruct the dominant disability story. The immersion of this study within the participatory ethics and consciousness of Kotzé and Heshusius respectively, has led to an ambitious proposing of the participatory model of disability. The latter has leanings towards metaphors of the church as communion founded on and nurtured by the theologies of embrace, interdependence, healing and botho. It also resonates with the metaphor of the church as expounded in I Corinthians 12. As members of the body of Christ, no member can suffer without the rest of the body feeling the same. If one member of the body is disabled all the body is disabled. Alienating and marginalising others has no place in such a metaphor of church as communion, since by its own definition, all belong to and participate within it. / Practical Theology / D. Th. (Practical Theology with specialisation in Pastoral Therapy)

In this study, the intersections between Equine Assisted Psychotherapeutic interventions and adolescence are explored. Equine Assisted therapeutic work has recently gained much popularity in the field of psychology, due to many reported benefits, which include the value of the use of the horse as a tool in psychotherapy. Adolescence is acknowledged to be a difficult transitional phase, punctuated with many challenges, such as identity development. As this study is conducted by a trainee psychotherapist and researcher, the work also contains a reflexive exploration of these fields, with personal reflections regarding the researcher‟s own experience in the fields. This study is framed as a transtheoretical bricolage, which includes elements of reflexivity, heuristics, transpersonal, and phenomenological research approaches. Data was gathered from individual interviews with co-researchers, focus group interviews, personal reflections, and inclusion of non-verbal information from the horses who formed part of this study. Data analysis was done by means of a Thematic Data Analysis. The research findings reflect themes on different levels, which are: content themes, process themes, meta-reflections on the research process, and a meta-analysis of the research and individual developmental process which took place in the production of this work / Psychology / M.A. (Clinical Psychology)

Psychotherapy is an interpersonal encounter where a therapist collaborates with clients to facilitate a healing process. Due to the personal nature of the therapeutic encounter, the therapist requires the necessary skills and knowledge, as well as a differentiated sense of self. The importance of supporting the psychotherapy trainee’s own differentiation process seemed to have been neglected in research in recent years. In South Africa there has recently been increasing pressure to select larger groups of trainees which has the risk that the tending to differentiation would further be neglected. The purpose of this research study is to reemphasise the importance of differentiation of self of the psychotherapy trainee by examining my own process of differentiation during my psychotherapy training. This study introduces the reader to these concepts and explores psychotherapy training in general and the Unisa training method specifically. The research design of this study is autoethnography which falls in the realm of social constructionism and the coding method is Thematic Data Analysis. The research findings as reflected in the two global themes namely individuation; and gaining and strengthening authentic relationships, seem to accurately reflect the process of differentiation. The specific training method of the Unisa training team in combination with the way in which I engaged with this process seemed important for the facilitation of this process of differentiation. / Psychology / M.A. (Clinical Psychology)

Submitted in partial fulfillment of the requirements for the degree of Master of Technology : Fine Arts, Durban University of Technology, Durban, South Africa, 2014. / The motivation for this research results from the notion that art-making is a regenerative enriching process that can counteract the sense of dislocation that one suffers as a consequence of depression. The study has two objectives: to open a discourse around the transformative function of art for a person suffering depression; and challenge notions of dominant constructed ideals of normality by presenting alternative realities of the performative mind. From the earliest memories of my life, I knew I did not fit in, I was not part of the crowd. Depression has been my companion ever since I can remember. The intention for this self-study is to interrogate the ways in which art can become a self-actualising process in coping with depression. The content for this research deals with narratives of the mind, that is, my understanding of who I am. I have therefore, positioned myself as the pivot for this research, drawing on authentic personal experiential knowledge. This autobiographical phenomenological study is thus a self-reflexive exploration addressing concepts of difference and belonging in relation to social constructs of acceptability. The study looks at contemporary concepts of multiple selves, relationality and the application of therapeutic methodologies within art practice. Art-making becomes games of truth, mind games that offer alternative realities and possibilities for the construction of complex, multi-faceted narratives as dialogues between the self and the inner critic. Of importance is the concept that self is not a fixed conclusive notion but one that continues to unfold, shift and become a multi-layered construct. These new narratives examine how creativity enables or creates a sense of belonging or re-positioning of one’s states of mind. The overall intention of the art-making process is its potential for transformative self-recovery processes – the re-construction of who we are, rather than how we are perceived. This research thus examines the notion of belonging in this world through body/land enactments of ritualised behaviour. The body as metaphor investigates rites of passage as the re-tellings of one’s story within specific body/site/space relationships. The ideal of connection to site is central as a means of renewal and recovery – these performative relationships become the creative meaning-making processes of locating or positionality. In support of these ideas and concepts, the work of Ana Mendieta, Magdalena Abakanowicz and Suzanne Lacy are considered in relation to ideals of positionality and as reflecting each artist’s ethics or paradigms of equality. Artworks are examined against the notion of locating oneself within social contexts. The aim is to question the intention and outcomes of art-making as social function in dealing with issues of marginalisation and stigma. Performativity, personal writings/reflections and memory drawings are the quintessential tools of my art-making. The written psychological renderings and unravellings of my mind, questionings that are both reflexive and critical, are intentionally presented in dialogical, conversational and direct modes. This personal tone aims to allow a scope into my mind – it is my perspective from the inside, my voice, my personal understanding of the potential of art as a metaphorical process of transformation. Lacy asserts that the artist becomes a witness, reporter and analyst for socio-culturally biased concerns; a performance gives public articulation and permission to speak out loud, gives voice to internal dialogues, reveal information that requires questioning and that personal individual experience has profound social implications. Lacy believes that it is an innate human need to reflect on the meaning of one’s life and one’s work (2010:176-177). Central to the findings of this study, are both the transgressive and transformative functions of art. / M

Text in Afrikaans / Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die Postmodernistiese dramafteater die nosie van selfrefleksiwiteit in die enkoderingsproses in diens neem. Daarbenewens word ondersoek ingestel na die invloed wat die konsep van vervreemding in die twintigste-eeuse dramajteater op die verskillende beskouings van selfrefleksiwiteit gehad het. Die uiteindelike oogmerk is om aan te toon dat selfrefleksiwiteit in die Postmodernistiese dramafteater gevestigde aannames oor kuns as spieelbeeld van die werklikheid omverwerp. / Mirror, hall of mirrors, mise-en-abyme, representation, et cetera are all concepts associated with the notion of self-reflexivity. While self-reflexivity is not a new phenomenon, the question is why, in our time, it should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernist texts. One is lead to conclude that self-reflexivity and Postmodernism are directly linked. This study, then, focuses primarily on how Postmodernist drama/theatre employs the notion of self-reflexivity in the encoding process. It also explores the impact of the concept of alienation in twentieth century drama/theatre on the various views of self-reflexivity. The fmal objective is to show that self-reflexivity in Postmodernist drama/theatre challenges ftxed suppositions about art as a reflection of reality. / Afrikaans, Theory of Literature / M.A. (Theory of Literature)

Toutes les illustrations qui ponctuent cette thèse ont été réalisées par Chantal Poirier. Elles ont été insérées dans le texte selon un ordre méticuleusement aléatoire. / Le texte qui suit, malgré son libellé onomastique (le nom « John Cage »), son orientation disciplinaire (la « théorie littéraire ») et sa visée thématique (« la révision du commentaire critique »), se place d’emblée dans une posture d’écriture et de création. Il consiste à proposer comme point de départ l’identité de la forme textuelle et de sa dérivation métatextuelle, en d’autres mots : de la voix citée et analysée avec l’autre voix citante et analysante. Cette prémisse dérive elle-même d’une confrontation locale : les spécificités et les idiosyncrasies de la textualité mise en place par John Cage à partir des années quarante (partitions littéraires des recueils Silence et A Year from Monday, mésostiches de M et X, réécritures et « writing through » d’Empty Words…). En effet, l’examen par la théorie littéraire d’un corpus aussi disséminé et « néologique » que l’est celui de John Cage pousse son rédacteur à poser la question de sa propre écriture (« autoréflexivité ») et à rendre possible une réalisation artistique personnelle (« performativité »). C’est donc à travers la contingence d’une langue et d’une subjectivité au travail que la théorisation (textuelle) du texte cherche ici à s’élucider et à s’écrire. Le travail commence par installer les modalités à la fois circulaires et circulatoires de la théorie littéraire, une tension rhétorique et épistémologique qu’il identifie sous le nom d’« aporie autoréflexive » (le texte théorique est concerné par la question de lui-même). Il s’efforce ensuite d’analyser la nouveauté de l’œuvre littéraire cagienne, en empruntant un schéma dialectique et antagoniste : d’un côté, une « textualité-objet », originale et orthographique, de l’autre, une « textualité-sujet », disséminante et intertextuelle, anarchique et jubilatoire. Enfin, le texte propose la révision, la recomposition, la « réécriture » du commentaire critique sur les bases nouvelles d’une textologie autoréflexive et performative — une indiscipline d’écriture qui utilise sciemment les coordonnées linguistiques de son élocution (néologie, typographisme, procédés citationnels…) et qui fait place sans camouflage ou refoulement à la personnalité intertextuelle, contextuelle, métissée du rédacteur. Par l’entremise d’une sorte d’« exemplarité textuelle » (Cage), ce travail insiste pour une synthèse à la fois productive et expressive des voix analysées et analysantes dans les études littéraires. On verra que, par moments, cette proposition implique que le texte se marginalise. / The following text, despite its onomastic labelling (the name “John Cage”), its disciplinary orientation (“literary theory”), and its thematic aim (“the revision of the literary commentary”), positions itself as a writing and creative venture. It starts by stating the strict identity of texts and metatexts, in other words, of the quoted, analyzed voice, with the quoting, analyzing other voice. This premise derives from a specific confrontation: the specificities and idiosyncrasies of John Cage’s literary production since the late 1940s (the literary scores from the anthologies Silence and A Year from Monday, the mesostics from M and X, the rewritings and “Writing through’s” from Empty Words…). Indeed, the examination by literary theory of a body of work as disseminated and “neological” as John Cage’s encourages the literary critic or theoretician to ask the question of his own writing (“self-reflexivity”) and also to make possible an original artistic realization (“performativity”). It is therefore through the possibilities of a language and of a subjectivity at work that the (textual) theorization of texts tries herein to elucidate and to write itself. This work starts by setting up the modalities both circular and circulatory of literary theory—a rhetorical and epistemological tension that will be identified as the “self-reflexive aporia” (the theoretical text is primarily concerned by the question of itself). It then tries to analyze the novelty of Cage’s literary work, using a dialectical and antagonistic configuration: on one hand, an “objective textuality”, original and orthographical; on the other hand, a “subjective textuality”, disseminating and intertextual, anarchic and unrestrained. Finally, this text proposes the revision, recomposition and “rewriting” of the critical commentary on the basis of a new self-reflexive and performative textology. That is: a sort of undiscipline in writing that knowingly manoeuvres the linguistic coordinates of its elocution (neology, typographism, quotation processes…) and that does not try to conceal or repress the intertextual, contextual, heterogenous and disparate personality of its author. Through a sort of “textual exemplarity” (Cage), this work insists on a synthesis both productive and expressive between the voices analyzing and the voices being analyzed. We will see accordingly that this proposition implies, from time to time, that the text be marginalized.

L’étude de la mémoire, du point de vue de son fonctionnement et de ses troubles, entre neurosciences cognitives et psychanalyse, avec comme maillon intermédiaire la psychologie développementale, permet une lecture d’éléments entrant en résonance les uns avec les autres ainsi qu’une matière composite propre à enrichir l’ensemble de ces disciplines. Il ne s’agit pas d’effectuer un amalgame de concepts dont la source est différente, mais de saisir comment des analogies entre ces concepts peuvent créer un nouvel espace pour une compréhension des processus de représentation et de façon corollaire pour une compréhension des processus de la mémoire. Pour entrer dans le champ des troubles de la mémoire, cette étude met en évidence deux fils rouges, la désarticulation du système perception-conscience en tant qu’elle est la signature des phénomènes psychiques dans lesquels prédomine un amorçage perceptif et l’émotion en tant qu’elle est un processus dont l’aboutissement conduit à la création des représentations de choses. Celles-ci marquent l’entrée du moi naissant dans une temporalité primaire, nécessaire à la future mémoire des souvenirs dont le développement est plus tardif au niveau des processus cérébraux. D’un point de vue psychique, la seule maturité cérébrale n’est pas suffisante pour la production des souvenirs, leur entrée dans le champ de la conscience passe par des conditions d’admissibilité de l’affect, encore faut-il qu’une représentation de l’affect ait été produite. Des hypothèses de travail sous-tendent l’élaboration de trois cas cliniques. Elles sont fondées sur la nécessité de la présence empathique de l’objet maternel primaire dans les états précoces de la psyché, afin de soutenir l’œuvre des processus de représentation et conséquemment celle des processus mnésiques. A contrario, son absence lors des situations de détresse éprouvées par l’enfant comporte le risque d’une atteinte portée aux processus de représentation et le risque de la production d’une mémoire demeurant sous l’emprise de stases émotionnelles. / The study of memory, regarding how it works and its disorders, between cognitive neuroscience and psychoanalysis, added to the intermediate link of developmental psychology, enables to read elements which start to resonance one with another and also offers composite material helping to enhance both these disciplins. This doesn’t mean making an amalgam of concepts from different origins, but to grasp how the analogies between these concepts can create a new approach in order to understand the process of representation and consequently to understand the process of memory. To enter the field of memory disorders, this study follows two red lines, the dislocation of the perception-conscience system as being the signature of psychic phenomena dominated by a perceptual priming and emotion as the process ending up in thing representations. These are the signs of the ego being born in primary temporality, a necessity for the future capacity to remember which is a cerebral process appearing later. From the psychological point of view, cerebral maturity is not solely required in order to produce recollections, their entry into the field of consciousness requires the possibility of acceptance of affect, gathering that the representation of affect has been produced. Working hypothesis are entwined with three clinical cases. They are grounded on the need for the empathic presence of the primary maternal object in the initial states of the psyche, in order to underline the work of the process of representation and, consequently, those of the memory process. On the contrary, if it is missing when the child is distressed, there is a risk of interference with the representation process and the risk of producing a memory in the grip of emotional stasis.