Chemnitz, Techn. Univ., Diplomarb., 2002.

Universiẗat, Diss., 2003--Heidelberg.

While the advent of modern technologies has increased our understanding of the physicality of prehistoric artefacts for instance their place and method of manufacture and has helped to establish more precise chronologies, the actual meanings tend to elude us. It is in this connection that the insights derived from the work of C. G, Jung could help to shed light on the significance of some of these objects and the practices with which they are associated. One worthwhile line of enquiry entails a more personal approach based on some psychological perspectives from the work of C.G. Jung. It was Jung who emphasised that the scientific rationalist perspective of modernity is just another paradigm and by no means the only way of understanding the world. Another of his important insights was to search for meaning in all human behaviour no matter how bizarre or senseless it might appear. As well as being a modern discipline, Jung’s work can I believe be extrapolated back to the past as he himself stated that some of his insights could be usefully applied to past objects and situations (Jung 1986:5).The problems involved in attempting an analysis of meaning from a period from which no literary evidence survives was one rejected as impossible, (Renfrew & Zubrow 2000) but this problem can be redressed by the application of Jung’s collective unconscious a concept concerned with recurrent patterns in human behaviour. In his view, studies based on an isolated individual are inadequate. Moreover, with regard to the Neolithic period where no written records are extant, it is virtually impossible to reconstruct such detailed information at this level. The following quotation underlines the importance Jung attached to this interpretation:-“Therapy stands or falls with the question. “What sort of world does our patient come from and to what sort of world does he have to adapt? The world is a supra-personal fact, which only deals with the personal element in man. Man is also a part of the world, inextricably involved, he carried the world in himself, something at the same time, impersonal and supra-personal (Jung 1946:30).

This study deals with weather symbolism in DBZ Ntuli's literature. Chapter one describes the aim, biography of DBZ Ntuli, definition of important literary concepts, the scope and the methodology. Chapter two considers the symbolic use of mist, fog, overcast weather and clouds. Each of these aspects is defined and is studied under each genre, i.e. in terms of its use by Ntuli in prose, drama and poetry. Chapter three explores the symbolic usage of rain, thunder and the rainbow in all the genres in which Ntuli writes. Chapter four deals with the imagery of the sun. The sun is shown as exhibiting three distinct levels of heat: mild, hot and extremely hot. Chapter five deals with the symbol of cold weather. Its aspects can be perceived on two levels: cold weather and extremely cold weather. Chapter six is a general conclusion that reveals the outcome of the research, observations and the recommendations. / African Languages / M.A. (African Languages)

Det här examensarbetet handlar om hur interaktion i en historisk utställningsmiljö upplevs av besökarna och hur man med hjälp av symboler av sinnena kan kommunicera de interaktiva möjligheterna. Arbetet lyfter även fram hur symbolerna kan förtydliga en redan formgiven utställning så att det rumsliga syftet framhävs. Denna studie är skriven inom ämnet informationsdesign med inriktning mot rumslig gestaltning. Besökarnas missförståelse för vad de ska interagera med i utställningarna på Västmanlands läns museum är det praktiska problemet som ligger till grund för studien. Syftet med studien är att studera vilka faktorer som ligger till grund för hur man som besökare läser av en miljö och förstår dess interaktiva möjligheter samt hur man med hjälp av symboler för sinnena kan kommunicera möjligheterna för att bidra till en ökad förståelse hos besökarna för vad de kan göra i utställningarna. Problemet har undersökts med hjälp av teorier om synintryck och den mentala bilden, interaktion och affordance, samt kommunikation. De metoder som har använts för att samla in empiri är via rumslig analys, innefattande platsanalys, observation och intervju. Andra metoder som används är en intervju med museipersonal samt ett användartest. Platsanalysen visade att museet varierade i sitt sätt att kommunicera de olika interaktionsmöjligheterna vilket observationen bekräftade i och med att besökare inte uppfattade alla delar i utställningen. Studien har resulterat i ett designförslag på hur kommunikationen genom symboler av våra sinnen kan öka förståelsen för vilka möjligheter en besökare har i interaktionerna. / This study is about how interaction in a historical exhibition is experienced by the visitors and how to communicate the interactive possibilities with the help of symbols of the senses. It will also focus om how the symbols can clarify an already designed exhibition so that the spatial purpose is featured. The study is written in the subject information design with a focus on spatial design. The practical problem the study is based on is the exhibitions at Västmanlands läns museum, where the visitors misunderstand what they can and can´t interact with. The purpose of the study is to examine what factors are the basis for how visitors read an environment and understand their interactive possibilities. The study also examines how to use the symbols of the senses to communicate these opportunities to contribute to increased understanding of the visitors for what they can do in the exhibitions. The theories that are used in the study are centered on visual perception and the mental image, interaction and affordance, as well as communication. The methods used to collect empirically are spatial analysis, including analysis of the place, observation and interview. Other methods used are an interview with museum staff and a user test. The location analysis showed that the museum varied in its way of communicating the various interaction possibilities which the observation confirmed as visitors did not perceive all parts of the exhibition. The study has resulted in a design proposal on how communication through symbols of our senses can increase understanding of what possible interactions a visitor has.

Zugl.: Potsdam, Univ., Diss., 2008

This study deals with weather symbolism in DBZ Ntuli's literature. Chapter one describes the aim, biography of DBZ Ntuli, definition of important literary concepts, the scope and the methodology. Chapter two considers the symbolic use of mist, fog, overcast weather and clouds. Each of these aspects is defined and is studied under each genre, i.e. in terms of its use by Ntuli in prose, drama and poetry. Chapter three explores the symbolic usage of rain, thunder and the rainbow in all the genres in which Ntuli writes. Chapter four deals with the imagery of the sun. The sun is shown as exhibiting three distinct levels of heat: mild, hot and extremely hot. Chapter five deals with the symbol of cold weather. Its aspects can be perceived on two levels: cold weather and extremely cold weather. Chapter six is a general conclusion that reveals the outcome of the research, observations and the recommendations. / African Languages / M.A. (African Languages)

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The contemporary angel-symbol is deeply rooted in our cultural history, with connotations and implications leading to that inner transitional space where all creative activity takes place. This essay investigates the history of the depiction of angels, visions of angels both ancient and modern, and includes psychological aspects of symbols as such. A closer look at surrounding symbols of angels will hopefully result in a greater understanding of the role of the angel-symbol within the context of visual culture, seen in the light of our own symbolic universe.