Sveriges specialförband introducerades för allmänheten 1997 och har sedan dess varit delaktigt i internationella insatser som i Afghanistan, Kongo och Mali. Denna studie syftar till att analysera den svenska dagspressens intresse och gestaltning av specialförbanden under en 25-årsperiod. För att ta reda på dagspressens intresse användes en kvantitativ metod för att samla in data från de fyra största tidningarna i Sverige. Efter detta användes kvalitativ textanalys, stödd av gestaltningsteorin, för att undersöka dagspressens gestaltning av specialförbanden. Medieporträttet av de svenska specialförbanden har genomgått betydande förändringar under de senaste 25 åren, ofta i olika faser. I början jämfördes specialförbanden ofta med fiktiva figurer så som Carl Hamilton. Viktiga händelser, bland annat som dödsfallen 2005 och skandalerna 2008, ledde till en förändring i medierapporteringen och resulterade i en mer humaniserad bild av specialförbanden. Trots att de fortfarande betraktas som gåtfulla, framställs de nu som en viktig del av Sveriges försvar och intressen. Medieintresset intensifierades under kritiska perioder och genererade en mer nyanserad bild av specialförbanden. Tidigare fokus på deras hemlighetsfulla verksamhet och kopplingar till fiktivafigurer ändrades mot en mer mänsklig bild. Denna utveckling av dagspressensgestaltning belyser förändringar i synen på specialförbanden och deras roll i Sveriges insatser. Studien strävar efter att fördjupa förståelsen för dessa skiftande faser avgestaltningar och deras påverkan på allmänhetens uppfattning av de svenska specialförbanden / Sweden's special forces were introduced to the public in 1997 and have since been involved in international operations such as those in Afghanistan, Congo, and Mali. This study aims to analyze the Swedish newspaper’s interest in and portrayal of Swedish special forces over a 25-year period. A quantitative method was used to gather data from the four largest newspapers in Sweden to find out the newspaper's interests. Subsequently, qualitative text analysis, supported by the framing theory, examined how the newspapers portrayed the special forces. The newspaper’s portrayal of Sweden's special forces has undergone significant changes over the past 25 years, often in distinct phases. Initially, the special forces were frequently likened to fictional characters such as Carl Hamilton. Key events, including fatalities in 2005 and scandals in 2008, prompted a shift in newspaper coverage, resulting in a more humanized depiction of the special forces. While they are still perceived as enigmatic, they are now portrayed as essential to Sweden's defense and interests. Newspaper’s interest intensified during critical periods, presenting a more nuanced view of the special forces. The prior emphasis on their secretive operations and associations with fictional figures shifted towards a more human representation. This evolution in the newspaper’s portrayal highlights changes in perceptions of the special forces and their role in Sweden's operations. The study aims to deepen understanding of these shifting representations and their impact on the public perception of Sweden's special forces.

No description available.

[pt] A presente pesquisa tem como objetivo principal estudar o modo como se relacionam, no profeta Malaquias, a crise do sacerdócio, descrita de modo particular em 2,1-9, e a perspectiva escatológica apresentada em 2,17 - 3,5. A pesquisa considera que, embora em 2,1-9 prevaleça o discurso de juízo sobre os sacerdotes faltosos, no v. 4 é delineada uma perspectiva salvífica. Tal perspectiva é desenvolvida em 2,17 - 3,5, onde o tema da purificação do sacerdócio e do restabelecimento do culto domina a maior parte do texto (cf. 3,2-4). Para o estudo das unidades textuais seguiu-se o Método Histórico Crítico nas suas etapas essenciais, conjugando-o, de modo particular no comentário aos textos, com a análise sincrônica, considerando-se cada uma das perícopes na sua forma final e canônica. Com relação a 2,17 - 3,5 procurou-se identificar os elementos que permitem caracterizar este texto como escatológico e delinear suas perspectivas principais. O estudo conjunto das perícopes demonstrou que, em Malaquias, o juízo previsto em 2,1-9 é revertido a partir da perspectiva escatológica apresentada em 2,17 - 3,5. Uma vez que os sacerdotes são os ministros do culto e este é a manifestação da dimensão propriamente religiosa da relação de Deus com seu povo, YHWH mesmo agirá, em primeiro lugar por meio de seu mensageiro, purificando os sacerdotes e restabelecendo o culto na sua integridade e, depois, atuando como testemunha contra os que não o temem. / [en] The aim of this research is to study how the prophet Malachi relates the priesthood crisis, described in particular in 2:1-9, with the eschatological perspective presented in 2:17 - 3:5. The research considers that while in 2:1-9 the judgmental discourse on the faulty priests prevails, in v. 4 is outlined a salvific perspective. This perspective is developed in 2:17 - 3:5, where the theme of priesthood purification and the reestablishment of worship dominates most of the text (cf. 3:2-4). For the study of the textual units, was followed the Critical Historical Method in its essential stages, combining it, particularly in the commentary on the texts, with the synchronic analysis, considering each of the pericopes in its final and canonical form. With respect to 2:17 - 3:5 it was tried to identify the elements that allow characterizing this text as eschatological and delineating its main perspectives. The joint study of the pericopes has shown that in Malachi the judgment predicted in 2:1-9 is reversed from the eschatological perspective presented in 2:17 – 3:5. Since the priests are the ministers of worship and this is the manifestation of the properly religious dimension of God s relationship with his people, YHWH himself will firstly act through his messenger, purifying the same priests and restoring the integrity of the worship, and so he will act as a witness against those who do not fear him.

Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel. / Liturgiese musiek verkeer wereldwyd in 'n krisis. Kritiek word dikwels slegs voor die deur van die musiek gele, terwyl die probleem verband hou met die erediens as geheel, die teologiese denke en met die kulturele omstandighede waarbinne die erediens plaasvind. Geykte liturgiese vorms, 'n kognitiewe-verbalisme, die oorbeklemtoonde eis om verstaanbaarheid, 'n verlies aan die kunsgestalte van die erediens, 'n miskenning van die simboliese waarde van rituele en handelinge, die gebrek aan visuele en ander kunsvorme, die invloed van die omringende musiekkultuur en veral die gebrek aan 'n grondige teologiese besinning ten opsigte van musiek in die erediens, bring die funksie, aard en wesenlike plek van liturgiese musiek in gedrang. Die erediens staan binne 'n · postmodernistiese denkkultuur waarvan sekere aspekte positiewe moontlikhede ten opsigte van die erediens kan bied. Die breer rasionaliteitsbegrip, wat ruimte open vir die affektiewe en nie-kognitiewe dimensies van menswees, skep nuwe ruimte vir die estetiese ervaring en die rol van ervaring in die geloofsproses. Die erkenning van simbole, simboolwerelde, metafore, beelde en verbeelding, bied nuwe moontlikhede vir die erediens as Gesamtkunstwerk. Die oog vir die heropname van die historiese en die simboliese bied ook geleentheid vir die herstel van die tradisionele lied. 'n Gees van anti-fundamentalisme vereis 'n oop kanon ten opsigte van die liturgie en die liturgiese lied. Ekumenisiteit as vorm van die postmoderne global village bied 'n pluraliteit van liturgiese en musikale moontlikhede. 'n Nie-outoritere tydsgees en die ontkenning van 'n 'kundigheidsgroep' deur die postmodernisme, moet verreken word as faktore wat 'n rol kan speel by die resepsie van liedere en gesangboeke. Die liturgiese opleiding, veral met betrekking tot die estetiese vorming van predikante, moet grondig aandag kry. Die besinning rondom die liturgie met betrekking tot die rol van kuns en musiek as kommunikatiewe handelinge moet op grond van nuwere teologiese insigte tereg kom. Die tese van hierdie studie is dat die kerklied, oud of nuut, eers daar tereg sal kom waar van liturgiese vernuwing in die omvattende sin sprake is en waar teologies die ruimte vir musiek as kunsvorm met die vermoe tot simboliese vergestalting - as sodanig dus kommunikatiewe handeling in diens van die Evangelia - verreken word. / Philosophy, Practical & Systematic Theology / D. Th. (Practical Theory)

陳明麗. / "2013年8月". / "2013 nian 8 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 196-220). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Chen Mingli.

Text in German with summaries in German and English / Die Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt gerechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion. / The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are underrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function / Practical Theology / M. Th. (Practical Theology)

Originally presented as the author's Thesis (doctoral)--Eberhard-Karls-Universität, Katholisch-Theologischen Fakultät, Tübingen, 1997-1998. / Includes bibliographical references (p. 605-644) and indexes.

In this thesis, the researcher engages in emerging work in music in worship to deepen contemporary conversations about musical styles in worship. This thesis critically examines the missional character of music in worship in seven selected evangelical churches in the metropolitan city of Abeokuta, Nigeria in order to propose a sustainable model for promoting God’s missions. . The selected churches are The Assemblies of God Church, Four Square Church, The Baptist Church, The Church of Nigeria, Anglican Communion, The Redeemed Christian Church of God, The Apostolic Faith, and The Gospel Faith Mission International. The thesis has investigated how missional and to what extent these churches have effectively sought to implement the missionary mandate in the area of music in worship. The following specific objectives underpin the study: to establish the Biblical perspective of the missional character of music in worship in the life of the church, to study and outline the Theological perspective of the missional character of music in worship in the life of the church, to study the origin/history of music in the missional context, and outline the nature and emerging trends with regard to missional character of music in worship in the selected churches in Abeokuta, Nigeria, and to propose a sustainable model that can be adopted by churches to promote the missional character of music in worship effectively in Abeokuta, Nigeria. The following methods were used to achieve the objectives of the study: an exegetical study of relevant passages in the Scripture were engaged, relevant literature review on the Theological perspective of the missional character of music in worship in the life of the church were outlined, one-on-one interviews were carried out and self-administered interview questionnaires were served on the major leaders, worship leaders/choir members and key lay members of those selected churches in order to explore the origin/history of music in the missional context, its impact for good on the believers and non- believers, as well as the role, qualities and influence of the missional character of Music in Worship in seven different denominations and all the information gathered from questionnaires served was evaluated and logical conclusions drawn as appropriate to formulate a sustainable model that can be adopted by churches to promote the missional character of music in worship effectively in the city of Abeokuta, Nigeria, in the final instance. In closing, recommendations and conclusions are made to reassess and reconsider their missionary approaches, with a view to enhancing their ways of engaging music in their worship as the thesis goal explores the implications this work might have for Church leaders, pastors, worship leaders, musicians, liturgists and missionaries in their work of preparing music for worship across Christian denominations. / Christian Spirituality, Church History and Missiology / D. Th. (Missiology)

Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel. / Liturgiese musiek verkeer wereldwyd in 'n krisis. Kritiek word dikwels slegs voor die deur van die musiek gele, terwyl die probleem verband hou met die erediens as geheel, die teologiese denke en met die kulturele omstandighede waarbinne die erediens plaasvind. Geykte liturgiese vorms, 'n kognitiewe-verbalisme, die oorbeklemtoonde eis om verstaanbaarheid, 'n verlies aan die kunsgestalte van die erediens, 'n miskenning van die simboliese waarde van rituele en handelinge, die gebrek aan visuele en ander kunsvorme, die invloed van die omringende musiekkultuur en veral die gebrek aan 'n grondige teologiese besinning ten opsigte van musiek in die erediens, bring die funksie, aard en wesenlike plek van liturgiese musiek in gedrang. Die erediens staan binne 'n · postmodernistiese denkkultuur waarvan sekere aspekte positiewe moontlikhede ten opsigte van die erediens kan bied. Die breer rasionaliteitsbegrip, wat ruimte open vir die affektiewe en nie-kognitiewe dimensies van menswees, skep nuwe ruimte vir die estetiese ervaring en die rol van ervaring in die geloofsproses. Die erkenning van simbole, simboolwerelde, metafore, beelde en verbeelding, bied nuwe moontlikhede vir die erediens as Gesamtkunstwerk. Die oog vir die heropname van die historiese en die simboliese bied ook geleentheid vir die herstel van die tradisionele lied. 'n Gees van anti-fundamentalisme vereis 'n oop kanon ten opsigte van die liturgie en die liturgiese lied. Ekumenisiteit as vorm van die postmoderne global village bied 'n pluraliteit van liturgiese en musikale moontlikhede. 'n Nie-outoritere tydsgees en die ontkenning van 'n 'kundigheidsgroep' deur die postmodernisme, moet verreken word as faktore wat 'n rol kan speel by die resepsie van liedere en gesangboeke. Die liturgiese opleiding, veral met betrekking tot die estetiese vorming van predikante, moet grondig aandag kry. Die besinning rondom die liturgie met betrekking tot die rol van kuns en musiek as kommunikatiewe handelinge moet op grond van nuwere teologiese insigte tereg kom. Die tese van hierdie studie is dat die kerklied, oud of nuut, eers daar tereg sal kom waar van liturgiese vernuwing in die omvattende sin sprake is en waar teologies die ruimte vir musiek as kunsvorm met die vermoe tot simboliese vergestalting - as sodanig dus kommunikatiewe handeling in diens van die Evangelia - verreken word. / Philosophy, Practical and Systematic Theology / D. Th. (Practical Theory)

Sound levels in live sound reinforcement have long been a topic for debate in live concerts, but the subject is also important elsewhere. Swedish Christian free churches have also struggled for many years to optimize how sound reinforcement can serve the community. There are many different factors affecting the sound level preferences in live sound reinforcement environments. Among them are perception of loudness, musical preferences, hearing impairments and tolerances. This bachelor thesis investigated if musical preference affected the perceived loudness and/or the preferred listening level through a set of listening tests and qualitative surveys. It was investigated in one Swedish free church congregation, from which 16 subjects participated. The listening test was conducted with three parts: loudness matching stimuli to a pink noise, setting the preferred listening level of the stimuli and rating the preference of the stimuli. Subsequently, a survey after a service was conducted to investigate different factors affecting the experience. No connection between music preference and loudness perception or preferred level wasfound. However, the study did produce multiple findings that reveal factors affecting the sound level preferences in the chosen congregation, such as hearing impairments, expectations on the role of sound in worship services, and the balance of instruments. These findings revealed differences in opinion regarding the mix philosophy used in services, and the impact of these approaches on members of the congregation. Altogether, the findings point to recommendations and considerations for live sound engineers working in worship environments.