M. Tech. Drama / The issue of retention of membership in many Pentecostal Churches in Nigeria has been a matter of grave concern to both the Church hierarchy and the Christian community. The need to discover new ways of doing Church in order to retain members therefore cannot be over emphasised. Creativity in the way Church services are conducted is therefore essential. The use of theatrical and dramatic embellishments in the teaching of the stories of the Bible is expected to bring about sustainable growth in and, perhaps, enthusiasm for Christian worship. Therefore, it is imperative that enactments which make such messages and moments unforgettable at ecclesiastical gatherings should be explored. Many good intentioned and spiritually gifted pastors tend to lose members to more creative ones. With membership shrinking in some major denominations, many churches closing their doors, and others failing to attract younger members, a wake-up call is needed. The stories of the Bible are believed to have morals and spiritual messages that are easy to understand. Certainly the biblical message is as pertinent today as it was hundreds of years ago. This study seeks to support the assumption that theatre is one of the timely tools that can be used to proclaim the timeless truth of the scriptures. It is assumed that while participants may forget some things said in a verbalised sermon, the same sermon might be remembered if it is presented with the embellishments of scenery, music, dance, lighting, costume, dialogue and other forms bring.

In the past, pastoral-therapeutic support was mainly approached only from the functioning of the left hemisphere of the brain. This implies that pastoral therapists mainly interacted with people in therapy at an intellectual-analytical level under modernistic influence. Since man's destitution and need changes along with time, it is essential for pastoral therapists/counsellors to supplement and adapt their modus operandi and strategies if they wish to remain relevant regarding their pastoral dealings with people. In this study the researcher attempted to formulate from the Scriptures a basis theory regarding the role of music as a whole-brain strategy in inner change. For the sake of a more holistic approach, a meta-theoretical investigation was also undertaken. To confirm the basis and meta-theoretical information, researcher entered the living reality of seven individuals during which a qualitative research was done. The results of the study, according to which the basis and meta-theoretical perspectives were placed in hermeneutical relation to one another, led to practice-theoretical guidelines within the subject domain of Practical Theology regarding the role of music as a whole-brain strategy in inner change. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2008.

This study tests the legitimacy of Charles Nyamiti's integration of the traditional Christian doctrines with the African (Bantu) thought-patterns in the construction of an African Christian theology. This study centres on Nyamiti's christology and ecclesiology It in African Christian theology which is constructed on the basis of perceived parallelism which exists between the role and authority of the traditional African (Bantu) ancestors and that of the person of Christ and his role in the Church. The traditional Christian doctrine (classical dogmatics) is the foundational framework of any theology. The traditional Christian doctrine teaches that God was incarnate in the person of Christ. Thus, the traditional Christian doctrine depicts Christ as both human and divine and the two natures are united together and are inseparable. Those who believe and have faith in Christ and his teachings are united together with him. Against this background, the study discusses the Bantu existential world-view which includes the role of ancestors in the community. Here, the concept of interrelatedness of hierarchy of dynamistic powers in the society are also discussed. Nyamiti tries to . bring these two world-views together and suggests that they are compatible. The study ends by offering a theological evaluation and reflection on Nyamiti's construct. The study has argued that Nyamiti picks up some of the elements found in the nature and function of Christ according to the explanation given in the traditional Christian doctrine and then parallels them to that of the role of the traditional Bantu ancestors to formulate his christology and ecclesiology. The study has concluded that although Nyamiti's theological construct aims at illuminating the Christian faith among the peoples of Africa who count on the authority of the traditional ancestors, it founders in a flood of methodological problems which detract from the conclusivity of his construct. / Thesis (M.Th.)-University of Natal, Pietermaritzburg, 2000.

This qualitative research study aims to investigate how eight members of the Society of Friends (also known as Quakers) experience a divine presence in their Meeting for Worship. The purpose is also to find out how their identity as Quakers has been created, and to see how they look at their Meeting of Worship when it comes to ritual as a concept. The method used in this study is individual, semi-structured interviews and observations of Meeting of Worship. The results show a relatively homogeneous group of individuals from a secular upbringing who as adults sought out a community where silence is appreciated and used to achieve an experience of a divine presence. Berger and Luckmann's theories of socialization have been applied to the results and the discussion reveals how the secondary socialization has been essential in the process of forming the individual into being a Quaker. There is however one exception, in the form of one participant who grew up in the Society of Friends. Catherine Bell’s ritual theory, that no ritual can be defined without its context, can be applied to the Quaker’s view of a ritual. The view Bell has on rituals can be used to understand the views shared by the participants in the study.

迷研究自Fiske在1989提出迷是一種閱聽人以來，研究取向多以迷為主動閱聽人此概論為主探討其的主動性，再者在探討迷與偶像的關係時，多以「認同」、「愉悅」、「創作」以及「模仿」為主，此種樂觀的態度探討兩者的關係，忽略了迷是會有不再迷戀偶像的可能。 本研究以此研究途徑出發，探討迷從迷戀偶像到不再迷戀偶像過程中的變化。透過質化取徑的深度訪談法，訪談十二位曾經為w-inds.迷的閱聽人，希冀透過與十二位受訪者的訪談，了解閱聽人成為迷之後的原因與行為，以及不再迷戀偶像後的原因與行為。 在整理訪談資料後提出以下研究發現：首先，閱聽人會因為偶像的外型、作品，在大眾媒體的曝光以及周儕團體與家人的推薦之下迷戀偶像，透過消費偶像商品、創作文本、參與演唱會、加入迷社群的方式表達自己對於偶像的喜愛，迷戀的過程也會有較為隱私的內在心理反應。其次，因為偶像的緋聞與轉變、自己的個人因素以及與他人的衝突不再迷戀偶像。不再迷戀偶像後會減少消費偶像商品的次數，退出原先加入的迷社群，也會出現負面行為以諷刺的言語評斷原先迷戀的偶像；最後，本研究亦發現若是迷當初是因為偶像的作品而迷戀偶像的話，只要偶像的新作品能夠再一次吸引到迷，這時候是有可能再一次迷戀偶像的。 / Since the study by Fiske in 1989 that fans are a type of audience, research on fandom has mainly focused on the proactiveness of fans. Furthermore, when exploring the interactions between fans and their idols, it is usually in the form of “agreement,” “pleasure,” “creation,” and “imitation.” Studying the relationships between both parties with such optimistic attitudes neglects the possibility that fans might someday lose interest in their idols. Based on the research context above, this study investigates the changes during the process of how fans begin and cease worshipping their idols. Through in-depth interviews of 12 w-inds. audiences, who were once fans, hope to understand the reasons for audiences becoming fans and their subsequent behaviors, as well as the reasons that they stop worshipping their idols and their subsequent behaviors. The following was found after data collation: firstly, audience members become fans due to their idols’ appearance, creative works, mass media exposure, and recommendations from peer groups and family members. The fans express their devotion by purchasing products related to their idols, writing fan-fictions, attending concerts, and joining fan organizations. During the process of idolization they also have inner psychological reactions. Next, gossip and changes in the idols, personal factors related to fans, and conflicts with others could result in the termination of their idolization. This leads to reduced frequency of purchasing products related to their idols, leaving fan groups they had previously joined, and even the use of ironic language when judging idols they had previously worshipped. Lastly, if fans initially idolized an idol due to their work, and if the idol can present a new creative work that can again attract the fans, then the audience members might once again become fans of the idol.

In the past, pastoral-therapeutic support was mainly approached only from the functioning of the left hemisphere of the brain. This implies that pastoral therapists mainly interacted with people in therapy at an intellectual-analytical level under modernistic influence. Since man's destitution and need changes along with time, it is essential for pastoral therapists/counsellors to supplement and adapt their modus operandi and strategies if they wish to remain relevant regarding their pastoral dealings with people. In this study the researcher attempted to formulate from the Scriptures a basis theory regarding the role of music as a whole-brain strategy in inner change. For the sake of a more holistic approach, a meta-theoretical investigation was also undertaken. To confirm the basis and meta-theoretical information, researcher entered the living reality of seven individuals during which a qualitative research was done. The results of the study, according to which the basis and meta-theoretical perspectives were placed in hermeneutical relation to one another, led to practice-theoretical guidelines within the subject domain of Practical Theology regarding the role of music as a whole-brain strategy in inner change. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2008.

This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.

This thesis aims to uncover music’s important role in shaping and defining the selfidentity of ancient Israel. Functional music was integrated into Israel’s daily life, accompanying activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to formulate and deliver messages, convey and heighten emotions, assert and strengthen communal bonds, and establish and intensify human-divine contact. The intricate and multi-faceted nature of this music will be demonstrated through a detailed look into four main episodes and genres: the Song of the Sea (Exod. 15), King Saul and David’s harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. Specifically, it will be argued that Israel’s birth as a free nation was marked by the Song of the Sea, its monarchic system was defined by the archetypical musician-king David, it depended on God’s word delivered through the often musical messages of prophecy, and its appointed institution for mediating worship was designed and officiated by a class of priestly musicians. Moreover, three of these four areas involve the main leadership categories of Old Testament society—king, prophet and priest—giving added support to the view that music held a prominent place and played a defining role within that civilization. The conception of music as a central element of biblical society will be developed using an interdisciplinary approach, wherein pertinent information from an array of specializations and sources is put into conversation and Old Testament passages are analyzed through a modern-scientific lens. Rather than relying on a single methodology, this study is rooted in the premise that by applying a variety of contemporary theoretical tools to selected Old Testament passages, essential functions of music in biblical life can be illuminated. Such an endeavour requires tools from a number of fields, including but not limited to theology, sociology, anthropology, musicology, cognitive science and music therapy, as well as the classification of musical references into four primary functions: cohesive, therapeutic, emotive/spiritual and didactic. The result is a thesis that identifies reasons for—and not just the existence of—music in biblical life, and, most centrally, shows significant ways music informed Israel’s understanding of itself. / Thesis (PhD (Old Testament))--North-West University, Potchefstroom Campus, 2012.

The thesis examines the contemporary Bengali practice of worshipping clay images. By clay is understood 'unbaked' clay. The thesis makes a distinction between 'baked clay' (terracotta) images and 'unbaked' clay (terracruda) images and examines the preference for worshipping terracruda images. The worship of clay images is examined within the context of image worship in general in India, referring to the classical iconographical canons and other texts in which clay is mentioned as a suitable medium for the making of religious icons. The study is restricted to the Hindu religion. The thesis does not restrict itself to a purely iconographical approach. The thesis discusses the artistic tradition that gave rise to the clay images of Bengal,as well as attempting to understand the religious significance of the images. In tracing the tradition, the author has used vernacular sources as well as early records of travellers. In describing the contemporary technique of clay image making, the author has relied on recorded interviews and photo-documentation taken during a three month period of fieldwork in West Bengal. The thesis establishes that there has been a tradition of worshipping clay images in Bengal that is at least two centuries old and suggests that there are earlier precedents for the tradition. It also concludes that it is a strongly regional tradition that developed in Bengal and influenced the neighbouring states of Bihar, Assam and Orissa. The worship of terracruda images in Bengal is a regional practice that is the product of both classical and 'folk' influences.

This investigation aims to ascertain whether or not the Israelites believed in the supernatural beneficent power of the dead. First, a lexicon of selected mortuary practices and beliefs is outlined. In the Israelite context, those rites most likely to reflect this belief are necromancy and those which fall within the purview of the ancestor cult intended to express veneration or worship of the ancestors (ch. 1). Secondly, an evaluation of the relevant texts from Syria-Palestine of the third to first millennia B.C.E. demonstrates that a longstanding West Semitic or Canaanite origin for Israel's belief in the supernatural beneficent power of the dead cannot be established on the basis of these data (chs. 2 and 3). Thirdly, an examination of the Hebrew Bible demonstrates that while a concern to care for or commemorate the dead might be inferred, neither an ancestor cult nor ancestor veneration or worship in particular can be established on the basis of the available literary (or material) evidence. Moreover, while necromancy is occasionally attested, the relevant passages which polemicize against Israel's embrace of this practice originate either in the last days of the Judahite monarchy or, more likely, during the exile itself. The historical reality which gave rise to this polemical tradition was the threat which Mesopotamian religion and magic beginning with the Neo-Assyrian period posed to later (dtr?) Yahwism (ch. 4). Comparative ethnographic data suggests that the longstanding absence of the belief in the beneficent dead in Israel and Syria-Palestine might be partially explained as a reaction to the pervasive fear of the dead. Nevertheless, once this belief was embraced by late Israelite society, owing to contemporary developments in politics (Mesopotamian hegemony), economics (depletion of resources), and religion (popularity of divination), necromancy, not ancestor veneration or worship, presented itself as the preferred ritual expression of this belief (conclusion).