Thesis advisor: Khaled Anatolios / Based upon his role as a peritus at Vatican II in the shaping of the Constitution on Divine Revelation, Dei Verbum, Ratzinger reflected back on the deliberations at the Council soon after its conclusion and indicated that the new development of understanding of Revelation was that Revelation is to be seen "basically as dialogue." In his Introduction to Christianity, he would indicate that because of the experience of Jesus Christ, the Church comes to see that God is not only logos, but dia-logos. Throughout his theological and pastoral career, Ratzinger, now Benedict XVI, consistently relies upon the framework of "dialogue" as the principle of coherence for how he attempts to articulate the one Christian mystery, whether he is speaking of Revelation, Christology, ecclesiology, eschatology or any other area of Christian theology. I attempt in this dissertation, to trace that principle of coherence in his thought and thereby give a hermeneutic for approaching one of the most influential theologians of our time. / Thesis (STD) — Boston College, 2012. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

In this research project I examine art making as a supportive intervention towards creating a safe environment for the caregivers in order for them to identify with the social worlds in which they inhabit. I have focused on the role of art making within a community of volunteer caregivers on the East Rand in Johannesburg. The dual tenets of dialogical and relational aesthetics are acknowledged in the elaboration of concepts to establish wider contexts. Whilst art therapy modalities and literature have been used, this research project does not embrace the scope of art therapy as a discipline. At times I have used lexis from art therapy to draw on certain terms. My subject position as an artist and facilitator in this project has given me the agency for the discourse of dialogue to take place. The inquiry for this research dissertation is concerned with whether the participants in the project were able to achieve some amelioration from their circumstances through the relational exchange so that art as the mediator for conversational exchange is seen to facilitate constructive models for engagement. My contention is that these conditions have allowed the caregivers to achieve this outcome.

Doctor Educationis / The central concern of this study has been to determine the effectiveness or otherwise of a combined Dialogical Argumentation Instructional Method (DAIM) and the Assessment for Learning Model (DAAFLIM) strategies in enhancing Tertiary and Vocational Education and Training (TVET) students’ conceptions of selected scientific topics. The extant literature has shown that students often hold other worldviews or funds of knowledge, which might be in conflict with canonical school science. In light of this, DAAFLIM has been chosen for a number of reasons: (1) it has been shown to be effective for revealing students’ scientific and alternative worldviews; (2) it provides the learning environment that encourages students to express themselves freely, exchange views with others, reflect on what they have learned, and even to change their minds in the face of stronger arguments; (3) it is compatible with the Curriculum and Assessment Policy Statements (CAPS) curriculum which emphasizes that educators should integrate school science with students’ indigenous knowledge as a way to make the former more relevant to their sociocultural environment; (4) assists educators to plan instruction in accordance with the needs of multicultural science classroom; and (5) the combination of classroom discourses with continuous or formative assessment (as exemplified by DAAFLIM), instead of the usual terminal summative assessment, tends to mitigate the fears that students usually associate with assessment. Specifically, a group of TVET students i.e. the Experimental group (E-group) was exposed to DAAFLIM while the other group i.e. the Control group (C-group) was exposed to traditional instruction method (TIM).

No início do século XXI, as políticas culturais mundiais começaram a tomar novos rumos após conferências promovidas em anos anteriores pela UNESCO, a fim de desenvolver um olhar mais diverso para a cultura. A partir de 2003, a gestão do ministro Gilberto Gil no Ministério da Cultura, acompanhando esta tendência mundial, mostrou que pretendia lançar, na esfera das políticas culturais, novas diretrizes para a gestão de cultura ao propor a criação de uma nova legislação capaz de oferecer alternativas às políticas públicas de cultura que deveriam privilegiar a diversidade cultural e a cultura produzida a partir de um olhar antropológico. Entre as medidas tomadas pela nova gestão, selecionamos como objeto desta pesquisa os processos de criação do Sistema Nacional de Cultura (SNC) a partir da Emenda Constitucional N. 71 de 2012 e os documentos anteriores e posteriores relacionados a ele. A questão principal desta pesquisa é: de que forma o Sistema Nacional de Cultura contribui para a constituição de uma nova arquitetônica da esfera político-cultural brasileira no início do século XXI? Os enunciados relativos ao Sistema Nacional de Cultura serão analisados a partir da abordagem teórica do chamado Círculo de Bakhtin. Nossa tese compreende que este novo \"olhar\" proposto para a cultura, com um enfoque antropológico, busca alterar a arquitetônica da esfera político-cultural brasileira no início do século XXI, por meio de uma nova legislação e de novos gêneros discursivos, como os Planos de Cultura, enunciados concretos que compõem a arquitetônica da proposta da Política Nacional de Cultura. / At the beginning of the 21st century, world cultural policies began to take a new course after conferences promoted in previous years by UNESCO in order to develop a more diverse view of culture. From 2003, the administration of the Minister Gilberto Gil in the Ministry of Culture, following this world tendency, showed that he intended to launch, in the sphere of cultural policies, new guidelines for the management of culture by proposing a new legislation capable of offering alternatives to the public policies of culture that should privilege the cultural diversity and the culture produced from an anthropological perspective. Among the measures taken by the new management, we selected as object of this research the processes of creation of the National System of Culture (SNC) from Constitutional Amendment N. 71 of 2012 and the previous and subsequent documents related to it. The main question of this research is: in what way does the National System of Culture contribute to the constitution of a new architectonic of the Brazilian political-cultural sphere at the beginning of the 21st century? The statements related to the National Culture System will be analyzed from the theoretical approach of the so-called Bakhtin Circle. Our thesis understands that this new \"look\" proposed for culture, with an anthropological focus, seeks to change the architectonic of the Brazilian political-cultural sphere at the beginning of the 21st century, through new legislation and new discursive genres, such as Plans of Culture, concrete statements that compose the architectonic proposal of the National Culture Policy.

Submitted by Vanessa Pansani Viana (vanessa_pansani@yahoo.com.br) on 2017-03-15T15:52:08Z No. of bitstreams: 1 Dissertação Español Entérate capa dura folha aprovação.pdf: 15956595 bytes, checksum: a258154d14d5c696ae2d265e83074470 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-03-21T14:45:01Z (GMT) No. of bitstreams: 1 viana_vp_me_assis.pdf: 15956595 bytes, checksum: a258154d14d5c696ae2d265e83074470 (MD5) / Made available in DSpace on 2017-03-21T14:45:01Z (GMT). No. of bitstreams: 1 viana_vp_me_assis.pdf: 15956595 bytes, checksum: a258154d14d5c696ae2d265e83074470 (MD5) Previous issue date: 2017-02-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação investigou como os textos literários foram explorados na coleção didática Español ¡Entérate! (2009), a primeira coleção destinada ao EF II para o ensino da Língua Espanhola, juntamente com a Saludos (2009). As duas edições foram aprovadas pelo primeiro exame do Programa Nacional do Livro Didático (PNLD) de Língua Estrangeira (LE), ocorrido em 2011, o qual avaliou várias coleções de língua inglesa e espanhola para distribuição nas redes públicas de ensino. A coleção Español ¡Entérate! foi eleita em nosso estudo, por ter sido adotada nas escolas públicas e Centro de Estudos de Línguas (CEL) do estado de São Paulo. Em nossa análise utilizamos como abordagem teórico-metodológica os conceitos de alteridade e dialogia, oriundos do Círculo de Bakhtin. Por meio deles, analisamos se a forma de edição dos textos literários, nos quatro livros dessa coleção didática, preserva a estrutura do discurso literário e se os exercícios formulados a partir de tais textos privilegiam também esta característica, bem como se a configuração deles permite uma relação de diálogo entre o aluno e os textos. Essas indagações foram feitas por acreditarmos que o dialogismo e a alteridade, presentes no discurso literário, são aspectos fundamentais para o enriquecimento cultural do discente que está aprendendo uma nova língua. Dessa forma, o processo histórico sobre a constituição de programas educacionais, como o PNLD, sobre a elaboração de diretrizes, como aquelas dos Parâmetros Curriculares Nacionais (PCNs) e do Currículo do estado de São Paulo, assim como a tentativa de inserção da língua espanhola em nosso país, foram fatores que incorporamos às discussões, para que, sob a perspectiva dos mecanismos macros da área da educação, pudéssemos compreender os desdobramentos dos mecanismos micros, como o livro didático, que é, de alguma forma, um produto da inter-relação desses mecanismos. Portanto, a literatura, tida como um bem indispensável e patrimônio cultural de qualquer nacionalidade, precisa e deve ter a sua configuração estudada nos livros didáticos, pois ela faz parte dos conteúdos editados nesses materiais. / This thesis was carried out to analyze how the literary texts were explored in the didactic collection Español ¡Entérate! (2009), the first collection used in Middle School for the teaching of Spanish, together with the collection Saludos (2009). The two collections was approved by the first exam of the Programa Nacional do Livro Didático (PNLD) of Spanish, which took place in 2011, which evaluated several collections of English and Spanish languages for distribution in public schools. The collection Español ¡Entérate! was chosen in our study for it was adopted in the public schools and language studies centers (Centro de Estudos de Línguas, CEL) of the state of São Paulo. The methodological approach are the concepts of alterity and dialogism proposed by the Bakhtin Circle. By means of them we analyze whether the form of editing the literary texts in all the four books of this didactic collection preserves the structure of the literary discourse, and if the worksheets proposed for such texts also privileges this characteristic, as well, if the configuration of these exercises allows a dialogue between the student and the texts. These questions were asked because we believe that the concepts of dialogism and alterity present in the literary discourse are fundamental for the student to broaden his horizons while learning a new language. The historical process on the constitution of educational programs, such as those PNLD, the Parâmetros Curriculares Nacionais (PCN’s) and the Curriculum of the state of São Paulo, as well as the attempt to insert the teaching of Spanish language in this curriculum were factors that we incorporate in this study, so that, from the perspective of the macro mechanisms of the education area, we could understand the unfolding of the micro mechanisms, such as the configuration of the textbook (LD), which is in some way a product of the interrelationship of this structure. Therefore, literature, considered as precious, and a cultural patrimony of any nationality, needs and must be studied in textbooks, as it is part of the contents edited in them.

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This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

The increase in the presence and influence of Non-Governmental Organisations (NGOs) locally and internationally is having a noticeable effect on the policy process at a national level. While the NGO sector is more commonly examined at an international level, its impact at the state and sub-state level remains unexplored. This gap in the literature is addressed as a primary problem in this thesis. By exploring the relationship between the NGO and the state, the significance of this relationship is emphasised as a necessary inclusion in International Relations literature. The NGO sector presents civil society with a road into, and in some cases an alternative to, traditional modes of political advocacy. This increases civil society's ability to impact the policy process by creating, what is identified in this thesis as, a dialogical space. The dialogical space allows for an exchange of ideas and thus influences the decision-making process of the state, if and when it is explored. Furthermore, the dialogical space facilitates, as is shown here, learning through the conversations that take place between NGOs and the state. This thesis asks ‘what do NGOs learn from their conversations with states?' and presents the ‘lessons learned' from Scottish and Zambian case studies. NGOs are identified here as civil society in organisation and have a particular relationship with the communities they represent. This relationship is empirically examined and presented here in the Scottish and Zambian case studies. This thesis examines the relationship between the NGO and civil society, and most importantly the relationship between the NGO and the state using the ethic of care as a theoretical lens. Conclusions are drawn from the interviews conducted during the fieldwork. The ethic of care is located in practice and used as a theoretical lens to examine what the local NGOs learn from their interactions with the state. Both case studies confirm that an ethic of care is a prevalent ethic in NGO practice, as identified by the NGO workers interviewed. Furthermore, when used as an analytical lens the ethic of care is shown to be used as a tool by NGOs to nurture an ethic of care in statesmanship. The thesis specifically highlights that NGOs have learned from their conversations with states and that, through the creation and use of the dialogical space, an ethic of care in practice can be traced. The greater significance of this thesis is that it addresses the relationship between the NGO and the state at a local and national level; a topic which is lacking in current IR literature, despite being of crucial value for understanding the state's interaction with non-state actors, in this case local NGOs. Furthermore, through the use of the ethic of care both as an exploratory lens and in its identification as a practical ethic, this thesis highlights the importance of an ethic of care in theory and practice.