This dissertation proposes a strategy for training indigenous youth ministers in Singapore as a means to reach and disciple Singaporean youth. Chapter 1 defines the problem of Singaporean Baptist youth ministry and argues that current needs could be met by training indigenous youth ministers. Chapter 2 provides the historical and cultural background of Singapore. The characteristics of the church in general, as well as the Baptist church specifically, are explored. Chapter 3 analyzes the major global changes currently directing the shape of youth cultures worldwide. I assert that, in the same way that Singaporean youth are greatly influenced by the practices and lifestyles of the indigenous adults, they are also affected by ubiquitous global forces. Chapter 4 is entirely focused on youth culture in the Singaporean context. Singaporean youth culture is compared and contrasted with characteristics of both global youth culture and indigenous adult culture. Chapter 5 explores the history of youth ministry in Singapore. There is consideration of both church-based and parachurch youth ministries. The Baptist church's missed opportunities to reach out to youth and their current desire to take the necessary steps for student evangelism are highlighted. Chapter 6 proposes the missiological principles necessary for the justification of a cross-cultural youth ministry training program. Subjects discussed include the use of buildings, the strategy of multiplication, problems of dependence upon foreign leadership, and the importance of implementing a cross-cultural approach to reach youth. Chapter 7 proposes specific strategies to train indigenous youth ministers in Singapore on an informal basis. After the strategies of Youth Ministry International and Sonlife are examined, specific methods of informal training through the Singapore Baptist Convention are discussed. In chapter 8, I present a model of formal training that could be established at the Baptist Theological Seminary of Singapore. The model includes mandatory internships and a list of classes necessary to make up an undergraduate youth ministry major. Chapter 9 contains the conclusion of the dissertation. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Tesis

by Cheung Ki Kitty. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (leaves 123-126). / Abstract also in Chinese. / Chapter 1 --- Introduction --- p.1 / Chapter 2 --- La boheme (Mimi) --- p.7 / Chapter 3 --- Tosca (Tosca) --- p.26 / Chapter 4 --- Madama Butterfly (Cio Cio San) --- p.45 / Chapter 5 --- Conclusion --- p.62 / Appendix --- p.68 / Bibliography --- p.123

La presente investigación tiene como objetivo determinar los alcances y las limitaciones de la filosofía del arte de Arthur Danto al momento de explicar la ontología artística de los objetos ancestrales no occidentales, con el propósito de evaluar si es que esta es relevante para el entendimiento de una posible ontología artística de los objetos de la América Ancestral. Inicialmente, se parte de la hipótesis de que la propuesta de Danto podría sugerir ciertos recursos teóricos para llevar esto a cabo, sin embargo, no será lo suficientemente contundente. Así, la investigación se divide en dos capítulos. En un primer capítulo, se examinan los conceptos fundamentales de la filosofía del arte de Arthur Danto según lo expuesto por el filósofo en su obra La transfiguración del lugar común. Los conceptos que se examinan en esta sección son: el problema de los homólogos indiscernibles; la cualidad de representación-expresión en las obras de arte y, finalmente, la interpretación de las mismas. En el segundo capítulo, se examinan los conceptos expuestos en la obra de Arthur Danto titulada Arte y artefacto en África, analizando la manera en la que se plantean las cuestiones desarrolladas en el capítulo anterior respecto de la ontología del arte propuesta en La transfiguración del lugar común. Así, se realiza un análisis crítico de la manera en la que Danto aborda el tema de los homólogos indiscernibles, la cualidad de representación-expresión en las obras de arte y la interpretación de las mismas en el contexto del arte ancestral no occidental. La investigación concluye que los recursos utilizados por Danto para probar la ontología artística de los objetos ancestrales no occidentales (y, con ello, la posibilidad de un arte de la América Ancestral) son insuficientes, pues, a pesar de sus pretensiones de universalidad recaen en el eurocentrismo. / Tesis

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018. / Fundação de Apoio à Pesquisa do Distrito Federal (FAP-DF). / Apesar de não ter priorizado a escrita de obras para crianças, Osman Lins dedicou-se à criação de uma narrativa infantil na qual reuniu importantes personagens que também fizeram parte da sua própria experiência literária. Em Capa-Verde e o Natal (1967), peça teatral mais tarde adaptada para conto e publicada sob o título de O Diabo na Noite de Natal (1977), Osman Lins envolve em um conflito personagens de diversas esferas culturais, dofolclore à literatura sacra, em busca de um mesmo objetivo. Ao analisar a obra, lançamos um olhar mais atento a seus aspectos carnavalescos, na tentativa de confirmar a nossa hipótese de que a carnavalização literária, no conto de Osman Lins, é utilizada como estilo e recurso que promove tanto o estreitamento na relação entre a literatura para a infância e as culturas (popular, erudita, de massa) quanto a possibilidade de ampliação da capacidade de interpretação da criança enquanto leitora – de livros e do mundo. / Although he did not prioritize the writing of children's books, Osman Lins devoted himself to creating a children's book in which he brought together important characters who were also part of his own literary experience. In Capa-Verde e o Natal (1967), a play later adapted for a short story and published under the title of O Diabo na Noite de Natal (1977), Osman Lins involves in a conflict characters of diverse cultural spheres, from folklore to sacred literature, in search of a common objective. When analyzing this book, we cast a closer look at its carnivalesque aspects, trying to confirm our hypothesis by assuming that the literary carnivalization, in this short history, is used as a literary style and linguistic resource which promotes both the approach between the literature for children and cultures (popular, erudite, mass) and the possibility of expanding the child's capacity for interpretation – as a reader of texts or a reader of the world.

Digitized by Kansas Correctional Industries

In this dissertation, I argue that Fauré’s reuse and recombination of certain material musical elements throughout his life deserves recognition as a central aspect of his musical style. The inspiration for my work has primarily been drawn from the work of the musicologist Carlo Caballero, who argues that Fauré would have believed that consistency of style over time, or homogeneity, is a crucial property of any music that is truly original. Yet, few scholars have analyzed the degree to which homogeneity is manifest in Fauré’s music. More often, their focus has been directed at analyzing topics within segments of the three major periods of Fauré’s compositional output and highlighting stylistic contrasts between those periods. In contrast to this more common approach, I build on Caballero’s ideas to present a two-stage argument. First, I delineate certain criteria fundamental to defining a musical style, and observe that a straightforward classification of Fauré’s music is not easily discerned upon applying those criteria to Fauré’s music. Second, I offer support for the more novel perspective that acknowledging homogeneity itself, absent the need to classify the music materially, constitutes an important, informative perspective on Fauré's musical style. The dissertation is structured in two parts. Part I, encompassing the first three chapters, reviews the struggle to gain widespread understanding that Fauré’s music has historically faced. Chapter 1 discusses the criteria of style as they have historically been understood and used; Chapter 2 applies those criteria to Fauré’s music; and Chapter 3 explores Caballero’s assertion that Fauré’s music should in fact display homogeneity. In order to support Caballero’s claim, the following seven chapters of Part II present analytic evidence from the piano Nocturnes. Chapters 4 through 10 identify recurring usages of harmony, tonality, motivic processes, formal events, and textures by Fauré in Nocturnes dating from all three major periods of his compositional life. I conclude that a strong degree of homogeneity has been demonstrated across the piano Nocturnes, and suggest ways in which that perspective can contribute to more widespread understanding and dissemination of Fauré’s music.

Thesis (Ph.D.)--Boston University

Danto thinks that the development of art history was over in 1964, because Andy Warhol's "Brillo Box" appeared. We can no longer make a distinction between this work of art and the real Brillo Box, which is just a commonplace object. However, the end of art does not mean we cannot make art anymore, nor does it mean that art has lost its value. It just means the concept of art is exhausted. No new style of art can emerge. There is no direction for art history to go on. Danto told us that there are two consequences of the end of art. One is we can find the essence of art and define art in terms of non-manifest properties. The other is pluralism. / Danto was influenced by Hegel's view of art history, he used "self understanding of art" to interpret the development of art, and he thought that the development of modernist art is to find out the essence of art. The end of art means that art can no longer understands itself, it should pass this mission to philosophy. Although generally speaking I agree with that the interpretation of art history given by Danto, I think the end of modernism does not necessarily mean the end of art, and also there is no need to interpret the development of modernist art only from the perspective of seeking the essence of art. Moreover, I do not accept the definition proposed by Danto. I want to argue that we can define art when there is no essence. Besides discussing the problems of the end of art and the definition of art, I have also discussed problems that are related to pluralism, such as evaluation of art and postmodernism. / 梁光耀. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 178-182). / Adviser: Chang Yuan Liu. / Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0599. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 178-182). / Liang Guangyao.