Thesis (DTh)--Stellenbosch University, 2003 / ENGLISH ABSTRACT: The issue of the identification of the audience/s of the final chapter (chapter 9) in the book of Amos is currently moot. That is, there currently are as many opinions as there are scholars who have in some form or the other made some inference as to the identification of the audience. The same is true for the preceding chapters in the book. The reasons for the divergence in opinions as to the identification of the audience varies from the methods chosen for engaging the text to reasons that are not always easy to identify. Yet the opinions are often freel y shared in the monographs, commentaries, dissertations and scholarly journal articles. This dissertation aims to follow an approach that is more interpretatively accountable and responsible in dealing with the identification of the audience/s of Amos and in particular chapter 9. This goal is best achieved by interacting with the scholars as they have recorded their findings in the various scholarly publications while engaging the text with a suitable method. The method chosen by this study for achieving the intended purpose is the multidimensional approach of Vernon Robbins, termed socio-rhetorical criticism. This approach aids in the study of the text by uncovering the various "textures" of the text. These textures are identified by Robbins as innertexture, intertexture, social and cultural texture, ideological texture and sacred texture. As socio-rhetorical criticism does not overtly take into account the influence of the reader in the production of the meaning of the text and how this influences interpretative results, it would be necessary to investigate how to incorporate the influence of reader-response methodology to make the results more responsible and accountable. The majority of scholarly opinion sees at least three possible audiences identifiable within the book of Amos. These audiences are identified as eighth, seventh and sixth century in setting. Yet the reasons for such identification is often not clear and greatly debated. Differences in opinion have often resulted in religious questions being raised regarding the authority and intention of the text should these various audience identifications be accurate. This study seeks to understand and identify the main influences that determines the conclusions on various audience identification and present an approach that would be more suitable to answer the question more clearly. The particular influence that this study demonstrates is the reinvention of texts by identifying the layers of reinterpretation contained in the text by identifying its implied audience/so It is this identification that allows the text to be applied to current readers as they identify with the process of reinvention and ethically accountable interpretation. / AFRIKAANSE OPSOMMING: Daar bestaan op die oomblik geen finale beslissing aangaande die identiteit van die toehoorders van die finale hoofstuk van die boek van Amos nie Met ander woorde, daar is op die oomblik so veel opinies as wat daar kenners is wie op een of ander manier gevolgtrekkings aangaande die identiteit van die toehoorders van die boek gemaak het. Redes aangaande die verskillende opinies om die identiteit van toehoorders vas te stel wissel van die metodes gekies om die teks te bestudeer tot redes wat rue al te maklik is om te identifiseer nie. Maar gevolgtrekkings word openbaarlik in monografiee, kommentare, proefskrifte en akademiese artikels aangaande die boek gepubliseer. Hierdie proefskrif stel as doel om 'n metode van studie te volg wat meer verantwoordelik en verantwoordbaar is ten opsigte van die identifikasie van die lesers van die boek Amos en in besonder aangaande hoofstuk 9. Hierdie doel sal ten beste bereik word deur saam met die kenners te debateer soos hulle opinies vasgele is in publikasies en terwyl die teks bestudeer word. Die metode wat hierdie studie gaan gebruik, is die multidimensionele benadering van Vernon Robbins, sosio-retoriese kritiek. Hierdie metode benader die teks deur die verskillende teksture van die teks te ontbloot. Hierdie teksture is deur Robbins verduidelik as intertekstuur, intratekstuur, sosiale en kulturele tekstuur, ideologiese tekstuur en teologiese tekstuur. Omdat sosiale-retoriese kritiek nie duidelik die invloed van die leser in ag neem wanneer dit die produksie van die bedoeling van die teks betrek, sal dit vir hierdie studie nodig wees om hierdie invloed deur leser-respons kritiek te benader. Die doel hiermee sal wees om die resultate van die studie meer eties verantwoordbaar en verantwoordelik te maak. Die meeste kenners bevestig ten minste drie toehoorders in die boek van Amos. Hierdie toehoorders word geidentifiseer in agtergrond as agste, sewende en sesde eeu. Maar soos alreeds gestel, die redes vir hierdie identifikasie is altyd nie duidelik nie. Verskille in opinies het soms daartoe gely dat teologiese vrae aangaande die outoriteit en doel van die teks gevra is sou die identifikasie van verskillende toehoorders waar wees. Hierdie studie stel ten doel om die verskillende aspekte wat die gevolgtrekkinge beinvloed aangaande die identifikasie van toehoorders te identifiseer en 'n benadering te volg wat meer geskik is om die vraag beter te kan beantwoord. Hierdie studie demonstreer dus dat die interpretasie van die teks deur die verskillende lesers bepaal kan word deur die teks te bestudeer vanuit die oogpunt van die verskillende interpretasie binne die teks. Dit is hierdie identifikasie wat die toepassing van die teks moontlik maak vir huidige lesers soos hulle identifiseer met die proses van die herinterpretasie en etiese verantwoordelike interpretasie van die teks.

Pojetí výchovy u Jana Amose Komenského John Amos Comenius 's Approach to Education Petra Bochenková Jan Amos Comenius as a great thinker of the 17th century created a complete and comprehensive system that remained in his time misunderstood. After the Battle of White Mountain he was the greatest writer of emigration, philosopher, theologian, bishop of the Unity of Brethren. Last but not least, teacher and humanist. It should be appreciated Comenius theological importance of the creative effort, since the absolute top of the intellectual system is the existence of God. Throughout his working life has led to harmony and peace in the world, came up with the idea Pansophia. Pansophia trader a perfect connection and knowledge of all matters of life and the greatest possible realization of perfection. Opened the way to God. We can say that his ideas reached timelessness and especially in educational matters. Its comprehensive educational system can be applied in the field of education even today. His esteem gained mainly by its content overlaps with many, many areas of science and life. He sought to promote humanity and emphasized man as the pinnacle of God's creative efforts, which in his time represented something quite extraordinary. Preferred activity of theory and practice in all areas of life. The...

A sociedade israelense passou por modificações, em especial, na década de 70 que levaram a mudanças políticas e sociais. O escritor Amós Oz, um dos mais destacados do país, aborda em seus textos ficcionais e não ficcionais, as mudanças e alterações refletidas no país. Este trabalho pretende estudar as modificações da década em questão, conforme apresentadas no romance A Caixa Preta de Amós Oz e para isto, são aqui desenvolvidos os seguintes temas: A busca pela identidade nacional, o confronto entre a direita e a esquerda dento do sistema político israelense, o levantamento das semelhanças entre o Estado que busca redefinir sua identidade e o movimento sionista, que procura reencontrar seus objetivos uma vez que o Estado tornou-se realidade, a posição da esquerda israelense e as concepções do grupo pacifista Shalom Achshav, a atuação da direita israelense e a militância do grupo nacionalista Gush Emunim, as diferentes ondas imigratórias para Israel antes e após a proclamação da independência e a absorção das diferentes comunidades de imigrantes, o início dos conflitos étnicos entre as diversas comunidades que formam o mosaico social israelense. Uma análise do livro A Caixa Preta, mostrando como os conflitos étnicos, religiosos e políticos se refletem na obra de Amós Oz, assim como a análise dos personagens e seus comportamentos indicando a ligação entre ficção e realidade no cotidiano israelense completam a segunda parte desta dissertação / The israeli society has gone through some moves, specially on the seventies, that led to political and social changes. The author Amós Oz, a remarkable one in the country, has written in his fictional and non-fictional works about those innovations reflected in the country. This work intends to study the changes in the period above, as shown in the novel Kufsa Chhora (The Black Box) from Amós Oz. Therefore, these themes are here developed: The search for national identity, the confrontation between right and left in the israeli political system, the collecting of the simmilarities between the State, redefining its identity and the sionist movement, that is reshaping its objectives, once the State became a reality, the position of the israeli left wing and the conceptions of the pacifist group Shalom Achshav, the position of the israeli right wing and the militanty of the nacionalistic group Gush Emunim, the different immigratory waves to Israel before and after the proclamation of the State and the absorption of the different communities of immigrants, the beggining of ethnical conflicts among the several communities, which from the israeli social mosaic. We have, here, too, an analisis of the book Kufsa Chhora (The Black Box) showing how ethnical, religious and political conflicts reflect in Amós Ozs work, as well as an analisis of the characters and their behavior to show the liaison between fiction and reality in Israels routine.

Esta tese trata da infância e de uma didática, aquela formulada por Comenius no entrelaçamento de A escola da infância, O labirinto do mundo e o paraíso do coração e Didática Magna, endereçada, de uma forma ou de outra, à infância. Por isso, pensa a didática no âmbito de um dispositivo de infantilidade, uma vez que ali se conjugam um tipo de saber, uma forma de poder e um modo de produzir o sujeito infantil. Daí a pergunta: de que modo a didática comeniana aquela arte didática, arte de ensinar produz a infância e seus modos de conhecê-la, conduzi-la e governá-la? O objetivo desta pesquisa é justamente inventariar e, de alguma maneira, problematizar, por meio das ideias foucaultianas em torno do poder pastoral e da governamentalidade, a produtividade da arte didática comeniana a partir das suas forças de criação: 1. a infantilização da infância; 2. o governo da infância (e de si) e 3. a escrita didática como um trabalho ético, estético e político, uma forma de pensar e de escrever em educação. Parece haver toda uma tecnologia da salvação em operação na didática da infância comeniana: conhecer, formar, conduzir, governar. Tecnologia do poder pastoral que se destina a todos e a cada um. Aos outros e a si mesmo, esse propósito maior desse tipo de poder. O outro, a criança, esse ser em formação, desde a tenra idade, para não se perder no labirinto do mundo, indivíduo que está sujeito à operação do poder pastoral. A si mesmo, a criança por ela mesma, aquela que conhece o caminho para a salvação e que adere a ele (Deus), aquele que se conhece, se guia, se governa, o indivíduo que se sujeita, ele mesmo, aos exercícios da pastoral educativa da arte didática. O que se tem aí é toda uma infantilização da infância em curso. Produção de uma identidade específica a criança educada, obediente, crente. Produção de um modo de vida infantil a criança sujeita à arte didática, a criança que se sujeita à arte didática. O que está em jogo ali é justamente ensinar aquilo que se é, aquilo que se pode ser. O infantil estaria, desde então, na mira dos adultos, em uma relação de dependência dos adultos, aqueles que inculcariam nos primeiros os valores, os códigos de uma vida conformada a toda uma rede de saberes e poderes em torno da educação. A infância como objeto da educação. O infantil a ser educado, a ser salvo, do mundo e dele mesmo. Assim, a infância foi-se fazendo na trama da escrita didática desde Comenius, essa peça de um dispositivo de infantilidade ocidental, que ainda estaria em curso. / This thesis deals with childhood and a didactic, that formulated by Comenius in the intertwining of his works A escola da infância, O labirinto do mundo e o paraíso do coração and Didática Magna, addressed in one way or another, to childhood. Due to this, this work thinks the didactic as part of a childlike device once it combines a kind of knowledge, power and a way of producing the child subject. Hence the question: how does a comeniana didactic that artistic didactic, the art of teaching produce a childhood and its ways of knowing it, leading it and leading it? The aim of this research is precisely identify and, somehow, problematize, through Foucaults ideas around the pastoral power and governmentality, the productivity of the artistic didactic comeniana starting from their forces of creation: 1. the infantilization of childhood; 2. the government of childhood (and oneself) 3. and the teaching writing as an ethical, aesthetic and political work, a way of thinking and writing in education. There seems to be a whole technology of salvation in the didactics of the comeniana childhood: knowledgement, grow, lead, govern. Technology of pastoral power that is addressed to anyone and every one. To others and oneself, this greater purpose for such power. The other, a child, who is in formation at an early age, to not get lost in the labyrinth of the world, an individual who is subject to the operation of pastoral power. The oneself, the child by herself, the one who knows the way to salvation and sticks to him (God), who is known, is guided, is governed, the one who makes (her)himself undergo the exercises of the educational ministry of didactic art. What you have there is a infantilization of childhood ongoing. Production of a specific identity a polite child, an obedient believer. Production of a childish way of life - the child within didactic art, the child who is subject to didactic art. What is at stake here is precisely to teach what one is, what one can be. The childhood would be, since then on target of adults in a relationship of dependence, those who would insert values in the ones previously mentioned (child), codes of a life conformed to a whole network of knowledge and power over education. The child as an object of education. The child to be educated, to be saved, from the world and himself. Thus, childhood was making up the net of didactic writing since Comenius, this piece of a device of Western childishness, which would still be ongoing.

Esta tese trata da infância e de uma didática, aquela formulada por Comenius no entrelaçamento de A escola da infância, O labirinto do mundo e o paraíso do coração e Didática Magna, endereçada, de uma forma ou de outra, à infância. Por isso, pensa a didática no âmbito de um dispositivo de infantilidade, uma vez que ali se conjugam um tipo de saber, uma forma de poder e um modo de produzir o sujeito infantil. Daí a pergunta: de que modo a didática comeniana aquela arte didática, arte de ensinar produz a infância e seus modos de conhecê-la, conduzi-la e governá-la? O objetivo desta pesquisa é justamente inventariar e, de alguma maneira, problematizar, por meio das ideias foucaultianas em torno do poder pastoral e da governamentalidade, a produtividade da arte didática comeniana a partir das suas forças de criação: 1. a infantilização da infância; 2. o governo da infância (e de si) e 3. a escrita didática como um trabalho ético, estético e político, uma forma de pensar e de escrever em educação. Parece haver toda uma tecnologia da salvação em operação na didática da infância comeniana: conhecer, formar, conduzir, governar. Tecnologia do poder pastoral que se destina a todos e a cada um. Aos outros e a si mesmo, esse propósito maior desse tipo de poder. O outro, a criança, esse ser em formação, desde a tenra idade, para não se perder no labirinto do mundo, indivíduo que está sujeito à operação do poder pastoral. A si mesmo, a criança por ela mesma, aquela que conhece o caminho para a salvação e que adere a ele (Deus), aquele que se conhece, se guia, se governa, o indivíduo que se sujeita, ele mesmo, aos exercícios da pastoral educativa da arte didática. O que se tem aí é toda uma infantilização da infância em curso. Produção de uma identidade específica a criança educada, obediente, crente. Produção de um modo de vida infantil a criança sujeita à arte didática, a criança que se sujeita à arte didática. O que está em jogo ali é justamente ensinar aquilo que se é, aquilo que se pode ser. O infantil estaria, desde então, na mira dos adultos, em uma relação de dependência dos adultos, aqueles que inculcariam nos primeiros os valores, os códigos de uma vida conformada a toda uma rede de saberes e poderes em torno da educação. A infância como objeto da educação. O infantil a ser educado, a ser salvo, do mundo e dele mesmo. Assim, a infância foi-se fazendo na trama da escrita didática desde Comenius, essa peça de um dispositivo de infantilidade ocidental, que ainda estaria em curso. / This thesis deals with childhood and a didactic, that formulated by Comenius in the intertwining of his works A escola da infância, O labirinto do mundo e o paraíso do coração and Didática Magna, addressed in one way or another, to childhood. Due to this, this work thinks the didactic as part of a childlike device once it combines a kind of knowledge, power and a way of producing the child subject. Hence the question: how does a comeniana didactic that artistic didactic, the art of teaching produce a childhood and its ways of knowing it, leading it and leading it? The aim of this research is precisely identify and, somehow, problematize, through Foucaults ideas around the pastoral power and governmentality, the productivity of the artistic didactic comeniana starting from their forces of creation: 1. the infantilization of childhood; 2. the government of childhood (and oneself) 3. and the teaching writing as an ethical, aesthetic and political work, a way of thinking and writing in education. There seems to be a whole technology of salvation in the didactics of the comeniana childhood: knowledgement, grow, lead, govern. Technology of pastoral power that is addressed to anyone and every one. To others and oneself, this greater purpose for such power. The other, a child, who is in formation at an early age, to not get lost in the labyrinth of the world, an individual who is subject to the operation of pastoral power. The oneself, the child by herself, the one who knows the way to salvation and sticks to him (God), who is known, is guided, is governed, the one who makes (her)himself undergo the exercises of the educational ministry of didactic art. What you have there is a infantilization of childhood ongoing. Production of a specific identity a polite child, an obedient believer. Production of a childish way of life - the child within didactic art, the child who is subject to didactic art. What is at stake here is precisely to teach what one is, what one can be. The childhood would be, since then on target of adults in a relationship of dependence, those who would insert values in the ones previously mentioned (child), codes of a life conformed to a whole network of knowledge and power over education. The child as an object of education. The child to be educated, to be saved, from the world and himself. Thus, childhood was making up the net of didactic writing since Comenius, this piece of a device of Western childishness, which would still be ongoing.

Nearly everyone I know has a relationship with something in popular culture, whether it is Buffy the Vampire Slayer, amassing The Astonishing X-Men comics, or collecting every version of every Star Wars movie. Relationships and pop culture: couldn’t that make an autoethnography? This is a short version of my relationship with a band, Daniel Amos. I am not in Daniel Amos. I don’t know the members of the band (although I am Facebook friends with them now). I first heard them in 1982 serendipitously. Or maybe it was destiny. Either way, they opened my eyes to the wonders, doubts, and excesses of my life, critiqued my faith, and brought me joy. I feel like I know them, and they me. Thirty-one years after first hearing them, I realize our relationship is one of the longest I have had. We grew up and are growing older together.

Thesis (Ph. D.)--University of California, Los Angeles, 2004. / Includes bibliographical references (p. 222-229). Also available on the Internet.

Revision of Thesis (Ph. D.)--University of Sheffield, 1991. / Includes bibliographical references and index.

Revision of thesis (Ph. D.)--University of Sheffield, 1991. / Includes bibliographical references and indexes.

A sociedade israelense passou por modificações, em especial, na década de 70 que levaram a mudanças políticas e sociais. O escritor Amós Oz, um dos mais destacados do país, aborda em seus textos ficcionais e não ficcionais, as mudanças e alterações refletidas no país. Este trabalho pretende estudar as modificações da década em questão, conforme apresentadas no romance A Caixa Preta de Amós Oz e para isto, são aqui desenvolvidos os seguintes temas: A busca pela identidade nacional, o confronto entre a direita e a esquerda dento do sistema político israelense, o levantamento das semelhanças entre o Estado que busca redefinir sua identidade e o movimento sionista, que procura reencontrar seus objetivos uma vez que o Estado tornou-se realidade, a posição da esquerda israelense e as concepções do grupo pacifista Shalom Achshav, a atuação da direita israelense e a militância do grupo nacionalista Gush Emunim, as diferentes ondas imigratórias para Israel antes e após a proclamação da independência e a absorção das diferentes comunidades de imigrantes, o início dos conflitos étnicos entre as diversas comunidades que formam o mosaico social israelense. Uma análise do livro A Caixa Preta, mostrando como os conflitos étnicos, religiosos e políticos se refletem na obra de Amós Oz, assim como a análise dos personagens e seus comportamentos indicando a ligação entre ficção e realidade no cotidiano israelense completam a segunda parte desta dissertação / The israeli society has gone through some moves, specially on the seventies, that led to political and social changes. The author Amós Oz, a remarkable one in the country, has written in his fictional and non-fictional works about those innovations reflected in the country. This work intends to study the changes in the period above, as shown in the novel Kufsa Chhora (The Black Box) from Amós Oz. Therefore, these themes are here developed: The search for national identity, the confrontation between right and left in the israeli political system, the collecting of the simmilarities between the State, redefining its identity and the sionist movement, that is reshaping its objectives, once the State became a reality, the position of the israeli left wing and the conceptions of the pacifist group Shalom Achshav, the position of the israeli right wing and the militanty of the nacionalistic group Gush Emunim, the different immigratory waves to Israel before and after the proclamation of the State and the absorption of the different communities of immigrants, the beggining of ethnical conflicts among the several communities, which from the israeli social mosaic. We have, here, too, an analisis of the book Kufsa Chhora (The Black Box) showing how ethnical, religious and political conflicts reflect in Amós Ozs work, as well as an analisis of the characters and their behavior to show the liaison between fiction and reality in Israels routine.