No description available.

Call number: LD2668 .T4 1985 J69 / Master of Arts

This thesis investigates the significance of the Church's experience of transcendence in the theologies of Robert W. Jenson (b. 1930) and Alexander Schmemann (1921-1983). Both theologians emphasize the indispensable role of eschatology for Christian theology, but they offer strikingly different accounts of what that means. Following an introductory chapter, the first half of the thesis (chapters 2-4) clarifies the loss of transcendence by following Jenson's and Schmemann's respective theological diagnoses of the chief problems facing the Church in the late-modern West. Jenson argues that a long hidden error in the ontology of the doctrine of God is the underlying cause of the nihilism pervading Western culture. Schmemann perceives secularism as the pervasive cultural backdrop to Christian faith in the West, identifying the betrayal of the Orthodox Church's liturgical experience of the Kingdom of God as the chief culprit. By placing their critiques in dialog with one another I further trace the mutually diagnosed problem of the Church's debilitated eschatology to underlying problems in received ontologies of transcendence. The second half of the thesis (chapters 5-7) explores Jenson's and Schmemann's theological proposals for rehabilitating eschatology. Jenson revises the ontology of God to more adequately fit the God identified by the gospel. His narratival ontology enables him to conceptualize God's transcendence in terms of triune faithfulness through time rather than in metaphysical immunity to time. Schmemann retrieves a symbolic ontology in order to affirm the sacramentality of the world by which God's transcendence can be mystically experienced in the Church's liturgical worship. I argue that Jenson's theological rejection of timelessness rests upon historicist assumptions which Schmemann's eschatological theory has resources to withstand and that, furthermore, theology should preserve apophatic humility rooted in the aseity of God rather than historicize the doctrine of God as Jenson proposes.

Thesis (MA) -- Stellenbosch University, 1971. / No abstract available

No description available.

In this paper we explore the slice-ribbon conjecture for some families of pretzel knots. Donaldson's diagonalization theorem provides a powerful obstruction to sliceness via the union of the double branched cover W of B⁴ over a slicing disk and a plumbing manifold P([capital gamma]). Donaldson's theorem classifies all slice 4-strand pretzel knots up to mutation. The correction term is another 3-manifold invariant defined by Ozsváth and Szabó. For a slice knot K the number of vanishing correction terms of Y[subscript K] is at least the square root of the order of H₁(Y[subscript K];Z). Donaldson's theorem and the correction term argument together give a strong condition for 5-strand pretzel knots to be slice. However, neither Donaldson's theorem nor the correction terms can distinguish 4-strand and 5-strand slice pretzel knots from their mutants. A version of the twisted Alexander polynomial proposed by Paul Kirk and Charles Livingston provides a feasible way to distinguish those 5-strand slice pretzel knots and their mutants; however the twisted Alexander polynomial fails on 4-strand slice pretzel knots. / text

Denna uppsats syftar till att utveckla en förståelse för hur stråkinstrumentundervisning kan bedrivas då syftet är att lära ut en ergonomisk riktig spelteknik som förebygger hälsoproblem. Fokus i studien har varit på nybörjarundervisning samt HUR elever spelar. Studien har genomförts med hjälp av kvalitativ metod. Sex ergonomiskt kunniga och intresserade musiker och pedagoger har intervjuats. Deras specialområden är musikerergonom, sjukgymnast, kontrabasist, forskare, alexandertekniklärare och cellopedagog. Den kunskapsöversikt som presenteras i uppsatsen handlar om förhindrande av musikrelaterade hälsoproblem, utveckling av en fri spelteknik samt några pedagogiska konsekvenser utifrån fallstudier som gjorts på barn. Alexanderteknik, som bland annat handlar om effektiv muskelanvändning och ändring av felaktiga vanor, utgör den teoretiska utgångspunkten för studien. Resultatet visar bland annat att stråkinstrumentundervisning på ergonomisk grund ska utgå från läraren och dennes interaktion med eleven och kräver att läraren har kunskap och medvetenhet om ämnet ergonomi. Vidare visar resultatet på betydelsen av att i undervisningen prioritera kvalitet framför kvantitet, att anpassa undervisningen efter elevens olika muskulära och psykiska förutsättningar och att se eleven i ett helhetsperspektiv. Exempel på viktiga moment i tillvägagångssätt för stråkundervisning på ergonomisk grund handlar om att bevaka elevens lust och ha en sund balans i progressionen. / The purpose of this study is to develop an understanding in how teaching strings can emphasize an ergonomic way of playing, thus preventing health problems. Focus has been how to teach beginners as well as HOW to play. The study has been carried out with a qualitative method. Six musicians and teachers with ergonomics as a special field have been interviewed. They are a physiotherapist, a double bassist, a researcher, a teacher in Alexander Technique and a teacher in cello. The findings of the study deal with the prevention of musician-related injuries, developing a free playing technique, and educational consequences from a few case studies of children. The Alexander Technique, which among other aspects, deals with the effective use of muscles and changing wrong habits, is the theoretical starting point of the study. The result indicates, among other things, evidence that teaching strings in an ergonomic perspective should start with the teacher and his/her interaction with the pupil, and requires that the teacher possesses a knowledge and awareness of ergonomics. Furthermore, the result gives evidence of the importance in giving priority to quality instead of quantity, adjusting the teaching to the pupil’s different physical and psychical conditions and also viewing the pupil in a comprehensive perspective. Checking the pupil’s mindset and having a good balance of the progression, are examples of important elements in teaching strings.

This dissertation presents an investigation into the notion of the freak in the guise of exotic characters as these appear in the strange creature-figures in Jane Alexander’s (b. 1959) installation artwork African Adventure (1999-2002). The installation artwork reveals issues pertaining to the way in which the exotic nature of the freak is made manifest in its hybrid spatio-temporal nature, with reference also to the understanding that freaks are often presented as strange yet awesome consumer objects. Alexander’s view of art and her oeuvre are contextualised within the South African milieu which is characterised by change, and laced with utopian as well as dystopian sentiments. The interpretation of African Adventure is theoretically entrenched in certain key concepts: the freak, the exotic, and hybridity, as these are made manifest in the reading of the characters, time and place presented in the installation artwork as allegorical reflection of contemporary South African society. The exploration of the work’s spatio-temporal dimensions are guided by establishing a link between, on the one hand, the desire for experiencing the thrill of the unusual (both in terms of a perspective of a colonial safari as well as the contemporary tourist gaze) and, on the other hand, a number of problematic issues in contemporary South African society. I demonstrate that the South African landscape, people and most likely also history are regarded as exotic – with the freakish associations this implies – also because post-apartheid South Africa has the status of a rarity that can be experienced as an adventure landscape. I further demonstrate how the freak’s exotic figuration ironically reverses the experience of empowered looking, with reference here to the notion of spectacle. In a space where contradiction is exposed for contemplation, this ironic reversal in its hybrid embodiment is understood as a space of reconstitution. In this manner, the presumed notion of a stable South African collective is challenged; South African society comprising of so many hybrid identities is rather understood to be the sum of contestible information where the possibility of fragmented experiences of chaos and reconciliation can coexist. As such, cultural reconstitution and renewal are not based on the exoticism of multiculturalism, but on the articulation of a culture’s hybridity. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

In 1968, Dr. Margaret Walker Alexander, professor of English at Jackson State College, founded a Black Studies Institute in Jackson, Mississippi. This study is an intellectual, institutional and social movement history that utilizes archival research and textual analysis of Alexander’s writings, poetry, and work as teacher and director of the Institute in the context of the Black Campus Movement (BCM) and Black Freedom Struggle. It pushes the boundaries of historiographical scholarship on BCM that overshadows the epistemological and aesthetic politics of women faculty-activists who ushered forth racialized and gendered analysis as well as developed the foundations of Black Studies.

This study examines neglected aspects of the educational history of Texas. Although much emphasis has been placed on the western, frontier aspects of the state in the years after Appomattox, this study assumes that Texas remained primarily a southern state until 1900, and its economic, political, social, and educational development followed the patterns of the other ex-Confederate states as outlined by C. Vann Woodward in his Origins of the New South. This study of the educational history of Texas should aid in understanding such developments for the South as a whole. For the purposes of this study, "education" is defined in terms of institutions specifically created for the formal education of the young. Additionally, the terms "public education" and "private education" are used extensively. It is a contention of this study that the obvious differences between public and private schools in the last half of the twentieth century were not so obvious in the last half of the nineteenth, at least in Texas. Finally, an attempt has been made to confine the study to those areas of formal schooling which are today commonly called primary and secondary, although this was difficult because of the lack of definition used in naming schools, and because many of the academies, institutes, colleges, and universities of the period enrolled students from the primary level to the collegiate level.