St. Augustine believed that we are created to aspire to a perfection that aligns our relationships in such a way that we function out of a sense of respect for ourselves and the universe in which we live. In so doing we explore the possibilities of creativity and happiness. His thinking moved from the context of classical Greek thought into a Christian one. By living and recording the dilemma of being unable to act as his intellect mandated, he developed an innovative concept of will. He believed that we are motivated to act through our loves but we have a divided will that can only move towards integration if we love correctly. This necessitates an inward journey. / The thesis of this paper is that if one subscribes to Augustine's beliefs there are serious implications for education. The following authors are cited to develop these implications in a modern philosophical and educational setting: Charles Taylor, Iris Murdoch, Israel Scheffler and Bob Samples. Finally, a brief resume of relevant teaching approaches and materials is offered.

No description available.

No description available.

No description available.

No description available.

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: Augusine's search for the nature of God's exisistence as well as the origin of evil, reaches a climax in Book 7 of his Confessions. This study assumes the position that Augustine strives to find answers to the above mentioned two questions in the first six books of the Confessions. The answers to both these questions were vitally important to Augustine, since it would then convince him to convert to the Christian faith. Augustine repeatedly thought he grasped the true answer to the existence of God and the origin and the nature of evil but he was disillusioned time and again. His quest for an answer started with his reading of Cicero's Hortentius (Conf. 3.4.7), a book that urged Augustine to search for Truth. Augustine then joined the Manicheans, a sect claiming that their doctrine was based on reason and contained the Truth (Conf. 3.6.10). Augustine believed that the Manicheans could resolve his quest for answers to the existence and nature of both God and evil. The Manichean intellectual and scientific exposition of the cosmos allowed Augustine to imagine God and evil as opposing substances. Eventually, promted by his own intellect, Augustine discovered weaknesses in their theories (Conf. 5.3.3-5.6.10). Augustine's final break with the Manicheans, after nine years as an adherent, came when he heard the sermons of Ambrose of Milan. Not only was Augustine impressed by Ambrose's eloquence but his sermons also embodied an interpretation of Platonism in Christian terms. Augustine's reading of the Neoplatonic books in a Latin translation urged him to turn into himself (Conf. 7.10.16) and search for God there. Once Augustine could pronounce upon the intelligible existence of God, his inquiry into the origin of evil resolved itself (7.12.18). / AFRIKAANSE OPSOMMING: Augustinus se soeke na die bestaanswyse van God en die aard en onstaan van die kwaad bereik 'n klimaks in Boek 7 van die Confessiones. In hierdie studie word daar van die standpunt uitgegaan dat Augustinus onder andere in die eerste ses boeke van die Confessiones poog om antwoorde te kry op bogenoemde twee vraagstukke. Antwoorde op beide hierdie vrae was van kardinale belang, aangesien dit Augustinus sou oortuig om hom tot die Christelike geloof te bekeer. Augustinus het herhaaldelik gepoog om die ware antwoorde op die vraag na bestaanwyse van God sowel as die oorsprong en die aard van die kwaad te vind. Hy was egter telke male ontnugter. Augustinus se soeke het begin toe hy in aanraking gekom het met Cicero se Hortensius (Conf. 3.4.7), 'n boek wat Augustinus aangemoedig het om die Waarheid na te jaag. Gevolglik het Augustinus by die Manicheërs aangesluit, aangesien dié sekte geglo het dat hulle leerstellinge gebaseer is op die rede en sodoende die volle waarheid bevat (Cant. 3.6.10). Augustinus het geglo dat die Manicheërs sy soektog na antwoorde op die vraag van God en die kwaad se bestaanswyse kon oplos. Die Manicheërs se intellektuele en wetenskaplike uiteensetting van die kosmos het Augustinus toegelaat om God en die kwaad as teenstrydige entiteite te beskou. Ongeveer nege jaar na sy aansluiting by die Manicheërs, aangemoedig deur sy eie intellek, het Augustinus die swak punte in die Manichese leerstellinge ontdek (Cant. 5.3.3-5.6.10). Die finale breek met die Manicheërs het gekom toe Augustinus die preke van Ambrosius in Milaan gehoor het. Nie alleen was Augustinus ingenome met Ambrosius se welsprekendheid nie, maar sy preke het ook die interpretasie van Platonisme in Christelike terme beliggaam. Die Neoplatoniese leerstellinge het Augustinus aangemoedig om na homself, in homself te draai (Conf. 7.10.16) en vir God daar te gaan soek. Sodra Augustinus kon verklaar dat God in die vorm van 'n kenbare wese bestaan, het sy soeke na die oorsprong en die aard van die kwaad dit self opgelos (Cant. 7.12.18).

This thesis traces the development of Augustine's paradigm of the two cities (the City of God and the earthly city) in the cultural poetics of the English Renaissance. Although scholars have studied the impact of Augustine's model on theology, historical consciousness, and political theories in the Middle Ages and Renaissance, little attention has been paid to the genealogy of the more specifically "literary" aspects of the idea of the two cities. My line of inquiry is the relationship between Augustine's model of the two cities and the idea of drama. More specifically, this project explores the ways in which the idea o f the two cities spoke to various communities—of readers, of worshippers, and ultimately, of playgoers. Augustine's view of drama is divided; on the one hand, he speaks at length about the evil influence of Roman spectacles, but on the other hand, he acknowledges that the world itself is a theatre for God's cosmic drama. However, this employment of drama is limited in Augustine's writing, because his greater commitment is to the idea of Scripture. This interplay between drama and Scripture, I suggest, is an integral part of the two-cities model that is related to his theology of history. The tension between the idea of drama and the idea o f the book is evident in English Reformation appropriations of Augustine's model, such as those of John Bale and John Foxe, who changed the terminology to "the two churches." The second section of my thesis shows how these Reformers contained their own "dramatic" adaptations of the two cities within an even narrower theatre than Augustine's—a theatre constituted and contained by the Word. Shifting the focus to secular drama, the final section concerns Shakespeare's use of some facets of the two-cities model in his Jacobean plays, and examines the effects of removing this construct from its religious context. The result, I argue, is a theatre that celebrates its own aesthetic power and flaunts its sheer physicality, resisting the presumed stability of the written word.

This thesis traces the development of Augustine's paradigm of the two cities (the City of God and the earthly city) in the cultural poetics of the English Renaissance. Although scholars have studied the impact of Augustine's model on theology, historical consciousness, and political theories in the Middle Ages and Renaissance, little attention has been paid to the genealogy of the more specifically "literary" aspects of the idea of the two cities. My line of inquiry is the relationship between Augustine's model of the two cities and the idea of drama. More specifically, this project explores the ways in which the idea o f the two cities spoke to various communities—of readers, of worshippers, and ultimately, of playgoers. Augustine's view of drama is divided; on the one hand, he speaks at length about the evil influence of Roman spectacles, but on the other hand, he acknowledges that the world itself is a theatre for God's cosmic drama. However, this employment of drama is limited in Augustine's writing, because his greater commitment is to the idea of Scripture. This interplay between drama and Scripture, I suggest, is an integral part of the two-cities model that is related to his theology of history. The tension between the idea of drama and the idea o f the book is evident in English Reformation appropriations of Augustine's model, such as those of John Bale and John Foxe, who changed the terminology to "the two churches." The second section of my thesis shows how these Reformers contained their own "dramatic" adaptations of the two cities within an even narrower theatre than Augustine's—a theatre constituted and contained by the Word. Shifting the focus to secular drama, the final section concerns Shakespeare's use of some facets of the two-cities model in his Jacobean plays, and examines the effects of removing this construct from its religious context. The result, I argue, is a theatre that celebrates its own aesthetic power and flaunts its sheer physicality, resisting the presumed stability of the written word. / Arts, Faculty of / English, Department of / Graduate

No description available.

Bibliography: leaves 276-298.