Thesis--Leipzig. / Vita. Only pt. 1 published as dissertation; full version published separately.

Thesis (S.T.D.)--Catholic University of America, 1945. / "Select bibliography": p. xv-xviii.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaves 42-43).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaves 42-43).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2004. / Abstract. Includes bibliographical references (leaves 42-43).

Techn. Universiẗat, Diss., 1996--Berlin.

Thesis (Ph. D.)--Catholic University of America. / Description based on print version record. "Select bibliography": p. ix-x.

No description available.

This dissertation is an amalgam of reformulated essays on artists who had connections with 20-21st century KwaZulu-Natal: They appeared in exhibition catalogues that accompanied the exhibitions; The Azaria Mbatha Retrospective, 1998, The Trevor Makhoba Memorial, 2005 and Cyprian Mpho Shilakoe Revisited, 2006. Chapter 1, the introduction; outlines the chapters, gives the theoretical and broader theoretical framework, history of the region and art therein, literature survey and methodology. Central to the theoretical framework is an attempt to meld the original essays into a coherent whole; by expanding the interpretation of indigenous cultural world-view to include the concept of orality versus literate cultures. Even in the transformation to literacy with westernization and Christianity the African oral mind-set is still operative; thus for instance the early Zulu writers like R.R.R. Dhlomo rendered the Zulu kings‘ oral praise-poems into written form and these became set-works for Zulu schools up until the 1994 new dispensation. Also dealt with are related issues of what therefore constitutes 'Africanness‘ and debates whether it is but the invention of the west in need of the 'Other‘ (something arguably pertinent to the art-collector‘s reasons for collecting), or if there is that own to the African style, like the oral style, which can be termed a 'legitimate Africanness‘ if one will. Further, how this style then exhibits itself in the visual arts as a 'preferred form‘ in terms of medium, colour, patterning and favored technique which best conspire to express these qualities. Chapter 2 (essay 1) and chapter 3 (essay 2), carry forward the assumptions made in the introduction. In modern times the oral genre has developed into an exciting style; namely the development of urban, often migrant musical forms, like isicathimiya, that challenge politics, social-wrongs, racism and taboos. It is argued that an artist like Trevor Makhoba can be considered a social commentator and 'master of the oral genre‘ in that he rendered this style into visual form. Certain of Makhoba‘s works depicting white females and black males are analyzed in this light and it is suggested that the oral genre also draws upon both stereotypical and universal archetypal imagery. Chapter 3 (essay 2) considers Azaria Mbatha‘s use of the older oral story-telling mode, rendered in linocut medium as an echo of earlier indigenous wooden 'pokerwork‘ panels, to transmit a political message in line with concepts of African Christianity, itself a syncretism of the Christian message with African world-view. This allegory was needed in a time where the Nationalist Government would have made open insurrection impossible. Chapter 4 (essay 3) concerns ex-Rorke‘s Drift art-student Cyprian Shilakoe. I analyze his aquatints in the light of his own Sotho cultural ideas on contagion and the ancestors for deeper meaning. The fact of culture change is accepted and mention is made of the artist‘s friend and fellow student, Dan Rakgoathe‘s melding of western esoteric mysticism, like Rosicrucianism, into African thinking and how far this impacted on the more traditional Shilakoe‘s works. The essays are followed by Chapter 5, the conclusion, which serves to come to some resolution. This is then followed by the bibliography. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.

Summaries in Afrikaans and English / Text in Afrikaans / Die tema van hierdie studie toon die kerkbegrip van Cyprianus aan as 'n spanning tussen die kerk as instituut en die kerk van die Gees. Hoofstuk een skets die invloed van Tertullianus as leermeester op Cyprianus. Tertullianus se kerkbegrip getuig self van spanning wat die produk is van 'n verandering van lidmaatskap vanaf die Katolieke kerk na die Montaniste. Tertullianus se kerkbegrip word vanuit twee perspektiewe belig. Eerstens vanuit 'n Katolieke, met 'n fokus op die fundering van die ware kerk en die mag van die kerk om sondes te kan vergewe. Tweedens vanuit 'n Montanistiese, wat die def iniering van die ware kerk en die mag van die kerk om sondes te kan vergewe eksklusief geestelik begrond. Hoofstuk twee skets die milieu waarbinne Cyprianus gearbei het. Dit sluit in 'n biografie van Cyprianus en die Afrika-religie en bevolking. Tweedens word die Europese invloed op Cyprianus se kerkbegrip aangedui. Die invloed van die Romeinse staatkundige model kan duidelik waargeneem word. Die grootste invloed was egter die Roomse kerklike model, weens die dinamika van die Roomse kerk. Hoofstuk drie skets die ekklesiologie van Cyprianus. Die spanning tussen die kerk as 'n instituut en die kerk van die Gees word aangedui deur 'n bespreking van die episkopaat; die betekenis van die biskop; Cyprianus se gesagsbegrip en sy perspektief op die primaat. Cyprianus se Bybelse verbintenis, sowel as die twee historiese lyne, naamlik die Pauliniese lyn en die Petruslyn, plaas sy uitspraak salus extra ecclesiam non est in perspektief. Cyprianus se kerkbegrip is primer 'n ekklesiologie van die Gees. In sy strewe na die eenheid van die kerk vind hy die kerk as instituut egter onontbeerlik. Spanning onstaan in sy poging om 'n sintese tussen die twee te vorm. / The theme of this study reveals the tension to be found between the church as institution and the church of the Spirit, in the ecclesiology of Cyprian. Chapter one shows the influence which Tertullian, as tutor, exerted on Cyprian. The ecclesiology of Tertullian also reveals the tension which is produced by the change of membership from Catholicism to Montanism. Tertullian's ecclesiology is highlighted from two different perspectives. Firstly from a Catholic view, with the focus on the fundamentals of the true church, and the authority and power of the church to forgive sins. Secondly, a Montanist view is proposed, which defines the true church, and the power it yields in forgiving sins, as being exclusively spiritual in nature. Chapter two describes the environment in which Cyprian worked. This includes a biography of Cyprian, as well as the African religion and people. Secondly the European influence is shown on Cyprian's ecclesiology. The influence exerted by the Roman state model is also clearly seen. The major influence though, was exercised by the Roman church model, on account of the dynamics of the Roman church. Chapter three describes Cyprian's ecclesiology. The tension between the church as institute and the church of the Spirit is revealed in a discussion on the episcopacy; the significance of the bishop; Cyprian's view on authority and his perspective on the primacy. Cyprian's biblical connection, as well as the two historical lines, namely the Pauline and Petrine lines, put his salus extra ecclesiam non est pronouncement in perspective. ecclesiology the unity of Cyprian's view is primarily that of a of the Spirit. In his striving towards the church though, he finds the church as institute to be indispensable. Tension develops in his endeavor to form a synthesis between the two. / Christian Spirituality, Church History and Missiology / D. Th.