Assignment (M. Div.)--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Spirituality has become a shibboleth in today’s society, both within and outside of Christianity. In uncovering an ecclesiological grounding for spirituality, we can come to a better understanding of it, gaining helpful insight into the vast field of spirituality. I attempt to do so by using David J. Bosch’s missionary ecclesiology as a point of departure for spirituality on a conceptual level, as well as considering some of the implications of spirituality in our current Western culture. / AFRIKAANSE OPSOMMING: In hierdie mini-tesis word daar gepoog om gebruik te maak van David J. Bosch se missionêre ekklesiologie, as orientasie en 'n begin punt vir spritualiteit. Die implikasies, ten opsigte van ons huidige situasie in die Westerse kultuur, word vervolgens ook ondersoek.

Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: The study examines issues of culture in Mcani's drama Uhambo Lwenkululeko (Journey of Freedom). Following Bauerlein (1997:63), it is argued that the study of women in literature forces a critical examination of the way women in literature have been portrayed in the past because of male domination. The study aims to establish what the progress is in the portrayal of women characters after the introduction of the new dispensation in South Africa. This study shows in the discussion of the theoretical aspects of culture in Chapter 2 that culture is an elusive concept because it has different definitions. Culture is that complex whole which includes knowledge, belief, art, law, morals, customs and all other capabilities and habits acquired by man as a member of society. This implies that culture entails everything that contributes to the survival of man, comprising both physical and social factors. In Chapter 3, it is established that the author has excellently handled both characterisation and the plot in Uhambo Lwenkululeko (Journey of Freedom). The plot structure of Uhambo Lwenkululeko (Journey of Freedom) in particular, has been handled successfully by the author. For example, by opening his drama with conflict, in the exposition, the author has managed to show is that conflict is the source of action in drama. It is the aspect that triggers characters to respond either positively or negatively to a particular opposing force. We have established in Chapter 4 that societies have certain basic needs or requirements that must be met if they are to survive. For example, a means of producing food may be seen as a functional pre-requisite since without it, members of society could not survive. This might have been one of the reasons why the boys are busy fishing in the drama. According to the findings in this study, men and women are portrayed equal with regard to reason. We established that the belief that women lack the capacity to fully exercise the powers of human reason is a deeply rooted prejudice. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek vraagstukke oor kultuur in Mcani se drama Uhambo Iwenkululeko. In navolging van Bauerlein (1997:63), word daar aangevoer dat die studie van vroue in die letterkunde 'n kritiese ondersoek noodsaak van die wyse waarop vroue in die verlede voorgestel is in die letterkunde op grond van dominering deur mans. Die studie poog om vas te stel wat die vordering is in die voorstelling van vroue in die letterkunde na die invoer van In nuwe demokratiese bestel in Suid-Afrika. Die studie toon aan in die bespreking van die teoretiese aspekte van kultuur in hoofstuk 2 dat die kultuur In ontwykende konsep is wat verskillende definisies het. Kultuur is 'n komplekse geheel wat insluit aspekte soos kennis, geloof, kuns, regsisteem, morele sieninge, gewoontes en ander vermoens wat deur mense verwerf word as lede van In gemeenskap. Oit impliseer dat kultuur alles behels wat bydra tot die oorlewing van rnense, insluitende fisiese sowel as sosiale faktore. In hoofstuk 3 word dit bevind dat die skrywer die karakterisering sowel as die intrige in Uhambo Iwenkubuleko meesterlik hanteer. Veral die intrige is op 'n uitstaande wyse hanteer deur die skrywer. Oeur in die begin van die drama konflik in te voer, het die skrywer daarin geslaag om aan te toon dat konflik die bron van aksie in die drama is. Oit is die aspek wat karakters aanspoor om of positief of negatief te reageer op In spesifieke opponerende krag. Oaar is bevind in hoofstuk 4 dat gemeenskappe sekere basiese behoeftes en vereistes het waaraan voldoen moet word indien hulle wil oorleef. In Wyse vir die produksie van voedsel is In vereiste, aangesien In gemeenskap nie daarsonder kan oorleef nie. Oit kon In moontlike rede wees waarom die skrywer verwys na die seuns wat visvang in die drama. Volgens die bevindings van die drama, word mans en vroue gelykwaardig voorgestel wat betref redeneringsvermoe. Oaar word bevind dat die siening dat vroue 'n onverrnoe het om die magte van redenering te beoefen 'n diepgewortelde vooroordeel is.

Thesis (MTh)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: The earth and her ecology is in crisis, which impacts upon both human and nonhuman communities. Not only due to the blame for ecological destruction that is attributed to humanity (and specifically also to the Christian religion), but also because of the destruction of species, environments and the natural habitat of living beings theology is asked of to step into its public and prophetic role in order to address the challenges in whichever way it can. David Kelsey’s enormous theological anthropology, Eccentric Existence (2009), probably provides opportunities for this, through its theological inquiry and (re)formulation of Christian traditions’ central doctrines and faith formulations. Kelsey’s main thesis is that God relates to all that is not God to create, draw into eschatological consummation, and reconcile. God relates to create the earth and her ecology. God relates to the earth and her ecology creatively (‘living on borrowed breath’) which entails that God relates “to” the earth and her ecology through the medium of address. The ultimate context of the earth and her ecology is therefore that of being directly and indirectly addressed by the triune God, through which it responds to its being called into being. The call that Kelsey describes, and therefore God’s creation of the earth and her ecology, is public and communal, involving both the radical freedom of otherness and the intimate nearness of sameness. God relates to bless the earth and her ecology creatively in God’s life-giving address, by enabling it to be alive and to bring forth life. The earth and her ecology, as particular instances or forms of life, is dynamic, persistent and frail. Creaturely reality involves being and having living bodies, through being created as dying life. The earth and her ecology not only lives, but is enabled to flourish, on borrowed breath. In this way, the earth and her ecology exists eccentrically, finding its reality and worth and being and value outside of itself, in God’s relating to bless it creatively. God relates to draw the earth and her ecology into eschatological consummation. God relates by drawing the earth and her ecology into eschatological consummation (‘living on borrowed time’) which stipulates that God relates “between” the earth and her ecology through the medium of promise. The ultimate context of the earth and her ecology is therefore that of being drawn into God’s own triune life and being called to participate in the glory of God. The earth and her ecology is defined by the absolute promise of eschatological blessing and the implicit promise of transformation in the present and in the future, which is God’s reaching out to all that is not God (also described as the missio Dei). The earth and her ecology, as particular instances or forms of life, stands under both God’s election (or ‘yes’) and God’s judgment (or ‘no’). The earth and her ecology not only lives, but is enabled to flourish, on borrowed time. In this way, the earth and her ecology exists eccentrically, finding its reality and worth and being and value outside of itself, in God’s relating to bless it eschatologically. God reconciles the earth and her ecology to Godself. God relates by reconciling the earth and her ecology through their multiple estrangements (‘living by another’s death’) and entails that God relates “amongst” the earth and her ecology through the medium of exchange. The ultimate context of the earth and her ecology is therefore that of being reconciled to God through its multiple estrangements and being drawn into the divine life of God Godself. Incarnation and what Kelsey calls ‘exchange’ – God incarnated in Jesus exchanging Godself with the earth and her ecology amidst processes of violence and destruction to transform their living death into true life – defines the earth and her ecology in this mode of relating. The earth and her ecology is reconciled with herself and with living beings and all of life through their reconciliation by and in God. God’s reconciliation is liberation and transformation of the earth and her ecology within particular times and places, within its particular contexts. The life of the earth and her ecology is therefore no longer tied to the fulfillment of certain functions or duties (or even vocations) that it may be subjected to or expected of, but lies solely in the worth and value that it finds in living and existing by the life and death of another, of God incarnate, of Jesus the Son. The earth and her ecology not only lives, but is enabled to flourish, by another’s death. In this way, the earth and her ecology exists eccentrically, finding its reality and worth and being and value outside of itself, in God’s relating to reconcile it through its multiple estrangements. God stands in relationship to the earth and her ecology in three ways that sustains and blesses it to flourish as mysterious living being that reflects the glory of the triune God. The appropriate response to this, respectively, is eccentric faith, eccentric hope and eccentric love. The earth and her ecology, like all living beings and all of life, exists eccentrically, through God that relates to it. / AFRIKAANSE OPSOMMING: Die aarde en haar ekologie is tans in krisis, wat impakteer op beide menslike en nie-menslike gemeenskappe. Nie net weens die skuld vir ekologiese verwoesting wat aan mense (en spesifiek ook aan die Christelike geloof) toegeskryf word nie, maar ook weens die verwoesting van spesies, omgewings en die natuurlike habitat van lewende wesens word daar van teologie gevra om in dié se publieke en profetiese rol in te tree en die uitdagings aan te spreek op welke manier dit ook al kan. David Kelsey se enorme teologiese antropologie, Eccentric Existence (2009), bied waarskynlik geleenthede hiervoor, deur die in-diepte teologiese ondersoek en (her)besinning van Christelike tradisies se sentrale doktrines en geloofstellinge waarmee dit besig is. Kelsey se hooftese is dat God in verhouding tree tot alles wat nie God is om te skep, in eskatologiese vervulling te bring, en te versoen. God tree in verhouding tot die aarde en haar ekologie deur dit te skep (waardeur dit op geleende asem leef), wat behels dat God ‘tot’ die aarde en haar ekologie in verhouding tree deur die medium van aanspraak. Die uiteindelike konteks van die aarde en haar ekologie is daarom dié wat direk en indirek aangespreek word deur die drie-enige God, deurdat dit reageer daarop dat dit geroep is tot bestaan. Die oproep wat Kelsey beskryf, en daarom God se skepping van die aarde en haar ekologie, is publiek en gemeenskaplik, en behels beide die radikale vryheid van andersheid en die intieme nabyheid van eendersheid. God seën die aarde en haar ekologie kreatief in God se lewegewende aanspraak, deur dit in staat te stel om te lewe en om lewe voort te bring. Die aarde en haar ekologie, as spesifieke lewensvorme, is dinamies, voortdurend en weerloos. Geskape realiteit behels beide om lewende liggame te hê en te wees. Die aarde en haar ekologie leef nie alleen nie, maar word in staat gestel om te floreer, op geleende asem. Op hierdie manier bestaan die aarde en haar ekologie eksentries, en vind dit die realiteit en waarde en wese buite ditself, in God wat in verhouding daartoe tree om dit kreatief te seën. God tree in verhouding tot die aarde en haar ekologie om dit in te bring in eskatologiese vervulling. God tree in verhouding tot die aarde en haar ekologie (waardeur dit op geleende tyd leef) wat bepaal dat God in verhouding staan ‘tussen’ die aarde en haar ekologie, deur die medium van belofte. Die uiteindelike konteks van die aarde en haar ekologie is daarom dié wat gebring word in God se eie drie-enige lewe en wat geroep word om deel te neem aan die glorie van God. Die aarde en haar ekologie word gedefinieer deur die absolute belofte van eskatologiese seën en die implisiete belofte van transformasie in die hede en in die toekoms, wat God se uitreiking na alles wat nie God is nie is (ook beskryf deur die missio Dei). Die aarde en haar ekologie, as spesifieke lewensvorme, staan onder beide God se verkiesing (God se ‘ja) en God se oordeel (God se ‘nee’). Die aarde en haar ekologie leef nie net nie, maar word in staat gestel om te floreer, op geleende asem. Op hierdie manier bestaan die aarde en haar ekologie eksentries, en vind dit die realiteit en waarde en wese buite ditself, in God wat in verhouding daartoe tree om dit eskatologies te seën. God versoen die aarde en haar ekologie tot Godself. God tree in verhouding tot die aarde en haar ekologie deur dit te versoen (waardeur dit leef deur ‘n ander se dood) en behels dat God ‘tussen’ die aarde en haar ekologie in verhouding tree deur die medium van vervanging. Die uiteindelike konteks van die aarde en haar ekologie is daarom die wat versoen is tot God deur hul veelvoudige vervreemdinge en wat ingebring word in die goddelike lewe van Godself. Inkarnasie en wat Kelsey noem ‘vervanging’ – God wat mens word in Jesus vervang Godself met die aarde en haar ekologie te midde prosesse van geweld en verwoesting om hul lewende dood te transformeer in ware lewe – definieer die aarde en haar ekologie in hierdie modus van verhouding. Die aarde en haar ekologie word versoen met haarself en met lewende wesens en die hele lewe deur hul versoening deur en in God. God se versoening is bevryding en transformasie van die aarde en haar ekologie binne spesifieke tye en plekke, binne hul spesifieke kontekste. Die lewe van die aarde en haar ekologie is daarom nie meer gebonde tot die vervulling van spesifieke funksies of pligte (of selfs roepinge) wat daarvan verwag word nie, maar lê alleen in die waarde wat dit vind daarin om te leef en bestaan deur die lewe van ‘n ander, van God-wat-mens-geword-het, van Jesus die Seun. Die aarde en haar ekologie leef nie alleen nie, maar word in staat gestel om te floreer, deur ‘n ander se dood. Op hierdie manier bestaan die aarde en haar ekologie eksentries, en vind dit haar realiteit en waarde en wese buite haarself, in God wat dit versoen deur veelvoudige vervreemdinge. God staan in verhouding tot die aarde en haar ekologie op drie maniere wat dit onderhou en dit seën om te floreer as geheimsinnige lewende wese wat die glorie van die drie-enige God reflekteer. Die gepaste reaksie hierop is, respektiewelik, eksentriese geloof, eksentriese hoop en eksentriese liefde. Die aarde en haar ekologie, soos alle lewende wense en die hele lewe, bestaan eksentries deur God wat in verhouding daarmee tree. / jme2012

Pulitzer Prize-winning composer David Del Tredici (b. 1937) has gained recognition as a composer for both instrumental and vocal settings. Although his instrumental contributions include solo, chamber, and orchestral works, to date he has only written one composition for wind band. A conductor must devote himself / herself to score study and analysis in order to form an accurate interpretation and to conduct effective rehearsals. A vital part of score study and analysis is familiarity with the composer’s technique and style of writing. A brief biographical sketch presents Del Tredici’s background, education, honors and awards, academic career, and influences, as well as a discussion of his compositional and orchestration techniques. Both movements of In Wartime are analyzed using the elements of melody, harmony, form, rhythm (which includes tempo, meter, rhythm, and rhythmic techniques), orchestration, texture, and dynamics. Rehearsal considerations for each movement are presented based on the author’s experience rehearsing and conducting In Wartime. The intention of this document is to facilitate conductors in their study and preparation of In Wartime in order that they may realize more effective rehearsals and inspired performances. Included in the appendices are trumpet parts transposed to the key of B-flat and instructions for the construction of the wind machine indicated in the score.

No description available.

Charles Dickens’s David Copperfield abounds with fatherless and motherless children, whose development into adolescence and adulthood is strongly affected by the parenting skills of the remaining parent. This essay studies different parenting and educational practices in the novel to see their impact on the behaviour and personality of the children. In Victorian England, two opposing views of childhood flourished: the Puritan one believing in childhood depravity, and the Romantic view based on childhood innocence. In addition, there were gender differences in upbringing stemming from the middle-class cult of domesticity as well as differences based on class distinctions. While Dickens seems to accept moral firmness, the Victorian ideal of manhood and womanhood, as the main goal of upbringing, he appears to disagree with Victorian child management practices. This essay shows the deficiencies and negative outcomes of the parenting styles based on the two opposing moral views, depicted in Mr. Murdstone’s Puritan discipline and Mrs. Steerforth’s parenting, which reflects the Romantic view of the child.  On the basis of the negative consequences of these two extremes, Dickens stresses the importance of a sound view of the child exemplified by Aunt Betsey’s loving discipline accompanied by guidance and responsibility, as well as by the educational practices in Doctor Strong’s school. Furthermore, this Victorian Bildungsroman emphasises the importance of a confidential loving relationship between the guardian and the child as well as proper education and social conditioning.

The purpose of this study is threefold: (1) to give a historical background of the concept of religion; (2) critically examine the challenges in the Study of Religions based on David Thurfjell and his essay Religionswissenschaft and the challenge of multi-religious student groups; and (3) to offer a solution that might improve and turn the Study of Religions into a more fruitful field. The results show that the concept of religion is the result of the developments in Western Europe and Christian theology. Secondly, the results illustrate that the methodologies of the department for the Study of Religions at Södertörns University College are seriously flawed. Finally, some personal suggestions and reflections are made that might improve the methodologies of the field.

Cette thèse porte sur l'émergence, puis l'évolution, d'une esthétique de l'altérité dansle cinéma de David Lean à partir du Pont de la Rivière Kwaï (1957) et jusqu'à sondernier film réalisé, La Route des Indes (1984). Elle adopte également la perspectived'une réévaluation qualitative du cinéma du cinéaste britannique, en mettant au jourles fondements idéologiques qui expliquent sa marginalisation dans le contextefrançais.Cette thèse interroge la façon dont le cinéma de David Lean contribue aux définitionsanthropologiques et culturelles de l'identité occidentale, dans sa relation avecl'altérité orientale. Le rôle des représentations de genre, de race et de classe estexaminé en lien avec les techniques cinématographiques dans la perspective de faireapparaître l'historicité et l'ethnicité des modalités de la figuration.L'analyse détaillée des quatre films que David Lean a consacrés à la représentationde l'histoire impériale britannique s'accompagne d'une étude précise du contexte deproduction de chacun des films. De plus, les filiations cinématographiques sontprises en compte afin de situer les films dans une histoire des représentations del'altérité. Le rôle central de la relation coloniale et postcoloniale dans l'élaborationd'une esthétique de l'altérité est envisagé tout au long de la période étudiée.Cette thèse aboutit à la conclusion d'une esthétique de l'altérité structurée par lanécessité pour la civilisation occidentale d'intégrer la notion de crise dans unprocessus de reconfiguration permanent. Cette nécessité émerge avec lesindépendances et la décolonisation. Elle s'impose à partir des années 1970 avecl'autonomie des sujets dominés qui composaient jusque-là l'Orient imaginaire

Missed appointments by patients are a major problem for health care professionals. To combat this issue, some optometrists use a pre-appointing system in which patients are scheduled for an annual exam a year after their initial visit. Prior to that subsequent appointment, clinic staff often try to contact the patient to confirm the appointment. This study examined baseline levels of appointment keeping, analyzed existing processes for pre-appointing patients, and introduced a revised process package to improve appointment keeping at an eye care clinic. This package included training, mailed postcard reminders and two phone call reminders. Results indicate appointment keeping by pre-appointed patients increased over baseline. The intervention was also shown to be cost-beneficial.

Writers tend to exude political views and ideas in their works. Robert A. Heinlein and his works havebeen interpreted from multiple political standpoints, yet almost no such interpretation has beenapplied to his later works. In this paper Lazarus Long, the protagonist in Heinlein’s Time Enough forLove, is interpreted through a libertarian looking glass, focusing on the novel’s societal critique andideas regarding liberty, power, government and economy. This paper is written with the goal ofshowing that the protagonist in Time Enough for Love can be said to be libertarian in perspective andattitude. This is done by using libertarian concepts divided into five categories, these categories beinginterpreted from David Boaz´s primer on libertarianism: societal criticism, governmental criticism,economic criticism, flourishing and observations. Conclusively this paper states that Robert A.Heinlein’s protagonist in the novel Time Enough for Love seems to have many influences by libertarianideals and can be said to be libertarian in perspective and attitude.