The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative m South African children are exposed to an enormous amount of risk factors to their development and adjustment. Research reveals that, in all probability, they do not have sufficient protective factors at their disposal to cope with such stressors. The resilience (in other words the exposure to risk factors and the presence of protective factors) of a group of children, Grade R to Grade 2, in the Klerksdorp area, was analysed by means of focus groups and questionnaires. The focus groups were conducted with 14 teachers and the questionnaires were completed by 30 parents. The study reveals that the children in this group do not exhibit adequate resilience. The results identified themes such as self-esteem, creativity, assertiveness, emotional expression, emotional regulation, impulsivity, self-motivation, social responsibility and empathy. A programme (based on the Alvord-Baker model of social skills), focusing these themes, was developed in order to facilitate resilience. The Alvord-Baker model of social skills focuses on a pro-active orientation. The Resilience programme consists of eight sessions of one hour duration. During the sessions, music, dance and art activities are presented by way of groups. The themes of the sessions were intrapersonal factors (for example self-esteem and assertiveness), interpersonal factors (for example empathy and social responsibilty), stressmanagement (for example emotional expression and emotional regulation, as well as impulse control), general mood (for example self-motivation) and problem solving (for example creativity and emotional creativity). To determine the effectiveness of the compound programme, quantitative dominated, mixed methods were used. This means that, even though a quantitative research design was used (namely a two group, pre-test, post-test design), a qualitative procedure (namely a focusgroup and interviews), was used in addition. The selected group consisted of 22 children (Grade R=7, Grade 1=7, Grade 2=8), of whom 11 were male and 11 female. The participants were selected systematically from two schools (School1=12, School 2=10). The experimental (n=10) and control (n=12) groups underwent pre- and post-testing (30 days after completion of the intervention). The Resilience programme was only presented to the experimental group. The battery of tests that was compiled to evaluate the effectiveness of the Resilience programme consisted of the Torrance Tests of Creative Thinking (Torrance, 1974) and the Behavior and Emotional Rating Scale-BERS (Epstein & Sharma, 19980. In addition, focus groups with the teachers involved were used, as well as interviews with the parents of the children from the experimental group. The experimental group showed improvement in certain aspects of resilience, for example intrapersonal strengths, interpersonal strengths, affective trengths, school functioning, family involvement, verbal fluancy, flexibility and originality, as well as figurative fluancy, flexibility and originality. The differences between the experimental and control groups were smaller than expected. It can be stated, however, that the Resilience programme was effective in facilitating resilience in the group of children. A limitation of the study was that the practical significance was small and only statistically significant in a few cases. The parents and teachers could have been involved more actively in the process. Furthermore, it seems as if that future resilience programmes should be of longer duration in order for participants to have more opportunity to internalise and generalise the acquired skills. It is recommended that resilience programmes should form part of the school curriculum in learning areas such as Life orientation. ethod was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative m South African children are exposed to an enormous amount of risk factors to their development and adjustment. Research reveals that, in all probability, they do not have sufficient protective factors at their disposal to cope with such stressors. The resilience (in other words the exposure to risk factors and the presence of protective factors) of a group of children, Grade R to Grade 2, in the Klerksdorp area, was analysed by means of focus groups and questionnaires. The focus groups were conducted with 14 teachers and the questionnaires were completed by 30 parents. The study reveals that the children in this group do not exhibit adequate resilience. The results identified themes such as self-esteem, creativity, assertiveness, emotional expression, emotional regulation, impulsivity, self-motivation, social responsibility and empathy. A programme (based on the Alvord-Baker model of social skills), focusing these themes, was developed in order to facilitate resilience. The Alvord-Baker model of social skills focuses on a pro-active orientation. The Resilience programme consists of eight sessions of one hour duration. During the sessions, music, dance and art activities are presented by way of groups. The themes of the sessions were intrapersonal factors (for example self-esteem and assertiveness), interpersonal factors (for example empathy and social responsibilty), stressmanagement (for example emotional expression and emotional regulation, as well as impulse control), general mood (for example self-motivation) and problem solving (for example creativity and emotional creativity). To determine the effectiveness of the compound programme, quantitative dominated, mixed methods were used. This means that, even though a quantitative research design was used (namely a two group, pre-test, post-test design), a qualitative procedure (namely a focusgroup and interviews), was used in addition. The selected group consisted of 22 children (Grade R=7, Grade 1=7, Grade 2=8), of whom 11 were male and 11 female. The participants were selected systematically from two schools (School1=12, School 2=10). The experimental (n=10) and control (n=12) groups underwent pre- and post-testing (30 days after completion of the intervention). The Resilience programme was only presented to the experimental group. The battery of tests that was compiled to evaluate the effectiveness of the Resilience programme consisted of the Torrance Tests of Creative Thinking (Torrance, 1974) and the Behavior and Emotional Rating Scale-BERS (Epstein & Sharma, 19980. In addition, focus groups with the teachers involved were used, as well as interviews with the parents of the children from the experimental group. The experimental group showed improvement in certain aspects of resilience, for example intrapersonal strengths, interpersonal strengths, affective trengths, school functioning, family involvement, verbal fluancy, flexibility and originality, as well as figurative fluancy, flexibility and originality. The differences between the experimental and control groups were smaller than expected. It can be stated, however, that the Resilience programme was effective in facilitating resilience in the group of children. A limitation of the study was that the practical significance was small and only statistically significant in a few cases. The parents and teachers could have been involved more actively in the process. Furthermore, it seems as if that future resilience programmes should be of longer duration in order for participants to have more opportunity to internalise and generalise the acquired skills. It is recommended that resilience programmes should form part of the school curriculum in learning areas such as Life orientation. ethod was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative method was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

The construct of self-regulation has been well researched, however, no comprehensive approach is available for promoting self-regulation as a strength operating in an integrated process, and, furthermore, current research gives limited consideration regarding the role of creativity in the self-regulation process. The objective of this study was to explore the relation between self-regulation and creativity, and to promote self-regulation as a psychological strength by means of a creativity programme in the field of painting in a group of individuals. Self-regulation is described in the literature as a skill that is acquired through an interaction of neurological and environmental factors that enables a person to intentionally accept agency of his or her actions. Creative self-regulation is conceptualised as the ability to generate original, novel and appropriate behaviour while constantly adjusting and adapting behaviour with a view to attain goals and promoting psychological well-being. A qualitative, interpretative design was used in the initial empirical inquiry to explore the subjective experience of 14 established painters in terms of their creativity as a self-regulatory process during the practice of their art. Data was obtained from a questionnaire specifically designed for this study. Thematic data analysis supported the findings of the literature regarding the crucial similarities between self-regulation and creativity, and particular themes concerning the self-regulatory aspects of creativity, such as intrinsic motivation, self-efficacy, self-control, and mindfulness were identified. Additionally, creativity appeared to strongly favour assimilation, which was ascribed to perseverance and a strong identification with goals. Based on the findings of the first two phases of the study, a painting programme was developed with a view to promote self- regulation as an adaptive life skill through the facilitation of creativity. Relevant guidelines for effective programme development have been incorporated into this programme. In the subsequent empirical study the painting programme was assessed, by means of a mixed experimental control group consisting of 18 patients in a private psychiatric clinic. Pre- and post-testing were conducted by means of the Basic Psychological Needs Scale (General) (BPNS-Gen); the 14 item Freiburg Mindfulness Inventory (FMI), as well as the Shortened Self Regulation Questionnaire (SSRQ) to determine whether any improvement in self-regulation occurred within the group. Quantitative data provided information on differences within and between the experimental and control groups, while an additional qualitative method was used for examining the progress of the experimental group during the course of the programme. The results indicated that the programme brought about a significant positive change in self-regulation among the experimental group. Certain self-regulation factors, especially mindfulness, but also autonomy, decision-making, and self-evaluation appeared to have improved to a practically significant degree, whilst perseverance showed a lesser improvement of medium effect. This study therefore concluded that creativity appears to equip a person with specific skills that play a crucial role in the facilitation of self- regulation in all the phases of goal-directed behaviour. The limitations of this study were discussed and recommendations for further research and practical implementation were made. / Thesis (PhD (Psychology))--North-West University, Potchefstroom Campus, 2013.

In hierdie studie word gepoog om met behulp van die werktuie, deur die Sielkunde ontwikkel, 'n analise van Ingrid Jonker (1933-1965) te maak en sodoende meer oor die "kuns van menswees" te wete te kom. Dit geskied aan die hand van 'n ondersoek na haar lewe en werk, wat so gevoer word dat groter begrip vir die medemens in die algemeen en vir die skeppendbegaafde persoon in die besonder, daaruit voortspruit. In die inleiding tot die eerste hoofstuk word die probleemstelling uiteengesit. Daarna word daar op die wisselwerking tussen die Letterkunde en die Sielkunde ingegaan en aangetoon hoedat wedersydse bevrugting dikwels langs hierdie weg, wat oor baie jare strek, plaasgevind het. Vervolgens word die wyse waarop kuns deur sommige ondersoekers aan 'n psigopatologiese verskynsel gelykgestel word, krities ondersoek. Verskille word aangetoon en sowel die oorsprong van, as die gevare verbonde aan so 'n gelykstelling word blootgelê. Hierna word die verwantskap tussen skepper en skepping en die verskillende vorms wat dit mag aanneem, uiteengesit en ondersoek. Vervolgens word aangetoon waarom Ingrid Jonker tot onderwerp van studie gekies is. Die plek wat sy in die Afrikaanse Letterkunde inneem, haar invloed op ander kunstenaars, die omstandighede wat haar lewe gekenmerk het, die invloed van die era waarin sy geleef het en ander faktore, wat die keuse beinvloed het, word uiteengesit. In die laaste afdeling van hierdie hoofstuk word die wyse waarop daar in die analise te werk gegaan is, verantwoord. Die teoretiese raamwerk vir die studie word uiteengesit en daaruit blyk dat die analise beskou word as 'n poging tot doeltreffende begrip van 'n persoon wat nie in die hier-en-nou situasie aanwesig is nie. Hierdie sogenaamde "analise in absentia" is dan geskoei op die lees van daardie psigoterapeutiese pogings wat op empatiese begrip van die medemens gebaseer is. Besondere klem word gelê op die feit dat die sielkundige die terrein van die Kuns as sielkundige betree en dat kunskritiek en kunswaardering hoegenaamd nie aan die orde kom nie. Die analise is derhalwe uitsluitlik daarop afgestem om tot 'n ryker begrip van Ingrid Jonker se lewe te lei, om haar werk op so 'n wyse te ontsluit dat die mens daaragter vir sover moontlik kenbaar word en om idees wat andersins nie verband met mekaar sou hou nie en gedrag wat andersins onverklaarbaar sou wees, tot 'n sinvolle geheel saam te snoer. Om hiertoe te kan kom, word die begrippe waarvan daar gebruik gemaak word, onderskei en sowel die metodes wat gevolg as die beginsels wat toegepas word, uiteengesit. In die laaste instansie kom die wyse waarop daar in ander soortgelyke ondersoeke te werk gegaan is en die mate van ooreenkoms wat dit met hierdie studie vertoon, aan die orde. Ingrid Jonker se lewensloop word volledig in die eerste gedeelte van hoofstuk twee uiteengesit. Hierna word 'n aantal van haar werke wat sowel gedigte as sketse, kortverhale en 'n drama insluit, in chronologiese volgorde gerangskik en in ses afdelings, verteenwoordigend van verskillende tydperke in haar lewe, aangebied en ontleed. Aan die einde van elke afdeling word die belangrikste temas wat daarin voorkom, saamgevat. Ten slotte word 'n oorkoepelende uiteensetting van al die verskillende temas gegee. Sommige van die werke wat ontleed word is vry-algemeen bekend en is ook in haar gepubliseerde bundels opgeneem. Ander kom slegs in jeug- en populêre tydskrifte voor. In hoofstuk drie word die nuwe begrip vir die kunstenares as mens, waartoe daar uit die beskrywing van haar lewe en die ontleding van haar werk gekom is, opnuut saamgestel. Eers word sommige van haar persoonlikheidseienskappe beskryf, daarna word 'n uiteensetting van die verskillende gevoelens en behoeftes wat sy ervaar het, gegee. Dit word opgevolg deur 'n beskrywing van die houdings en gedrag wat sy openbaar het. In die laaste instansie word die aanpassingsprobleme wat sy ondervind het en die beskerrnings- en aanpassingsmeganisrnes waarvan sy gebruik gernaak het, weergegee. Omdat soveel wanopvattinge oor haar geestestoestand wêreldin gestuur is, word in die volgende afdeling hieraan aandag gegee. Die laaste afdeling van die hoofstuk word gewy aan 'n uiteensetting van die gevolgtrekkings, waartoe daar voortspruitend uit hierdie studie, geraak is. In hoofstuk vier kom die implikasies wat hierdie studie vir die Sielkunde inhou en die raakpunte tussen haar lewe en die werk van 'n psigoterapeut, aan die orde. Eerstens word die voorveronderstellings waarop die studie gebaseer is, herbevestig en daarna word aangetoon watter insigte dit opgelewer het. So beklemtoon dit, byvoorbeeld, dat die mens nie net in afsondering van sy medemens beskou en behandel kan word nie. Daar word dus aangetoon hoedat sy nie anders as teen die agtergrond van die gesinsdinamiek, waarvan sy deel gevorm het, begryp kon word nie en hoedat hierdie verbondenheid in die terapeutiese hulp wat sy ontvang het, ingeweef kon word. In dieselfde trant word aangetoon hoedat die tyd waarin sy geleef het en die samelewing waarvan sy deel gevorm het, 'n ewe belangrike invloed op haar uitgeoefen het. Haar vermoë om intens by 'n situasie betrokke te wees en tegelykertyd objektief daarteenoor te staan, kom as derde raakpunt met die werk van 'n psigoterapeut aan die orde. In die laaste instansie word aangetoon hoedat die Sielkunde, soos trouens ook elke ander dissipline, binne perke lê en hoedat dit, in 'n ondersoek van hierdie aard, nie alle antwoorde verskaf nie. / Thesis (DPhil)--University of Pretoria, 1978. / gm2013 / Psychology / unrestricted

The purpose of this study was to show the effect of creativity on adults as a means of coming to terms with parental rejection experienced in childhood. The study was done according to a practical theological interpretation of the three-phase hermeneutical model of Ricoeur, namely: ? understanding according to Scriptural perspectives (basis-theoretical), as well as on a metatheoretical level by means of a literature study; ? interpreting by means of an empirical research in the form of interviews with respondents; ? change by means of practical theoretical guidelines for the creative adult who processed parental rejection experienced in childhood by the pursuing of person-directed creativity. Understanding on the basis-theoretical level showed the following: With the fall in paradise, man rejected God and tried to fulfil his / her own needs independently. The arts were also contaminated and artists moved away from God, the Creator and Source of their creativity, to pursue their art in a self-centred and arrogant way. Creativity is being used with wrong motives as a method of selfhealing to process unresolved pain from the past. The honour which God deserves is lost and without Him mankind, as well as art, deteriorates. Art does show therapeutic value if it is directed towards God, but otherwise the success is temporary and superficial. The literature study of ten well known creative individuals showed that the therapeutic effect of the pursuit of creativity to process parental rejection in childhood, failed sadly and ended in disillusionment for all of them. Their lives were a continuous search for healing and wholeness, as well as peace, meaning and happiness, whereas their personal relationships were destructive and / or broken and unhappy. The empirical research with creative adults who experienced parental rejection in childhood, and used their creativity as a means of processing it, provided an explanation for the effect of this on these creative adults. Their creativity was directed at the self instead of at God and failed to process the hurt of childhood, as well as bringing about inner peace for a healthy relationship with God, the self and others, especially loved ones.. To effect change, practical theoretical guidelines were established to guide the creative man or woman, who experienced parental rejection in childhood, by the use of their creative medium, to embark on the road to recovery and healing with God?s help. The main goal of the practical guidelines is bringing redemption to the creative person through Jesus Christ so that he / she will use his or her creativity in future to honour and praise God, as well as to serve the fellowman. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2011.

The purpose of this study was to show the effect of creativity on adults as a means of coming to terms with parental rejection experienced in childhood. The study was done according to a practical theological interpretation of the three-phase hermeneutical model of Ricoeur, namely: ? understanding according to Scriptural perspectives (basis-theoretical), as well as on a metatheoretical level by means of a literature study; ? interpreting by means of an empirical research in the form of interviews with respondents; ? change by means of practical theoretical guidelines for the creative adult who processed parental rejection experienced in childhood by the pursuing of person-directed creativity. Understanding on the basis-theoretical level showed the following: With the fall in paradise, man rejected God and tried to fulfil his / her own needs independently. The arts were also contaminated and artists moved away from God, the Creator and Source of their creativity, to pursue their art in a self-centred and arrogant way. Creativity is being used with wrong motives as a method of selfhealing to process unresolved pain from the past. The honour which God deserves is lost and without Him mankind, as well as art, deteriorates. Art does show therapeutic value if it is directed towards God, but otherwise the success is temporary and superficial. The literature study of ten well known creative individuals showed that the therapeutic effect of the pursuit of creativity to process parental rejection in childhood, failed sadly and ended in disillusionment for all of them. Their lives were a continuous search for healing and wholeness, as well as peace, meaning and happiness, whereas their personal relationships were destructive and / or broken and unhappy. The empirical research with creative adults who experienced parental rejection in childhood, and used their creativity as a means of processing it, provided an explanation for the effect of this on these creative adults. Their creativity was directed at the self instead of at God and failed to process the hurt of childhood, as well as bringing about inner peace for a healthy relationship with God, the self and others, especially loved ones.. To effect change, practical theoretical guidelines were established to guide the creative man or woman, who experienced parental rejection in childhood, by the use of their creative medium, to embark on the road to recovery and healing with God?s help. The main goal of the practical guidelines is bringing redemption to the creative person through Jesus Christ so that he / she will use his or her creativity in future to honour and praise God, as well as to serve the fellowman. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2011.

Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word. Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika. As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry. Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien. Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik. / Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word. Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika. As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry. Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien. Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik. / Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

This study deals with creative preaching through exploring pneumatology and creativity as prime ingredients for creative preaching. The researcher sees the problem of preaching in terms of the limited resources for proclaiming the very old message of the gospel of Jesus Christ in a fast changing world. Preaching in the reformed tradition is based primarily upon the Bible and the tradition of the church. The researcher suspects that, given the limitations of the age of the source, the preacher runs the risk of boring the congregation, who regularly attends sermons, by becoming irrelevant to their living conditions through having to repeat the same basic message. The researcher suspects that the preacher may run out of ideas and ways of bringing a relevant message in a fresh way, week after week, and begin to employ all kinds of tricks and gimmicks in order to stay relevant. Creative preaching is suggested as answer to this dilemma. Creative preaching is studied within the frame of creativity in service of the Holy Spirit. The study strives to explore the field of creativity from a homiletical perspective and bring the results into a pneumatological context by means of a hermeneutical method, with the aim of designing a basic theory for creative preaching. The first part of the study comprises a literature study of the fields of pneumatology and creativity. Pneumatology is explored in terms of the biblical roots of the use and meaning of the terms rûah, pneuma and paracletos, as well as a brief theological exploration. A pneumatology for preaching includes the Spirit as carrier of the Word and inspirer of the preacher and listener, within the context of the congregation as dedicated space for the working of the Spirit. The second part of the literature study deals with creativity as a human capacity that can be learnt and developed. Creativity is a deliberate dynamic activity that produces new, unexpected and meaningful results through creative observation, creative thinking and creative insight. Empirical research was conducted amongst preachers in the Dutch Reformed Church to ascertain their understanding of creative preaching and their experience of the workings of the Holy Spirit and creativity, in the process of producing a sermon. The research found that preachers understood the Holy Spirit as a vital part of the preaching process. Preachers experience the activity of the Spirit in their normal daily routines as ministers. Preachers do not regard themselves as creative people although they apply principles of creativity primarily in producing visual material for sermons as an additive. The Research found a need for the concept of creative preaching. Creative preaching is developed and described as a process in which the preacher, with the guidance of the Holy Spirit, employs creative methods like observation, association, imagination and creative thinking in the whole process of sermon creation, from choice of Scripture to the presentation of the sermon. The sermon is structured in such a way as not only to be creative but also stimulating the creativity of the listeners. Creative preaching is stimulating preaching based on scripture, imagination and the inspiration of the Holy Spirit. / Thesis (PhD)--University of Pretoria, 2011. / Practical Theology / unrestricted