What composes an Evangelical demonology? This dissertation aims to provide a fresh Evangelical demonology, reflecting and systematizing the biblical material on the demonic. To begin the process, Byang Kato’s background and demonology is examined, since Kato himself has a unique relationship to demonic practices by virtue of his upbringing. His demonological efforts are headlined by a booklet on the spirits, and throughout the rest of Kato’s theological output, Satan and his wicked comrades are frequently mentioned. Overall, Kato’s work presents timely contributions for our demonological goals, especially considering the multicultural context. In an increasingly intermingled world, with many backgrounds being represented in multicultural Christian communities, Kato’s demonology is a superior model. Human perceptions concerning the demonic are often inseparable from prevailing cultural attitudes, and the temptation to exalt one’s own culture must be avoided, especially due to the new norm of multicultural churches, para-church organizations, and seminaries. Kato’s demonology gravitates to the biblical material, and thus it delivers both challenges and affirmations to every party. Furthermore, Kato’s writings on the demonic are inherently linked to soteriology. After discerning some of the major themes of Kato’s soteriology, his exclusivism (and how it relates to demonology) is specifically discussed. Since Kato views the world outside of Christ as the dominion of Satan and the demonic, he advocates that one must turn to Christ for redemption. Then an Evangelical demonology itself is constructed. After highlighting particular contributions from Kato, criteria are outlined for the project before launching into the primary content. Demonic activity throughout the Bible is surveyed, and the argument is offered that demons do act as malevolent personal beings intent on instigating evil in the created order. Through this study of the demonic, the assertion that “demonology matters” is presented, as the doctrine of the demonic relates to the reliability of the Bible and the quality of our salvation. A biblical, Evangelical demonology also rises to modern challenges, including skepticism and speculation. Christians are planted on the sure ground of the Scriptures, prepared for the spiritual realities of the world in which we live. / Philosophy, Practical and Systematic Theology / D. Th. (Systematic Theology)

The purpose of this research was to study the lived experience of being a strategic leader, described as the black box of leadership, and to extend the limited research in this field. The researcher utilised the qualitative ethnographic methodology of direct observation, observing 138 discrete critical incidents that made up the lived experience of the five strategic leaders in the sample. The researcher further utilised observation tools from the field of Neuro Linguistic Programming, personal experiences, metaphors, allegories, analogies as well as deep personal introspection to make sense of the lived experience of the five CEOs. The primary research objective was to answer the question: What do CEOs do and how do they do it? A further related objective was to explore how they think about what they do. The research answered these questions by prising open the 'black box' of the lived experience of the strategic leader. The result of the research is the pure leadership spider web model. The pure leadership spider web model breaks down the lived experience of the strategic leader, the content of the black box, into eight dimensions: the pillars that make up the personal leadership philosophy; emotional states of mind brought to bear in meetings; kinaesthetic patterns used during meetings; meeting dynamics; emotional states brought to bear on day-to-day shop-floor engagement; emotional states brought to bear on leadership engagement sessions with other like business leaders; frames of mind governing the day-to-day experiences; and The Magic Language Box. / Business Management and Entr / DBL

Witchcraft discourse in South Africa has increasingly permeated all social structures, thereby becoming a real threat to the process of reconstruction and development. The neglect of witchcraft accusations and their resultant consequences can cause the country to lose all it gained as a result of the liberation struggle. In this study I examine the historical developments of witchcraft accusations around the world in general, and in South Africa in particular as well as the threats they pose to society. I analyse five broad areas: 1) The inborn h tendency to scapegoat; jealousy; and the role religion plays in the escalation of these problems; 2) The African world-view and its consequences on interpersonal relationships; 3) Colonial and missionary attempts to suppress the African world-view; 4) Ways and means of containing the conflicts arising from the witchcraft problem; and 5) Summary of findings. The research was occasioned by the untold suffering victims of witchcraft accusations have to undergo in the three Northern Provinces of South Africa. Because of the cruelty and misery such accusations cause the poor people of these rural provinces urgent attention is needed to contain them, especially since such accusations have not diminished despite all governmental efforts to curtail them. At the centre of witchcraft accusations there are stress, hatred, vindictiveness, and aspirations to become famous. The fear that one may be victimised by either being accused of witchcraft or being bewitched is very real even today. The relevance of the study is apparent when one considers the feelings of helplessness that paralyses the opponent of this carnage, such as government and the churches. A number of resources should thus be employed to counter would be put into it. This threat which is aggravated by the abject poverty prevalent in the rural communities of the three Provinces. The prevailing conditions of abject poverty play a definite role in the creation, promotion and escalation of the scourge. Policy makers should therefore have clear grasp of the extent to which poverty has influence on society in any effort to contain witchcraft accusations. I conclude the study by ~ecommending transformational paths to the Government, NonGovernmental Organisations and other Community Leaders to follow in attending to improve the lot of the poor. This is done by highlighting ten findings that emerged during the study. The findings were the result of analyses of archival records, literature and case studies on witchcraft accusations. Because the subject of witchcraft is so wide and emotive I have employed several sociological and anthropological theories to cover as wide a field as possible. The incorporation of so many theoretical approaches into the study presents on interpretive and analytical explanation of the causes, effects and containment of witchcraft accusations. The overall conclusion is encapsulated by the title of the study Moloi ga a na mmala (A witch has no colour). A witch remains unidentifiable, but witch-hunters and sniffers know how to identify their witches. Although the process remains paradoxical, it is practised on a daily basis. / Religious Studies and Arabic / D.Litt. et Phil. (Religious Studies)

This master thesis is a case study, in the experience industry, of prototypes in the early stage of the innovation process – the front end of innovation. The innovation is augmented reality (AR) that adds digital made graphics or information in the user's environment. To answer the research questions and to fulfill the purpose of this thesis, which is to gain an understanding of the role of a prototype in an innovation process, a prototype was created. The designing tools used for developing the prototype were brainstorming and storyboarding. The prototype presents a concept of using AR-glasses at an ice hockey venue. A workshop was carried out for evaluating the finished prototype, using the "thinking hats"-method. The conclusion of this study is that a prototype can be used as a starting point for further creativity by creating a common perspective of a technology at the front end of innovation. Further on, it was discovered that a prototype can be good to use earlier in their innovation process, to accelerate the process. In the process of designing the prototype, it was shown that the creation is iterative, rather than linear.

Prenant appui sur ma pratique plastique, cette thèse s’est développée en marge mon expérience subjective et vécu avec ma mère spirituelle, tout en étant ancrée dans la problématique de la période contemporaine. En ce sens, l’articulation entre mes œuvres plastiques, le patrimoine ancestral africain et l’art contemporain occidental reste un point central de médiation. De même, celles-ci s’articulent avec la magie africaine et la psychothérapie occidentale dans leur dimension thérapeutique. Ainsi donc, cette thèse intitulée « RITE ET POÉTIQUE DU DON DANS L’ART CONTEMPORAIN - Dépense, Dégoût, Destruction » a pour but d’examiner l’expression artistique du déchirement intérieur de mon histoire personnelle, développer des concepts artistiques de la pratique créatrice singulière. La première partie de la thèse situe mon œuvre poïétique dans le processus d’altérité qui mène à la naissance de concepts dans le champ de l’art contemporain, qui ont tendance à façonner la personnalité comme pédagogie d’intégration de l’apprentissage à l’individu. La seconde porte sur l’immatérialité artistique qui se révèle comme un procédé catalyseur du concept de performance. La troisième partie démontre les procédures plastiques d’aujourd’hui auxquelles l’artiste peut faire face en scrutant l’œuvre ritualisée. La quatrième est une mise en œuvre du vohou vohou comme processus de déconstruction d’une nouvelle identité artistique. Le don comme forme de re-création me permet de faire œuvre dans ma pratique picturale. C’est pourquoi, j’ai toujours revendiqué une dimension spirituelle qui apporte à l’œuvre son champ sacré. Plus proche de Michel-Ange ou de Marx Ernest par ma foi en l’art, je crée une œuvre allégorique, qui affirme efficacement la perte re-créatrice comme langage pictural dans l’art contemporain. / On the basis of my practice of plastic arts, this thesis developed alongside my subjective experience lived with my spiritual mother, while staying rooted in the problematics of the contemporary era. In this perspective, the meeting place between my works of art, the African ancestral heritage and the western contemporary art stands as a central point of mediation. These meeting elements also go along with the African magic and the western psychotherapy in their therapeutic dimension. Then, this thesis entitled « RITE AND POETICS OF GIFT IN CONTEMPORARY ART - Exhaustion, Disgust, Destruction » aims at examining the artistic expression of my heartrending personal history, and developing artistic concepts of the singular creative practice. The first part of the thesis identifies my poietic work in the process of otherness which leads to the creation of concepts in the field of contemporary art, which concepts tend to shape the personality as pedagogy for the integration of learning by the individual. The second part is about the artistic immateriality which appears as a catalytic process for the concept of performance. The third part exhibits the nowadays plastic procedures the artist can meet by examining a ritualized work. The fourth one is an implementation of the vohou vohou as a process of deconstruction of a new artistic identity. Gift as a form of re-creation enables me to paint. Therefore, I always claim a spiritual side which endows the work of art with a sacred dimension. Admirer of Michel-angel or Marx Ernest through my faith in art, I create an allegorical work, which effeciently affirms the re-creative loss as a painting style in contemporary art.

Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished

La thèse propose une lecture postcoloniale des romans de Margaret Atwood s'articulant sur le thème du mensonge. A travers l'étude de six aspets communs aux romans (l'intertextualité, le mensonge, le réalisme magique, le "trickster", l'hybridité et la quête), la thèse démontre l'importance du motif du mensonge dans une lecture postcoloniale de l'auteur.<p><p>The thesis produces a postcolonial reading of Margaret Atwood's novels, based on the concept of deception. Articulated on six major elements of analysis (intertextual parody, deception, magic realism, trickster figures, hybridity, and quest pattern, the thesis shows how Margaret Atwood's novels can be read from a postcolonial point of view, within which the motif of deception plays a central role. / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Both historiographical and literary practices have undergone revision in recent years in attempting to address the inheritance of nineteenth-century realism. Since the object of realist stylistics, employed in both the writing of fiction and history, is to render authorship authoritative or even invisible, the ideological import of these narratives is often such that the constructedness of the historical record and its absences are veiled. In developments beginning in the 1980s with the advent of ‘New Historicism’ and with the emergence of postmodern literary techniques, the interface of literature and history became of seminal importance, since both were now credited as being products of narrative and discourse, and hence, to varying degrees, of the literary imagination. This movement intersects interestingly with developments in postcolonial studies, since it is the voices of the marginalized and disempowered colonized peoples that are routinely co-opted and excised from nineteenth-century realist histories. These concerns are now being fully explored in the literature of the contemporary post-transitional South African moment, since authors in this country seemingly now feel freed up to look back to histories that precede the immediate traumas of apartheid. The concern, in relation to apartheid developments but also on a broader universal scale, is this: if history is viewed as perpetual emergences of modernities, then one of the great absences in the record is the historical determinants of any given epistemology. The attempt to recreate such an epistemological genealogy is thus simultaneously postcolonial, historiographical, and literary. Russel Brownlee’s Garden of the Plagues (2005), Ingrid Winterbach’s To Hell with Cronjé (2010), and Etienne van Heerden’s The Long Silence of Mario Salviati (2002) attempt to bridge this gap in the recorded sensibilities of any historical moment by representing a ‘lived experience’ of the past, and in the process imaginatively recreating the cultural, historical and psychological locations of the proponents of an emerging modernity. This study concerns itself with the ways in which these authors address the influence of realist historiography through the use of literary innovations that allow for the departure from realist stylistics. Most commonly, all three authors draw on forms of magic realism, but multiple refigurings and recombinations of notions of temporality, narrative, and characterization likewise work to defamiliarize the once stable discourse of history.

Notre travail s'inscrit dans une perspective d'histoire de la littérature et cherche à conduire une réflexion globale sur la nature, la signification et la portée de l’utilisation de l’apocryphe chez l'écrivain espagnol Max Aub (Paris, 1903, Mexico, 1972). Le procédé sous-tend l'ambitieux projet de "El Laberinto Mágico" _Le Labyrinthe Magique ̶, qui regroupe les œuvres consacrées à la guerre civile espagnole. Max Aub rompt avec une première pratique expérimentale de la littérature pour se focaliser désormais sur le jeu d’un personnage résolument plongé dans l’Histoire, et la création du personnage apocryphe prend chez l'auteur une valeur de témoignage existentiel, qui dépasse la dimension ludique du mélange entre fiction et réalité. Dans un siècle caractérisé par les guerres et la violence, chez un auteur profondément marqué par la guerre civile espagnole et la douloureuse expérience du déracinement, le personnage apocryphe renvoie aussi à la question identitaire, autant qu’à l’expérience de l’altérité et à l’exploration d’autres possibles itinéraires existentiels. Cette exploration des limites du genre narratif contribue à la résolution de la « crise du roman » des années vingt, s'inscrit dans une double perspective européenne et nationale, et s'ancre dans l'Histoire au point de donner de celle-ci une vision nouvelle. / This doctoral thesis has benn aproached in a perspective of history of literature, and aims to consider a global thought about the nature, the meaning and the impact of the use of the apocryphal for the Spanish writer Max Aub (Paris, 1903, Mexico City, 1972). The process underpins the ambitious project of "El Laberinto Mágico" ̶The Magic Labyrinth ̶, which groups together the works dedicated to the Spanish Civil War. Max Aub breaks with a first experimental practice of literature to focus from this point onward on the game of a character firmly immersed in History. The creation of the apocryphal character takes for the author a value of existential testimony, which goes beyond the playful dimension of the fiction and reality mix. In a century characterized by wars and violence, in an author deeply marked by the Spanish Civil War and the painful uprooting experience, the apocryphal character also goes back to the question of identity, as well as the otherness experience , and the exploration of the other possible existential paths. This exploration of the limits of the narrative genre contributes to the resolution of the "crisis of the novel" in the twenties, it is also part of a double perspective, national and European, and is anchored in History, to the point where it gives of it a new vision.