This thesis is initiated by the need for public dialogue between the church and the other. As a faith-praxis, public dialogue between the church and the other is a response to “binary opposition” or “dichotomy,” that is, the separation of faith and praxis, knowing and doing, private sphere and public sphere, Christian and non-Christian, text and context, educator and learner. As explored in Chapter 2, religion is presently characterized by privatization and does not provide an answer to the culture of separation in today’s society. Consequently, the ghettoized church behind the wall is confronted by a dual crisis—an internal crisis of identity and an external crisis of relevance. Therefore, to shape a dialogic relationship through public dialogue is an essential task of the public church, the so-called “go-to-all” church. To execute “public dialogue” as the commitment to “go-to-all” three actions are necessary: (1) going outside the wall of the church, (2) entering into dialogue with the “all,” and (3) making disciples, baptizing, and teaching the all. How will the church dialogue with the other? In view of these three actions, this thesis researches three main elements of public dialogue—(1) preparing a place/field for public dialogue, (2) formulating a new communicative pattern for public dialogue, and (3) exploring a medium for public dialogue. In order to achieve these elements of public dialogue, the patterns of public dialogue toward faith-praxis that the Korean church has shown historically in the public sphere were explored in Chapter 3. This thesis concerns an art-cultural pattern of public dialogue, particularly madanggŭk. Madanggŭk is a compound noun: madang (open place) + gŭk (theatre). Madanggŭk contains the three elements for public dialogue—(1) “field or place” for public dialogue; (2) a mode of theatre as a medium for public dialogue; and (3) the “communicability” peculiar to the madanggŭk. Through the practices of cultural public dialogue in the Korean theological domain and the minjung cultural movement centering on madanggŭk studied in Chapter 4, it is revealed that madanggŭk showed the four characteristics of mutual communication which are essential in formulating an alternative pattern of public dialogue: (1) rediscovery of the audience, (2) re-creation of traditional culture founded on festivity and a communal spirit, (3) their own stories and reality-reading, and (4) activity outside the theatrical world in order to meet the audience. However, madanggŭk also had the limitation of a binary opposition of social-directivity and artistic-directivity, tending toward social drama. Therefore, an alternative form of public dialogue to overcome this binary opposition was required. As an alternative with the purpose of shifting from monologism to dialogism, this thesis suggests “Trinity Madang Public Dialogue,” i.e. three models of madang public dialogue—Incarnational Public Dialogue, Critical Public Dialogue, and Festival Public Dialogue. The first model, Incarnational Public Dialogue, explores how to accept the other and the difference under the principles of otherness, unfinalizability and polyphony, proposing the culture of participative dialogue. The second model, Critical Public Dialogue, explores practical strategies for recognizing and criticizing the distorted communication and relationship of monologism, and for developing the audience’s competencies of understanding and criticism without merging into an authorial single voice, proposing the culture of criticism and transformation. The third model, Festival Public Dialogue, is suggested as a time-space for fulfilling both incarnational and critical principles and for the harmony of a rational and a sensuous nature, proposing the culture of laughter, play and the imagination. The principles of the three models should be fully realized in the Christian community before performing dialogic madang-theatre. When the Christian community preparing for this type of public dialogue is transformed into a “dialogic” community, it will promote madang public dialogue with the audience. The core of madang public dialogue lies in the formation of a dialogic relationship and a dialogic community, rather than in the performance itself. Therefore, in Chapter 6, The “Six Stages of Dialogic Praxis” through which the madang Christian community can be recreated effectively to form a dialogic community is projected. And, an “Incarnational-Dialogic Paradigm” is suggested as an alternative to a schooling-instructional paradigm of Christian education. / Thesis (PhD (Practical Theology))--University of Pretoria, 2006. / Practical Theology / unrestricted

In this paper it is argued that participation and public art contribute to sustainable community development. This is a study of four Community Projects in Havana made during a two month stay during summer 2009. The study is based on a number of interviews with people involved in the community projects. By using the Cuban culture and participation as a platform for sustainable community development the Community Projects have created a sense of belongingness and identification in each neighbourhood. This in turn has the ability to join the people together in participatory development work. The Community Projects also function as free space since they are one of the few places where Cubans are allowed to make their own initiatives. This has opened up a discussion between the citizens and the authorities which is important for future urban development. The Community Projects also work with public art in a participatory way that has contributed to place identity and public dialogue in Havana.

This thesis points out the transformation in the visions of architectural institutions about architecture-public dialogue, the interrelations of architect-client to architecture-the public, in a historical perspective. It states that architecture center as a phenomenon has been emerged with the transformation of the consideration of the functions of architectural institutions from merely guaranteeing competence and integrity to stimulating awareness, accessibility, participation and collaboration of both professionals and the public, in order to achieve increasing the quality of built environment and the quality of life. This thesis aims to make an evaluation of the role of architecture centers in that stimulating importance of the formation of architecture-public dialogue as a two way interaction between architecture and the public in a cultural dialectical sense, and achieving this formation. This thesis come to the point in that an architectural institute that has undertaken these new functions is named as architecture center, in some countries such as England, Scotland and the Netherlands. Some of architecture centers in these counties are analyzed by means of an analytical survey. In addition, the functions of the Chamber of Architects of Turkey are analyzed in light of the transformation in the visions of architectural institutions in the world. Besides, Arkitera Architecture Center is analyzed as an example of an architecture center from Turkey. This thesis concludes in that architectural institutions will have undertaken a key role in the formation of architecture-public dialogue as a two way interaction by means of analyzing the studies of architecture centers as a model.

Inclusive public dialogue about issues of concern to science and society can democratise and widen the knowledge base for decision-making so scientific research and developments are made accountable to citizens’ priorities. This participatory model of science communication is not yet widely practiced. More research is needed into how to make such communication effective. Formative audience research can inform a communication strategy’s design to meet its objectives effectively and enhance its relevance to participants’ needs and communication preferences. However, audience research designs based on transmission models are inadequate for the participatory objectives of public dialogue. They must therefore be adapted. This dissertation proposes how audience research should be designed and conducted when the objective of communication is public dialogue about science, such as biotechnology. The methodology involves building an evaluation framework from the literature and applying this to a case of applied research. Four sub-questions are addressed. First, audience research and participatory development communication literature is reviewed to propose how audience research should be designed and conducted for public dialogue broadly. Second, literature on public engagement about science is analysed for the challenges in public dialogue about science and the implications for audience research. Third, a set of guidelines is presented for evaluating the appropriateness of audience research for public dialogue about science. Finally, these guidelines are used to evaluate a case of qualitative audience research commissioned by the Public Understanding of Biotechnology (PUB) programme, judging the appropriateness of its design to the communication objectives and extracting further lessons for audience research. The findings present a “double-dialogical” approach to audience research, where the research methods and the information elicited reflect dialogical objectives. This approach emphasises listening over telling, building relationships over interrogating targets, and optimising inclusivity and diversity in identifying participants, framing issues, and selecting channels and spaces for deliberative dialogue, wherein participation and information dissemination play complementary roles. Following these principles, audience research can build democratic foundations for public dialogue about science while recognizing the following challenges: the specialized and technical nature of science, the complexity of issues, the power of commercial interests, the need for social accountability, low motivation and interest amongst publics, and the resistance of technical experts and decision-makers towards dialogue. A framework of guidelines is offered for designing and evaluating audience research for public dialogue about science, structured around 5 interrelated elements: WHY – clarifying the objectives of communication and audience research; GENERAL – overall research design considerations; WHO – conceptualizing and investigating dialogue participants; WHAT – framing issues from multiple perspectives; and HOW – identifying spaces and channels for public dialogue. Applying the framework to the case study demonstrates the guidelines’ usefulness for evaluation purposes, grounds the study in an actual case of audience research and extracts lessons for future applications. The framework succeeds in judging the appropriateness of the study’s design for its purpose. The study contributes to the search for effective means of public engagement by proposing practical guidelines for the first steps of such a process, a methodological praxis for audience research that can be useful in scholarly and practitioner communities and can be refined and adapted for various contexts. / Dissertation (MA)--University of Pretoria, 2012. / Information Science / unrestricted

Работа представляет результаты изучения социальных телевизионных проектов и их влияния на формирование у телезрителей предпосылок к выстраиванию общественного диалога. Исследование выполнено на материале федеральных и региональных социальных телепроектов «Город добрых людей» и «За дело». В исследовании была изучена историческая предпосылка социального телепроекта «Город добрых людей». Доказано, что именно события 2019 года в сквере у драматического театра в Екатеринбурге послужили причиной создания социального телепроекта «Город добрых людей» на телеканале «4 канал». В ходе исследования доказано, что милосердие и сегодня не теряет актуальности, а проект «Город добрых людей» является проводником милосердия в социум, рассказывая о добровольческой помощи. / The paper presents the results of studying social television projects and their impact on the formation of prerequisites for building a public dialogue among viewers. The study was carried out on the material of federal and regional social TV projects «City of good people» and «For the cause». The study examined the historical background of the social TV project «City of Good People». It is proved that the events of 2019 in the square near the drama Theater in Yekaterinburg were the reason for the creation of the social TV project «City of good People « on the channel «4 Channel». In the course of the study, it is proved that charity is still relevant today, and the project «City of Good People» is a guide of charity to society, telling about voluntary assistance.