Gangs exist as metaphors of the societies in which they are embedded and are powerful, hence the need is great for an ecologically powerful model and a collation of a picture about gangs and gang life as described by knowledgeable individuals. With so much literature and knowledgeable individuals at hand to provide insight into the problem, the rationale for this study comes forth in the form of taking all this knowledge and insight and creating a collation of a picture of gangs as it is understood by those who study them and by those who have been confronted with them. The theoretical framework is a social constructionist cybernetic epistemology. One-on-one interviews were conducted with knowledgeable sources and audio-visual material assisted in understanding the context of gangs better. A hermeneutic analysis was used. The interview transcripts from the participants were analysed and themed according to a thematic network analysis and linked with available literature. These themes were then used to represent a Time Cable of gangs. / Psychology / M.A. (Psychology)

Text in Afrikaans / Die Jeugbediening binne die Nederduitse Gereforrneerde Kerk verkeer tans in 'n stroomversnelling, en roep om vemuwing en verandering. Onderliggend aan bierdie krisis wat ontstaan het, le die tydsgees van die postmodemisme. Laasgenoemde het 'n beslissende invloed op die wyse waarop die jongmense vandag die evangelie hoor en leer. Dit het ook 'n deurslaggewende invloed op geloofskommunikasie. Pierre Babin beredeneer in sy boek The New Era in Religious Communication vyf konsepte wat lig werp op die nuwe era wat aangebreek het in geloofskommunikasie en spreek daarrnee die krisis in hierdie nuwe era bevredigend aan. Hy benadruk die volgende hoofkonsepte, naamlik: • Die verskuiwing van die Gutenberg-era na die Oudiovisuele era • Die impak van die elektroniese media op geloof • Die weg van skoonheid • Die simboliese weg • Stereo-kategese. Die skrywer is van mening dat die hoofkonsepte, soos uitgewerk deur Babin, die basis le vir 'n effektiewe, kontemporere jeugbedieningsmodel vir die Suid-Afrikaanse konteks. / The ministering of the gospel to the youth within the Dutch Reformed Church finds itself in a rapid at present and is calling for rejuvenation and change. Underlying to this crisis, is the spirit of the times known as Post Modernism. The latter has a decisive influence on the way the youth of today hear and learn the gospel. It also has a conclusive impact on communicating religion. Pierre Babin argued in his book The New Era in Religious Communication five concepts which cast light on the new era which has arrived in the communication of religion. These address the crisis of the new era effectively. He emphasizes the following main concepts: • The shift from the Gutenberg era to the audiovisual era • The impact of the electronic era on faith • The way of beauty • The symbolic way • Stereo catechesis. The author is of the opinion that these concepts, as formulated by Babin, pave the way for an effective, contemporary model for ministering the gospel to the youth within the South African context. / Practical Theology / M. Diac. (Youth work)

The current vast sociocultural shift from Modernism to PostModernism forms the backdrop to this study. Whenever paradigm shifts occur, the metaphors which depict human experience and identity also change. The mechanistic metaphors of Modernism are giving way to metaphors derived from art and literature, in particular narrative theory. Self, as one of the most pivotal notions in philosophy, literature, and psychology, should not be excluded from this process of reconceptualisation. As the point of intersection between the personal and the cultural, the notion of Self now needs to bereformulated to become more coherent with Post-Modernist ideas. Within this framework the Modernist notion of a Self which is unified, substantial, and stable across all contexts, is deconstructed in this study to reveal the linguistic and ideological codes and conventions which are used in its construction. It is proposed that the Self can be viewed as embedded in relationship with others and as inscribed by the prevailing cultural ideologies regarding personhood. As such the Self can be regarded as held together reflexively by narrative codes and conventions. These ideas are demonstrated in an analysis of two written self-narratives and applied to the conventions and practices in psychotherapy. / Psychology / D.Litt. et Phil. (Psychology)

The forming of liturgy in the Dutch Reformed Church is in a crisis. The current context demands new liturgies in order to facilitate meaningful communication between God and His children. The problem is that no healthy practice of liturgy forming exists and more decay than change takes place. Therefore, the need exists for a workable theory for liturgy forming which can be used in the forming of a justified liturgy. In this study a theory and liturgies are worked out which takes the liturgy forming through the centuries into account. The theory, which is known as the three resources theory, is a dynamic theory in which the energy resources are placed in interaction with one another in order to form new liturgies. The three energy resources are the Bible, the tradition and the context. These three resources are focused on an eschatological focus point in the future. The Bible as energy resource especially has authority since it contains the worship style and example of Jesus Christ. The tradition exists of the narrative off liturgy forming through the centuries. The tradition offers a treasure of examples, which can be used for liturgy forming in the current context. The current context forms an integral part of the liturgy forming process. The post-modernism, the remains of the modernism, globalisation, the transformation process in South Africa and the modem developments in the human sciences are all forces which influence the liturgy forming process indirectly. These energy circles are placed in interaction with one another, new justified liturgies are formed which makes meaningful communication between God and His children possible. The investigation on liturgy forming in 13 various congregations in England and South Africa indicated that, where one or more of the energy resources is neglected, responsible energy forming does not take place. The current context requires that modem liturgy should emphasize symbols, emotion and dialogue. More love should also be shown during services. / Die liturgievorming van die Ned Geref Kerk is in 'n krisis. Die huidige konteks stel nuwe eise aan die liturgie wat vra vir nuwe liturgiee om die kommunikasie tussen God en Sy kinders sinvol en betekenisvol te fasiliteer. Die probleem is dat daar nie 'n gesonde praktyk van liturgievorming bestaan nie en dat meer verval as verandering plaasvind. Daar is dus 'n behoefte aan 'n werkbare teorie vir liturgievorming wat gebruik kan word in die vorming van verantwoorde liturgie. In hierdie studie word 'n teorie en liturgiee uitgewerk wat die werkende energiebronne in liturgievorming deur die eeue in ag neem. Die teorie, wat bekendstaan as die driebronneteorie, is 'n dinamiese teorie waarin die energiebronne in wisselwerking met mekaar geplaas word vir die vorming van nuwe liturgiee. Die drie energiebronne is die Skrif, die tradisie en die konteks. Hierdie drie bronne word gefokus op 'n eskatologiese fokuspunt in die toekoms. Die Skrif as energiebron is veral gesagdraend omdat dit die aanbiddingstyl en voorbeeld van Jesus Christus bevat. Die tradisie bestaan uit die verhaal van die liturgievorming deur die eeue waar die drie energiebronne telkens in wisselwerking met mekaar was. Die tradisie bied 'n skatkis van voorbeelde waaruit geleen kan word vir liturgievorming in die huidige konteks. Die huidige konteks is 'n integrale deel van die liturgievormingsproses. Die Postmodemisme, die reste van die Modemisme, globalisering, die oorgangsituasie in Suid-Afrika en hedendaagse ontwikkelinge in die menswetenskappe is almal kragte wat indirek inwerk op die liturgievormingsproses. Slegs wanneer die energiesirkels in wisselwerking met mekaar geplaas word, word verantwoordelik nuwe liturgiee gevorm wat sinvolle kommunikasie tussen God en sy kinders bewerkstellig. Die ondersoek na die liturgievorming in 12 verskillende gemeentes in Engeland en Suid-Afrika het aan die lig gebring dat waar een of meer van die energiebronne verwaarloos word, verantwoordelike vorming nie plaasvind nie. Die huidige konteks vra dat byderwetse liturgie meer klem op simbole, emosie en dialogiese kommunikasie sal plaas. Liturgie sal ook moeite moet doen om meer liefde oor te dra in die eredienste. Ter wille van die fasilitering van 'n dieper spiritualiteit kan die liturgie van die Ned Geref Kerk spesifieke liturgiese elemente en -houdings gaan leen by antler spiritualiteite en so sy eie liturgie verbreed. Dit bly 'n haalbare uitdaging om voortdurend verantwoordelik liturgie te vorm indien die Skrif, die tradisie en die konteks as energiebronne in wisselwerking met mekaar geraadpleeg word en gefokus word op die eskatologiese. / D.Th. (Practical Theology)

Using the literary device of a fictional interview between the artist and a sympathetic intellectual, I explore concepts relating to subjectivity, pedagogy, memory, “Southernness,” whiteness, the deceptive nature of images, social justice, and 20th century art as they relate to a contemporary artistic practice.

A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional. / The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.

O objetivo desta dissertação é apresentar uma análise interpretativa da obra Le Livre Magique de Xangô, duo para violino e violoncelo, do compositor brasileiro José Antônio Rezende de Almeida Prado (1943-2010). Composta em 1985, à luz da fase pósmodernista do compositor, baseia-se na melodia de raiz afrorreligiosa o \"Canto de Xangô\". Esta melodia foi empregada por muitos compositores brasileiros, incluindo Villa-Lobos, e denota a herança nacionalista recebida por Almeida Prado durante seus primeiros anos de estudos com Camargo Guarnieri (1907-1993). Além disso, esta dissertação tem como objetivo examinar as complexidades técnico-instrumentais da obra produzindo soluções técnicas. Por fim, decidiu-se preparar a edição da partitura, pois a versão atual encontra-se em manuscrito, acrescentando as mudanças feitas sob a supervisão do compositor, ao longo dos ensaios preparatórios para o concerto de estreia mundial, em 2003. / The purpose of this dissertation is to present a performance analysis of the work Le Livre Magique de Xangô, duo for violin and cello, by the Brazilian composer José Antônio Rezende de Almeida Prado (1943-2010). Composed in 1985, in the light of the composer\'s postmodernist phase, it is based on the afro religious root melody of the \"Canto de Xangô\". This melody was used by many Brazilian composers, including Villa -Lobos, and it denotes the nationalist heritage received from Almeida Prado during his first years of study with Camargo Guarnieri (1907-1993). Moreover, this dissertation has the purpose to examine the technical difficulties found in this piece and how to solve them. Finally, the author decided to prepare a edited score, because the current version is in manuscript and including changes made under the composer\'s supervision, during the preparatory rehearsals for the concert of world premiere in 2003.

A arquitetura contemporânea vive hoje uma arriscada fusão com a publicidade e a indústria do entretenimento. Tal convergência exige uma expansão da forma arquitetônica até o limite de sua materialidade. Em busca da renda informacional máxima, característica do universo das marcas mundiais, constatamos uma inversão de seus antigos fundamentos construtivos e produtivos, subvertidos por um jogo de volumes e efeitos para além de qualquer regra ou limitação. Aliado às técnicas digitais de projeto e à reorganização dos canteiros de obra, esse novo fetichismo da forma, análogo à autonomização do poder e da riqueza abstrata no capitalismo contemporâneo, define a nova condição da arquitetura. Estudaremos essa condição tomando como fio condutor projetos dos arquitetos mais consagrados pelo atual sistema de distinção e premiação. No propósito de melhor identificar esta arquitetura da exceção, investigamos nas obras emblemáticas dos últimos vinte anos um conjunto de particularidades e recorrências, que a nosso ver define a economia política da exceção e da regra no mundo atual. Principiamos pela análise do emaranhado de significados que sustentam hoje a forma construída, passando em seguida à esfera da produção das novas modalidades de projeto digital às transformações no canteiro de obras para, ao fim, examinar como ocorrem a circulação (com a proliferação de imagens midiáticas), o consumo (especialmente por meio da indústria do turismo) e a distribuição de riquezas que essa arquitetura favorece. O que se verifica é uma produção sobredeterminada pela busca da renda monopolista derivada das propriedades intrínsecas da forma, em seu novo estágio de concepção e realização. Esperamos, assim, mostrar como a arquitetura de ponta tornou-se uma das manifestações mais expressivas da acumulação flexível e da renda das marcas sob a dominância da lógica das finanças. / Contemporary architecture is dangerously enmeshed with the entertainment industry and the field of advertising. This meshing has pushed architectural form to the limits of materiality. Architecture today searches for maximum informational rent, a process typical of global product branding; through this process, established building and production principles are subverted by a play of volumes and effects beyond any rule or limitation. Relying on digital design technologies and the reorganization of the building site, this new fetishism of form, analogous to the autonomization of power and abstract wealth in contemporary capitalism, defines the new condition of architecture. We study this condition by focusing on the work of those architects who are most successful in the current system of professional recognition and rewards. So as to identify this architecture of exception more precisely, we analyze emblematic works from the last twenty years; in these works we identify a set of particularities and recurrent issues that define the political economy of exception and rule today. We begin by analyzing the tangle of meanings associated with contemporary built form. We then move on to the sphere of production from the new technologies of digital design to transformations in the building site. Finally, we examine three processes as they relate to contemporary architecture: circulation (through the proliferation of images in the media), consumption (in particular through the tourist industry), and distribution of wealth. Our investigation reveals that architectural production, in its new stage of conception and realization, is overdetermined by the search for monopoly rent through intrinsic properties of form. We argue that cutting-edge architecture has become one of the most expressive manifestations of flexible accumulation and brand revenue under the prevailing logic of financial capitalism.

O objetivo desta dissertação é apresentar uma análise interpretativa da obra Le Livre Magique de Xangô, duo para violino e violoncelo, do compositor brasileiro José Antônio Rezende de Almeida Prado (1943-2010). Composta em 1985, à luz da fase pósmodernista do compositor, baseia-se na melodia de raiz afrorreligiosa o \"Canto de Xangô\". Esta melodia foi empregada por muitos compositores brasileiros, incluindo Villa-Lobos, e denota a herança nacionalista recebida por Almeida Prado durante seus primeiros anos de estudos com Camargo Guarnieri (1907-1993). Além disso, esta dissertação tem como objetivo examinar as complexidades técnico-instrumentais da obra produzindo soluções técnicas. Por fim, decidiu-se preparar a edição da partitura, pois a versão atual encontra-se em manuscrito, acrescentando as mudanças feitas sob a supervisão do compositor, ao longo dos ensaios preparatórios para o concerto de estreia mundial, em 2003. / The purpose of this dissertation is to present a performance analysis of the work Le Livre Magique de Xangô, duo for violin and cello, by the Brazilian composer José Antônio Rezende de Almeida Prado (1943-2010). Composed in 1985, in the light of the composer\'s postmodernist phase, it is based on the afro religious root melody of the \"Canto de Xangô\". This melody was used by many Brazilian composers, including Villa -Lobos, and it denotes the nationalist heritage received from Almeida Prado during his first years of study with Camargo Guarnieri (1907-1993). Moreover, this dissertation has the purpose to examine the technical difficulties found in this piece and how to solve them. Finally, the author decided to prepare a edited score, because the current version is in manuscript and including changes made under the composer\'s supervision, during the preparatory rehearsals for the concert of world premiere in 2003.

A arquitetura contemporânea vive hoje uma arriscada fusão com a publicidade e a indústria do entretenimento. Tal convergência exige uma expansão da forma arquitetônica até o limite de sua materialidade. Em busca da renda informacional máxima, característica do universo das marcas mundiais, constatamos uma inversão de seus antigos fundamentos construtivos e produtivos, subvertidos por um jogo de volumes e efeitos para além de qualquer regra ou limitação. Aliado às técnicas digitais de projeto e à reorganização dos canteiros de obra, esse novo fetichismo da forma, análogo à autonomização do poder e da riqueza abstrata no capitalismo contemporâneo, define a nova condição da arquitetura. Estudaremos essa condição tomando como fio condutor projetos dos arquitetos mais consagrados pelo atual sistema de distinção e premiação. No propósito de melhor identificar esta arquitetura da exceção, investigamos nas obras emblemáticas dos últimos vinte anos um conjunto de particularidades e recorrências, que a nosso ver define a economia política da exceção e da regra no mundo atual. Principiamos pela análise do emaranhado de significados que sustentam hoje a forma construída, passando em seguida à esfera da produção das novas modalidades de projeto digital às transformações no canteiro de obras para, ao fim, examinar como ocorrem a circulação (com a proliferação de imagens midiáticas), o consumo (especialmente por meio da indústria do turismo) e a distribuição de riquezas que essa arquitetura favorece. O que se verifica é uma produção sobredeterminada pela busca da renda monopolista derivada das propriedades intrínsecas da forma, em seu novo estágio de concepção e realização. Esperamos, assim, mostrar como a arquitetura de ponta tornou-se uma das manifestações mais expressivas da acumulação flexível e da renda das marcas sob a dominância da lógica das finanças. / Contemporary architecture is dangerously enmeshed with the entertainment industry and the field of advertising. This meshing has pushed architectural form to the limits of materiality. Architecture today searches for maximum informational rent, a process typical of global product branding; through this process, established building and production principles are subverted by a play of volumes and effects beyond any rule or limitation. Relying on digital design technologies and the reorganization of the building site, this new fetishism of form, analogous to the autonomization of power and abstract wealth in contemporary capitalism, defines the new condition of architecture. We study this condition by focusing on the work of those architects who are most successful in the current system of professional recognition and rewards. So as to identify this architecture of exception more precisely, we analyze emblematic works from the last twenty years; in these works we identify a set of particularities and recurrent issues that define the political economy of exception and rule today. We begin by analyzing the tangle of meanings associated with contemporary built form. We then move on to the sphere of production from the new technologies of digital design to transformations in the building site. Finally, we examine three processes as they relate to contemporary architecture: circulation (through the proliferation of images in the media), consumption (in particular through the tourist industry), and distribution of wealth. Our investigation reveals that architectural production, in its new stage of conception and realization, is overdetermined by the search for monopoly rent through intrinsic properties of form. We argue that cutting-edge architecture has become one of the most expressive manifestations of flexible accumulation and brand revenue under the prevailing logic of financial capitalism.