In this thesis the researcher has investigated which of the two concepts: believing before belonging or belonging before believing, is a more accountable perspective in regards to ministry in post-Christendom society. With the final stages of the modern period the power of hegemonic ideologies is coming to an end as people identify less with grand ideologies and more with subcultures related to technology and social and economic networks of different kinds. The post-Christendom phase has begun and is radically challenging Christendom notions of ministry. We have to assume that among post-Christians the familiarity with Christian concepts will fade as the decline of Christendom has meant that Christianity has been losing its status as a lingua franca, only to be understood in the long run, by those who are professing Christians. It is therefore important that the church will anticipate longer journeys towards faith and not move on to disciple new converts too quickly. Post- Christendom evangelization will consequently take longer, start further back and move more slowly. In the context of post-Christendom, knowledge of Christianity is rather limited and people need to come to an understanding of what Christianity entails. For those seekers, exploratory participation at first is safer than making a definite commitment. Postmodern society is also suspicious of institutions and eager to find whether Christian beliefs also work in practice and not only in theory. Therefore is belonging before believing very much necessary for seekers to test whether Christians live out in their communities what they claim to be true? / Christian Spirituality, Church History and Missiology / D. Th. (Missiology)

Text in English / This thesis is an attempt to investigate how local churches (re)define their international orientation in response to the shockwaves of globalisation and their interpretation of the signs of the times. The analysis is guided by the key dimensions of interdependence, responsibility, and partnership. The local church is expected to have reached an increasing awareness of interdependence in her international relationships by the emergence of the postmodern systemic paradigm as never before in the history of the ecumenical movement. Consequently, this results in a sense of responsibility developing directly from a prophetic reading and an interpretation of the signs of the times as well as in a receptivity to be fertilised by international impulses. The local church is perceived by both individual Christians and pastors as direct platform for international responsibility. The wounds of the world, the needy and the suffering are suggested as inviting primary responses of local churches in the North. International church partnerships are investigated as practical attempts to live out interdependent relationships, to translate the sense of responsibility into action, and to receive fertilisation from the partner churches. Qualitative case studies from Reformed, United (Lutheran/Reformed) and Free churches present a status analysis of churches regarding the points under discussion. The tendency is observed that pastors inc~easingly look for ways alternative to the old ecumenical structures, which are characterised by rich/poor and donor/recipient relationships, thus operating their churches with free initiative and association. Studies regularly narrow down topics to interdependence, postmodernism, development, development politics, church development services, international partnerships, ecumenical learning, etc. Often recommendations for action are made based on the one single area of research presented. In this study, however, it is argued that pastors and churches do not derive their decisions and programmes from considerations of one single area, but they consider all these areas together. / Christian Spirituality, Church History & Missiology / D. Th. (Missiology)

This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.

Thesis (PhD)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between local and global subject positions. Poetry is a language activity that requires a particular attention to form and meaning, and that is licensed to activate and exploit the materiality of language. For this reason, I have focused on the work of a selection of North American poets, the Language poets. These poets are primarily concerned with the performative possibilities of language as it appears in print media. I juxtapose these language activities with those of a selection of contemporary South African poets whose work is marked by the influence of oral forms, and reveals telling interplays between media. All these poets are preoccupied with the ways in which the sign might be disrupted. In my discussion of the work of the Language poets, I consider how examples of their print poetics present the reader with language fragments, arranged according to non-syntactic principles. Confronted by the lack of an individuated lyric subject around whom these fragments might cohere, the reader is obliged to make his/her own connections between words, sounds and phrases. Similarly, in the work of the performance poets, I identify several aspects in the poetry that trouble a transparent transmission of expression, and instead require the poetry to be read as an interrogation of the constitution of the subject. Here, the ―I‖ fleetingly occupies multiple, shifting subject positions, and the poetic interplay between media and language tends towards a continuous destabilising of the poetic self. Poets and performers are, to some extent, licensed to experiment with language in ways that render it opaque. Because the language activities of poets and performers are generally accommodated within the order of symbolic or metaphoric language, their experimentation with non-communicative excesses can be understood as part of their framework. However, in situations where ―communicative‖ language is expected, the order of literal or forensic language cannot accommodate seemingly non-communicative excesses that appear to render the text opaque. Ultimately, I am concerned with exploring the manner in which attention to the materiality of language might open up alternative understandings of language, subjectivity and representation in South African public discourse. My conclusion therefore considers the consequences when the issues opened up by the poetry – questions of self and subject, authority and representation – are translated into forensic frameworks and testimonial discourse. / AFRIKAANSE OPSOMMING: My proefskrif bied ‘n breedvoerige oorsig van ‘n reeks taal-aktiwiteite wat die materialiteit van taal sigbaar maak. Hierdie taal-aktiwiteite skep tekste wat die leser/kyker noop om as vervaardiger, eerder as verbruiker, van betekenis in ‘n aktiewe verhouding met die teks te tree. Die performatiewe funksie van beide gesproke sowel as gedrukte taal vorm dus die hooffokus van my argument. Ek stel veral belang in die effek wat onderbrekings en versteurings in taal op die subjek van taal uitoefen, en hoe hierdie prosesse die die dialogiese verhouding tussen lokale en globale subjek-posisies beïnvloed. Poëtiese taal-aktiwiteite word gekenmerk deur ‘n fokus op vorm en die verhouding tussen vorm en inhoud. Terwyl die meeste taalpraktyke taaldeursigtigheid vereis ter wille van direkte kommunikasie, het poëtiese taal tot ‘n mate die vryheid om die materaliteit van taal te gebruik en te ontgin. Om hierdie rede fokus ek selektief op die werk van ‘n groep Noord-Amerikaanse digters, die sogenaamde ―Language poets‖. Hierdie digters is hoofsaaklik met die performatiewe moontlikhede van gedrukte taal bemoeid. Voorts word hierdie taal-aktiwiteite met ‘n seleksie kontemporêre Suid-Afrikaanse digters se werk vergelyk, wat gekenmerk word deur die invloed van gesproke taalvorms wat met ‘n verskeidenhed media in wisselwerking gestel word. Al hierdie digters is geïnteresseerd in die maniere waarop die inherente onstabiliteit van linguistiese aanduiers ontgin kan word. In my bespreking van die werk van die Language poets ondersoek ek voorbeelde van hul gedrukte digkuns wat die leser voor taalfragmente te staan bring wat nie volgens die gewone reëls van sintaks georganiseer is nie. Die gebrek aan ‘n geïndividualiseerde liriese subjek, waarom hierdie fragmente ‘n samehangendheid sou kon kry, noop die leser om haar eie verbindings tussen woorde, klanke en frases te maak. Op ‘n soortgelyke wyse identifiseer ek verskeie aspekte wat die deursigtige versending van taaluitinge in die werk van sekere Suid-Afrikanse performance poets belemmer. Hierdie gedigte kan eerder gelees word as ‘n interrogasie van die proses waardeur die samestelling van die subjek in taal geskied. In hierdie gedigte bewoon die ―ek‖ vlietend ‘n verskeidenheid verskuiwende subjek-posisies. Die wisselwerking van verskillende media dra ook by tot die vermenigvuldiging van subjek-posisies, en loop uit op ‘n performatiewe uitbeelding van die destabilisering van die digterlike ―self.‖ Digters en performers is tot ‘n mate vry om met die vertroebelingsmoontlikhede van taal te eksperimenteer. Omdat die taal-aktiwiteite van digters en performers gewoonlik binne die orde van simboliese of metaforiese taal val, kan hul eksperimentering met die nie-kommunikatiewe oormaat van taal binne hierdie raamwerk verstaan word. Hierdie oormaat kan egter nie binne die orde van letterlike of forensiese taal geakkommodeer word nie. Ten slotte voer ek aan dat ‘n fokus op die materialiteit van taal alternatiewe verstaansraamwerke moontlik maak, waardeur ons begrip van die verhouding tussen taal, subjektiwiteit en representasie in die Suid-Afrikaanse publieke diskoers verbreed kan word. In my slothoofstuk oorweeg ek wat gebeur as die kwessies wat deur die bogenoemde performatiewe taal-aktiwiteite opgeroep word – vrae rondom die self en die subjek, outoriteit en representasie – binne ‘n forensiese raamwerk na die diskoers van getuienis oorgedra word

<p>The 21st century imposes totally new challenges on businesses, different from anything they have experienced before, due to a very high degree of complexity and uncertainty. These transformations, in eco-political as well as in social spheres, imply a new conceptualization of leadership. We provide an understanding of leadership based on art, since we regard art as a medium incorporating unaccountable aspects of human life. This unaccountable dimension moreover, is of crucial importance in organizations nowadays, in order to provide the working atmosphere people need in order to excel at work. Thus, leaders have to become aware of the quality of relationship they create based on social interaction with the people they lead. What might be crucial elements composing the art of leadership in this relationship is well researched by a number of qualitative dialogues with experts in the domain of leadership, grounded in specific deepening literature study and thoroughly depicted in this thesis.</p>

魯西迪的《魔鬼詩篇》深入探討後現代千變萬化的世界中，離散社群自我定位、痛苦折磨、適應及抗拒的生活經驗。不可思議的故事，訴說著蛻變、脫軌及位置錯亂。故事描述離散主體痛苦經歷的困境，包含惡劣的生活居住環境、對故國家園的懷舊、以及企圖歸化殖民母國的矛盾情結。除此之外，故事亦涉及離散主體如何挪用及顛覆帝國中心僵硬、死板、堅不可摧的傳統。以離散主體的身份認同作為論述的根本基石，本論文主要由三個方面探討《魔鬼詩篇》中的離散社群：〈一〉瞬息萬變、反覆無常的後現代世界中，離散主體的生活經驗。〈二〉不可避免的揉雜狀態。〈三〉離散社群挪用異質空間。 第二章分為兩個部份：後現代狀態及漂泊離散。此章旨在解釋後現代性宣示一無所適從、無所寄託的新時代來臨，其顯著特色為斷裂性、不穩定性、易變性。此外，此章亦探討離散主體的經驗以及其面臨的認同危機。第三章闡述揉雜狀態之不可避免以及其崩解西方權威的潛能。文化揉雜強調不同文化間存在著不可翻譯性，因此，文化揉雜超越僵硬、堅不可摧的二元性，突顯非此亦非彼的可能性。同樣地，跨界過程中產生的語言揉雜也是應強調的重點。第四章由兩個面向探討《魔鬼詩篇》中的空間概念：空間的異質性以及離散主體的空間挪用。空間的不確定及易變本質和離散主體的能動性相當有關，藉由祕密的計謀以及游擊戰式的攻擊，離散主體得以改變空間的形塑，找到自我的空間並創造獨特的空間故事。透過這三個面向，本論文揭櫫離散主體的能動性，其利用不穩定的狀態開創無盡的可能性。 / An astounding novel revolving around metamorphosis, aberration, and dislocation, The Satanic Verses goes deep into the diasporic experience of self-positioning, torment, adaptation, and resistance in a kaleidoscopic and contingent postmodern world. It sharply delineates the predicaments pungently experienced by diasporic subjects, including the adverse residential environment, diaspora’s nostalgic attempt to grasp the distant past of homeland, and the ambivalent yearning to transform themselves “from the sojourners to settlers” (Barker 204). Besides, the text deals with how diasporic subjects appropriate and subvert the established norms of the imperial center. In consequence, the complicated issue of the diasporic identity turns out to be the underlying cornerstone in this thesis. The major concern of this thesis is to explore the entire novel principally from three angles: the diasporic experience in a world of disintegration and mutability, hybridity as an inevitable phenomenon, and the diasporic appropriation of the heterogeneous space. Chapter II is divided into two parts: the postmodern and diaspora. This chapter aims not only to explain that transience and fragmentation—the salient features of postmodernity—usher in a new age without foundation but also to explore the diasporic experience and the identity crisis confronted by diasporic subjects in the postmodern era. In Chapter III, the ineluctable phenomenon of hybridity and its latent capability to dismantle the authority of the West are meticulously scrutinized. Underscoring the untranslatability among diverse cultures, cultural hybridity transcends the inflexibility, stubbornness, and impenetrability of an either-or situation and brings to light the possibilities of a neither-nor situation. By the same token, the power of linguistic hybridity—a phenomenon taking place in the process of trans-territorial crossing—is also highlighted in The Satanic Verses. In Chapter IV, the concept of space in The Satanic Verses is meticulously investigated from two aspects: the heterogeneous nature of space and spatial appropriation by diasporic subjects. The indeterminate, mutable, discontinuous, and heterogeneous nature of space is closely related to the agency of diasporic subjects. With underground tactics and guerilla attack, diasporic subjects are able to alter the configuration of space, to search out their own space, and to create their own spatial stories. By means of delving into these three aspects, this thesis explores the agency of diasporic subjects to take advantage of their unsteady position and to open up endless possibilities.

This thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.

This work offers a framework for researchers by linking service-dominant (S-D) logic to an intersubjective stream of philosophy of science. Service-dominant logic has resonated in marketing, but no existing research has attempted to link S-D logic with basic meta-theory to provide a framework. Since the range of philosophies of science (isms) referred to in the marketing literature is broad, varying from ‘realism’ to ‘relativism’, from ‘positivism’ to ‘constructivism’ and from ‘structuralism’ to ‘post-structuralism/postmodernism’, first the different isms are grouped into four main groups/streams and then S-D logic is analyzed and classified according to these streams. The four streams are: object-orientation (realism, positivism, empiricism, and so on); subject orientation (constructivism, interpretivism, and so forth); intersubjective orientation (social constructionism, pancritical rationalism, methodological constructivism, and so on); and sign orientation (post-structuralism, postmodernism, and variations). S-D logic is mainly underpinned by an intersubjective orientation and has a huge potential for further development both in and for marketing if seen from a sign-orientated, post-structural perspective and linked to the theory of practices.

L’étude porte sur la question des burakumin, les intouchables japonais, dans deux oeuvres de l’écrivain japonais Nakagami Kenji (1946-1992), lui-même issu de cette communauté. Mille ans de plaisir, recueil de six contes basés sur des récits de vie, et le roman Miracle forment une suite organisée autour des mêmes lieux, des mêmes personnages et des mêmes thèmes. Ils décrivent la condition sociale d’une collectivité mise au ban de la société japonaise malgré sa modernisation. Ils se distinguent par leur caractère d’ethnofiction. Nakagami cherche à réhabiliter les burakumin en valorisant le patrimoine religieux et folklorique dont ils sont dépositaires. Il puise dans les genres traditionnels comme le monogatari ou les contes et légendes du Japon. Il s’inspire également d’auteurs modernes japonais (Mishima, Tanizaki) et d’auteurs étrangers (Faulkner, García-Márquez). À partir de cet intertexte et pour faire barrage à l’occidentalisation, il élabore un style « hybride » digne de la littérature nationale (kokubungaku). Les oeuvres traditionnelles sont réinterprétées dans une esthétique postmoderne ayant une fonction ironique et critique contre l’idéologie impériale répressive qui continue d’alimenter la discrimination envers les burakumin. L’analyse porte sur les procédés qui sous-tendent le projet social et le projet littéraire de l’auteur. Elle se divise en trois parties. La première donne un aperçu biographique de l’auteur et décrit les composantes de son projet social qui consiste à vouloir changer l’image et le statut des burakumin. La deuxième partie décrit les éléments religieux et folkloriques des deux oeuvres et analyse en contexte leur signification ainsi que leur fonction, qui est de mettre en valeur les traditions préservées par les burakumin. La troisième partie montre en quoi le répertoire traditionnel (monogatari) et les intertextes sont mis au service du projet littéraire proprement dit. / This study addresses the issue of burakumin, Japanese untouchable or social outcast, in the works of the Japanese novelist Nakagami Kenji (1946-1992), who had himself come from this community. Together, A Thousand Years of Pleasure, a collection of six tales based on life stories, and the novel Miracle, form a continuum articulated around the same places, characters and themes. They describe the social condition of a community exiled by the Japanese society in spite of its modernization and stand out as works of the ethnofiction genre. Nakagami tries to rehabilitate the burakumin by the valorization of the religious and folk heritage of which they are the custodians. He draws from the traditional works such as monogatari, the folk tales and legends of Japan. He also draws from contemporary Japanese authors (Mishima, Tanizaki) as well as from foreign ones (Faulkner, García-Márquez). With this intertext as a starting point and to stand against westernization, he elaborates a “hybrid” style worthy of the national literature (kokubungaku). The traditional works are reinterpreted with postmodern aesthetics that introduce an ironic and critical tone against the repressive imperial ideology still feeding discrimination towards burakumin. The analysis bears on the processes underlying the social and literary projects of the author. The thesis is divided in three parts. The first one provides a biographic overview of the author`s life and describes the components of his social project which consisted in changing the image and status of burakumin. The second describes the religious and folk elements of both works and analyzes in context their meaning and their function, which is to emphasize the traditions upheld by the burakumin. The third and last part shows how the traditional repertoire (monogatari) and intertexts are used to support the literary project itself.

“Between Floors: The Ups and Downs of Mediated Narrative” and the accompanying creative remediation project, “Between Floors: Love and Other Blood Related Diseases,” meld theory and practice of print with electronic literature and installation art. I argue that as the medium changes, the narrative is transformed. The narrative can be reconstructed and pieced together as the reader or viewer becomes increasingly involved, even embodied within the work. This embodiment is what Nathaniel Stern calls “Moving and thinking and feeling” (1) and can result in a more direct emotional experience. The form, structure, and medium (sjužet) rely on authorial intention, yet as a narrative becomes more interactive and experiential the feedback loop shifts, placing meaning, message, and construction of narrative (fabula) between media and reader/viewer. This necessarily complicates the notion of authorship, yet within an embodied space, such as the installations included in this analysis, there is a potential for greater emotional understanding between author/artist and reader/viewer. In the print story “Between Floors: Love and Other Blood Related Diseases,” the protagonist, June, visits her father in a hospital after a tragedy and ends up spending the rest of her life there. The metaphor of an elevator throughout the print, electronic, and installation versions furthers the trapped, claustrophobic feeling of the narrative as well as the ups and downs of relationships and grief. Pieces of the narrative remain recognizable through the electronic literature and installation, yet as the reader/viewer is increasingly immersed in the narrative, it becomes his or her own—a more subjective and overwhelming emotional experience. The elevator metaphor extends through the analysis—an emblem of traditional linear narratives and the narrative arc and technological immersion. The analysis explores theories of language, medium, authorship, nonlinearity, interactivity, and embodiment through existing narrative, new media, and installation theorists such as Peter Brooks, Marshall McLuhan, and Nathaniel Stern. This dissertation and to an extent, experiment, uses theory and practice to illuminate narrative using a recombination of existing theory and an original remediation in three distinct forms, to further the understanding of the nature of narratives, media, authors, and readers, while blurring boundaries between disciplines.