Beschneidung umfasst einschränkende, genitalverändernde und -normierende Eingriffe. Zu unterscheiden sind unter anderem die Vorhautbeschneidung bei Jungen sowie Genitalbeschneidungen bei Mädchen in christlichen, islamischen und jüdischen Traditionen, medizinisch indizierte Praxen, genitale Schönheitschirurgie und genitalvereinheitlichende Behandlungen intergeschlechtlicher Neugeborener. Letztere sind wie die religiös motivierten Eingriffe Thema anhaltender rechtlicher und ethischer Debatten.

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The central argument that underpins this thesis is that the Bataung, Bafokeng and the Bakuena lineages are found across all the Basotho groups of Basotho (Southern Sotho), Batswana and Bapedi. The thesis concerns itself with the similarity of the Sotho groups, a topic that has seldom received a sustained scholarly attention. Scholars have devoted much attention in discussing Sotho groups of Batswana, Basotho (Southern Sotho) and Bapedi, but their concern has mostly been to describe one group at the time discussing their cultural, social and political dimensions.The thesis aim investigates the oneness of Sotho by discussing the cultural, social and political similarities of the Batswana, Basotho (Southern Sotho) and Bapedi. The thesis drew on a range of semi-structured interviews with academics, senior people with knowledge of Sotho culture and literature to crystallise the information from the narrative analysis of documents, media and secondary literature. The thesis maintains that Basotho (Southern Sotho), Batswana and Bapedi are similar people. Their cultural dimension shows they have similar languages that share the same collection of words (langue) that indicates the same same origin. They also share the name ‘Basotho’ ~ Abeshundu that emanates from their similar way of dressing. The Sotho groups’ social dimension shows that they have similar practices of birth, raising children, lebollo (initiation school) and handling of death. They share similar games, folktales and taboos that reflect the aforementioned four cycles of human experiences in similar narratives across the groups. The thesis finds that Sotho groups have similar way of governance. They come together in the hierarchy of similar clans (e.g. Bafokeng, Bataung and Bakuena), chiefdoms and a group. These subdivisions in a group help with the allocation of resources for each individual and maintaining status quo in governance. The Sotho groups have similar proverbs and idioms to counsel proper leadership. The thesis discusses Sotho groups together as they come from the same origin although they have gone their separate ways. The thesis uses Gellner and Smith theories of ethnicity to explain the similarity of the Sothogroups. Gellner’s view is that one chooses to belong to a particular culture and associates oneself with people who practice this culture. Ethnicity is socially constructed due to experiences and people’s circumstances. Smith complements the description of the Sotho in forming different groups by saying that in these groups, there are memories of shared historical past. There is a continuum of the original culture where the groups have resemblance in their ways of life and symbolical elements, although adapted to their new environments and time. The variations of the groups’s practices are not their differences but they are changes caused by a quest to adapt to the new environment. / African Languages / D. Litt. et Phil. (African Languages)

This qualitatively oriented Practical Theology research journey, informed by postmodernism and social constructionism, was based on a narrative enquiry into the healing and renegotiation of identity of five "faithful spouses" post infidelity and divorce. These conversations occurred within a small group context, where narratives were spoken and witnessed (pastoral therapeutic gatherings), and were aimed at enabling the participants to remember and re-author preferred identities and new ways of being. This dissertation attempts to bring together the narratives of the participants, the literature, narrative therapy and pastoral care. My research curiosity was prompted by my mother's experience of divorce, and by the myriad number of conversations I have had with both "infidels" and "faithful spouses" in my pastoral practice. This research journey examines the process of co-creating, along with my fellow travellers (research participants), a viable model of divorce recovery in the face of infidelity and divorce. / Philosophy, Practical and Systematic Theology / M.Th. (Pastoral Theology)

Cette thèse a pour objectif d’étudier la « figure du roi » au travers de documents iconographiques du Bronze Moyen provenant de Syrie et plus particulièrement de la zone du Moyen-Euphrate entre 2000 et 1600 avant J.-C. Notre approche méthodologique qui porte prioritairement sur la partie sigillaire a consisté à établir un corpus des plus exhaustifs possibles des sceaux publiés et inédits. Après l’établissement de celui-ci, nous opérons des comparaisons pour dégager les caractéristiques de la représentation royale. Dans un premier temps, le cadre spatio-temporel retenu pour cette étude est défini. Par la suite, nous effectuons une mise au point sur l’histoire de la question de la représentation royale dans la glyptique syrienne du Bronze Moyen. Le développement qui suit constitue la cible de cette thèse. Les objets qui servent de base à cette étude viennent de vingt cinq sites archéologiques différents. Les sites de Moyen-Euphrate syrien, divisés en deux ensembles : partie nord et partie sud couvrant la zone-clefs de cette thèse, ont été soigneusement étudiés. En suite et afin de mieux définir la « figure du roi » dans l’iconographie, des moyens d’identification ont été décrits. La suite comporte une analyse de toutes les représentations de la figure royale, que nous tentons de définir par type. Le paragraphe présentant chaque modèle est suivi d’un tableau montrant l’aire de diffusion au sein de l’aire géographique concernée. Suit un inventaire des multiples aspects de cette iconographie royale, au sein duquel on distingue des : 1. Modèles dominants: le roi à la masse d’arme, le roi vainqueur, le roi-orant et le roi de type « syrien » que nous tentons de définir.2. Modèles dérivés: le roi-porteur d’offrande, représentation royale avec une divinité féminine, le roi-pharaon de type «égyptien », les cas de la duplication de la figure royale.Par ailleurs, une étude des « personnages incertaines » que nous expliquons est également menée. La présence de multiples divinités aux côtés des rois nous a conduits à en effectuer l’inventaire et à en préciser dans la mesure du possible l’iconographie, le cas échéant à préciser la nature des cultes qui leur étaient rendus. Cependant, des questions importantes, comme la compréhension de certaines réalités telles que la question complexe de la« divinisation ou non du personnage royal », ou les « Dieux politiques » ont été posées. De plus, des problèmes tels que le rite de « kispûm » ou la question de « Dieu de roi » ont été abordés. Parmi nos conclusions les plus importants on souligne : l’aspect régional de l’image du roi en Syrie, le rapport particulier entre l’archéologie et la glyptique ainsi que le fond sacré de l’idéologie royale de l’époque amorrite. Au niveau de l’organisation de cette thèse, notre premier volume est accompagné d’un second volume représentant le catalogne des matériels étudiés (env. quatre cent objets). L’ensemble est complété par deux index et de références bibliographiques. / This doctorate (Ph.D.) research studies the representation of Syrian kingship during the Amorite period (ca. 2000-1600 B.C), essentially through glyptic evidence, supplemented by sculpture, wall paintings, and written sources from the same period.The methodology is anchored in defining a precise iconographic corpus. This step allows revising past conclusions and establishing new identifications for the king’s role in artistic as well as written expressions. A major accomplishment is the identification of objects that derive from clear, stratified archaeological and cultural contexts.After defining the spatial and chronological frame, this study offers a brief review of the twenty-five sites from which the material is assembled. They are located in the Middle-Euphrates valley and divide between those in the northern and southern segments. Characteristics for a “royal figure” are identified and then defended. Iconography permits to distinguish diverse models of the “royal for each of the Syrian regions.The models divide into:1. Main models: the warrior-king, the king-priest, the king of “Syrian” type2. Secondary models: royal officials or the “duplication” of the royal figureIn addition, “miscellaneous figures” are also classified.On the epigraphic level, in this study there is liberal use of information from the archive of Mari as well as of Terqa, discriminating between materials derived from epistolary, religious, political, and administrative documents, as the ruler acts as a priest, dispenser of justice, warrior, or family man. A special chapter is devoted the interrelationship among kings, personal, and state gods. There is also consideration of funerary rituals (kispum) as well as the issue of the deified king.The study takes into consideration the following issues: the royal image of Syrian kings as shown in regional perspective, the connection between glyptic arts and their archeology, and the religious basis of royal ideology during the Amorite period.The dissertation includes a second part in which is catalogued over four hundred iconographic objects or images. Bibliographic references and indexes complete the study.

Charles University in Prague, Faculty of arts Institute of Prehistory and Early History Lucia Žilincová SETTLEMENT OF BOHEMIAN PARADISE IN THE PERIOD OF LUSATIAN URN FIELDS Dissertation thesis Summary: The main aim of my dissertation thesis is to contribute to better understanding of the Bohemian Paradise settlement in the Lusatian urn fields period and its relation and contacts to the neighbouring areas. The basic source is archaeological material from seven cemeteries (Sovenice /bez. Mladá Boleslav/, Sovenice /bez. Nymburk/, Svijany, Svijanský Újezd, Koryta, Březina, Příšovice) and two settlements of the Lusatian culture (Turnov-Maškovy zahrady, Svijany). Its analysis is basis for enrichement knowledge of Lusatian material culture and its clue for completing of missing elements in chronological development. Inevitable part of this work is substitution of these localities to the Bomemian Paradise frame and classification in the wider space of this culture widespreading. On the base of acquired knowledge I will try to solve the question of possibility for comparation of the settlement and burial material of Lusatian culture. 2016

Beschneidung umfasst einschränkende, genitalverändernde und -normierende Eingriffe. Zu unterscheiden sind unter anderem die Vorhautbeschneidung bei Jungen sowie Genitalbeschneidungen bei Mädchen in christlichen, islamischen und jüdischen Traditionen, medizinisch indizierte Praxen, genitale Schönheitschirurgie und genitalvereinheitlichende Behandlungen intergeschlechtlicher Neugeborener. Letztere sind wie die religiös motivierten Eingriffe Thema anhaltender rechtlicher und ethischer Debatten.

The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.

The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces. The study provides a historical context and development of new trends in public and collaborative community arts, contextualises the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)

The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces. The study provides a historical context and development of new trends in public and collaborative community arts, contextualises the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History)