Adolescence is a unique period of development. This life phase seems to entail being sensitive to aversive and social cues. However, adolescents' performances have been seen as equivalent to that of adults in nonemotional contexts. For this reason, questions remain regarding adolescents’ sensitivity to, and cognitive regulation of, emotional content. In line with this, the following paper aimed to provide a literature review of the successful use of an emotion regulation (ER) strategy, known as reappraisal, and its normative development during adolescence. Specifically, the main focus ofthis paper was to review studies investigating age differences of adolescents' reappraisal capacity in association with related functional activity, as measured by functional magnetic resonance imaging (fMRI). Reappraisal, i.e., to rethink the appraisal of an emotionally eliciting stimulus as to change one’s emotional response, is a well-studied psychological phenomenon. Research of reappraisal ability has mainly been studied on adults when viewing aversive images. Therefore, such findings in the field that are of relevance for the more in-depth review a represented. The studies reviewed suggest that reappraisal may account more for age differences in emotional responding than emotional reactivity. Generally, reappraisal ability shows increased success with increasing age. The paper ends with a discussion of results and limitations within the field, such as regarding the various terminology and instructions used for reappraisal tactics.

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Agnew's (1985, 1992) General Strain Theory (GST) proposed that strain, the presence of negative events in one's life, is related to an individual's level of delinquent behavior. In particular, strains elicit a negative emotional response (most notably anger), creating a pressure within the individual to react or cope. Additionally, GST suggests that individuals who lack more conventional means to cope with negative life stressors will turn to delinquent coping mechanisms, such as retaliatory or escape-avoidance behaviors, to reduce the stress. The primary aim of this work is to test whether a proposed pro-social coping mechanism, cognitive coping (Agnew 1992, 2001, 2006), influences the strain-delinquency relationship; particularly whether the ability to cognitively cope reduces the use of deviant coping mechanisms. Utilizing data from the base year of the Educational Longitudinal Study (ELS: 2002), this analysis will test whether encountering negative stimuli within the school setting is positively related to students' levels of delinquency. Further, it examines whether cognitive/problem-solving ability has a moderating effect on this relationship. Analysis indicate that when faced with similar levels of strain, individuals with higher cognitive coping abilities are less likely to resort to delinquent coping mechanisms. Arming students with tools to cognitively reinterpret the strains they encounter may lessen the occurrence of delinquent behaviors exhibited in schools (Pearlin 1989; Agnew 2006). Expanding knowledge of what factors negatively influence students, causing them to demonstrate delinquent behaviors in school, and avenues for handling these stressors may have widespread policy and curriculum implications.

As the placeless globalization is accelerating around the world and especially in China, places that have strong ties to the particularities of a locale are desirable destinations to escape the generic monotony of placeless urbanization. The thesis here stipulates that even in a placeless globalization, opportunities exist to understand, interpret and celebrate local cultural phenomena. While many formal architectural artifacts may have outgrown their purpose and no longer have direct relevance today, a number of desires, customs and rituals persist as desirable conditions to be supported by architectural space. The thesis proposes to seek out an architecture, that embraces and reinterprets targeted aspects of the built form of traditional elements with modern means. / Master of Architecture / This thesis discusses possibilities to reinterpret the vernacular. Specifically, the sense of identity generated by the architecture traditions in Western China can be attributed to shape and construction of the roof, organization in plan, the central fire place, and a protected courtyard all enclosed by rammed earth. Reinterpretations of those elements in modern forms propose a continuity of culture and identity.

Thesis (DTh (Practical Theology and Missiology))--University of Stellenbosch, 2008. / This dissertation aims to analyse and evaluate the traditional Malawian Choral music as sung by young people in the Church of Central Africa Presbyterian (CCAP) Nkhoma Synod with careful and critical consideration of the theological–liturgical outcomes. Such an analysis and evaluation reveals the neglected areas and the implications thereof for the Church, in aid of serving effectively her members. This will enrich and advance contextual theology as well as the liturgy in the Church. Chapter 2 discusses the approach the writers of Mark and Philippians took to fit into the new situations in which they were. This chapter functions as the basis for the subsequent chapters, as it tries to show how reinterpretation could have taken place. In so doing, a living expression of a living reality, which was reinterpreted in a particular place, at a particular time, for a particular purpose, will be noted in a reconfigured state. Chapter 3 will give an overview of theological–liturgical development in Malawi, and how the Gospel was brought in the light of the liturgy that evangelization assumed. The aftermath of traditional theology will then be assessed, including the impact of traditional theology on the Malawian people. Subsequently, the possibilities of coming up with a theology and a liturgy that is sensitive to the users are discussed. Chapter 4 examines traditional Malawian Choral music before the arrival of Christianity. A discussion of the way missionaries used English/Scottish music without blending it with the traditional music in the liturgy then follows. The consequence of such type of liturgizing and the initiative in the development of both English/Scottish, as well as traditional Malawian music will be shown. Chapter 5 provides an empirical study on what the young people in Malawi are singing in the CCAP-Nkhoma Synod by means of some sample areas. This includes an examination of possible influences that are compelling the young people to compose and sing these songs. This examination comprises an analysis of songs, the themes that are developing, and the reason for such themes. Chapter 6 contains suggestions for hymnological development in Malawi, based on the findings of the empirical study. This thesis acknowledges the importance of reinterpretation because of different confrontations that an individual or group experiences. To achieve this, a process of reconfiguration that involves re-interpretation and blending has been suggested and discussed. This dissertation will discuss the dialectic of experience and interpretation as regards continuous experiences of humankind due to new challenges. Such an approach provides the framework for the investigation of current experiences of present readers of the New Testament in relation to the first Christians’ experiences, which forced the reshaping of that symbolic world due to new religious convictions and experiences.

Depuis toujours, les œuvres d’art ont joué un rôle fondamental dans la formation des artistes, servant de modèles iconiques pour l’apprentissage et la création de nouvelles œuvres. Au cours du XXème siècle, la diffusion considérable d’œuvres d’art en rapport au progrès dans l’imprimerie et à l’essor des médias a fortement contribué au développement des pratiques liées à la citation en peinture. Chez Picasso, la citation consiste dans l’appropriation et la réinterprétation de chefs-d’œuvre qu’il retranscrit dans son style. Ainsi, en 1957, il peint quarante-quatre variations à partir des Ménines (1656) de Velazquez. Au début des années soixante, les artistes pop ont recours à la sérigraphie pour imprimer sur toile les reproductions photographiques de chefs d’œuvres. Leurs productions relèvent d’une esthétique particulière comme résultat de l’utilisation de ce procédé qu’ils chercheront à développer par la suite. Ainsi, dans les versions de la Cathédrale de Rouen (1892-1894) de Monet peintes par Lichtenstein en 1969, l’image est reconstituée par une trame de points, équivalent graphique des points d’encrage de la photographie de presse. Dans les années soixante-dix, le collectif espagnol Equipo Crónica s’empare des grands classiques de la peinture espagnole et européenne et les retranscrit par une juxtaposition d’aplats de couleurs. Influencés par ces démarches, certains artistes latino-américains ont forgé leur propre style. L’œuvre du péruvien Herman Braun-Vega, par exemple, jette des ponts entre la peinture des grands maîtres tels que Velazquez, Goya ou Picasso, et l’imaginaire visuel péruvien. A l’instar de Picasso, Fernando Botero s’approprie des œuvres des maîtres en les soumettant à son style. Dès la fin des années soixante, les arts plastiques péruviens reprennent les caractéristiques plastiques du Pop’Art international pour mettre en scène divers aspect de la culture péruvienne. Ainsi Marcel Velaochaga met en relation l’esthétique Pop avec une réflexion critique sur l’histoire du Pérou et ses propres icônes visuelles. / Existing works of art have always played an important role in the education of artists, as they serve as visual learning models as well as inspiration for new works. During the 20th century, the increased distribution of works of art directly related to the progress of the printing press and to the development of medias have contributed heavily to the development of practices related to the use of existing artistic elements in painting. With Picasso, this use of existing elements consisted in the appropriation and reinterpretation of masterpieces, which he then transcribed in his own style. As such, in 1957, he paints forty four variants based on Velazquez’s “Las Meninas” (1656). In the early sixties, pop artists used serigraphy to print photographic reproductions of art masterpieces. These reproductions used a certain esthetic quality, a direct result of such method, which would continue to be developed afterwards. Thus, when Lichtenstein made his versions of “The Rouen Cathedral” (1892 – 1894) originally by Monet in 1969, the image was composed by a series of dots, the graphical equivalent of the printing process of a photograph when printed in the press. During the seventies, the artistic collective Equipo Cronica used the great Spanish and European art classics in the creation of works that used plain colors and shapes in their recreation.Inspired by these works, several latin american artists have created their own styles. The works of Peruvian Herman Braun-Vega, for example, mixes the works of great masters such as Velazquez, Goya or Picasso and Peruvian visual imagery. Like Picasso, Fernando Botero uses the works of masters and remakes them using his own personal style. At the end of the sixties, the Peruvian fine arts take on elements present in International Pop’Art in order to portray different aspects of Peruvian culture. Thus, Marcel Velaochaga combines the pop aesthetics with a critical thinking of Peruvian history and its own visual icons. / Desde tiempos inmemorables, las obras de arte han ocupado un rol fundamental en laformación artística ya que han servido de modelos iconográficos para el aprendizaje y para lacreación de nuevas obras.En el transcurso del siglo XX, la gran difusión de obras de arte como producto de los avancesen la imprenta y de la evolución de los medios de comunicación han contribuido fuertementeal desarrollo de las prácticas pictóricas a la cita. En el caso de Picasso, la cita consiste enreinterpretar y apropiarse de obras maestras las cuales reproduce en su propio estilo. De estaforma, en 1957, pinta cuarenta-y-cuatro variaciones sobre Las Meninas (1657) de Velázquez.Al comienzo de los sesenta, los artistas pop recurrieron a la serigrafía para imprimirreproducciones fotográficas de obras maestras sobre lienzo. Sus trabajos reflejan una estéticaparticular que es el resultado del uso de esta técnica y que buscaran desarrollarposteriormente. De esta manera, en las versiones de las Catedrales de Rouen (1892-1894) deMonet pintadas por Lichtenstein en 1969, la imagen está reconstituida por una trama depuntos, equivalente grafico de los puntos de la fotografía editorial. En los años setenta, elcolectivo español Equipo Crónica retomó los grandes clásicos de la pintura española yeuropea y los reinterpretó por medio de una yuxtaposición de tintas planas.Influenciados por estos procedimientos, algunos artistas latino-americanos forjaron supropio estilo. Por ejemplo, la obra del peruano Herman Braun-Vega establece conexionesentre la pintura de los grandes maestros tales como Velázquez, Goya o Picasso, y elimaginario visual peruano. Al igual que Picasso, Botero se apropió de las obras maestrasaplicándoles su estilo. Desde fines de los sesenta, las artes plásticas peruanas retomaron lascaracterísticas del Pop arte internacional para ilustrar diversos aspectos de la cultura peruana.De esta forma, el pintor Marcel Velaochaga pone en relación la estética pop con una reflexióncrítica sobre la historia del Perú y sus propios íconos visuales.

This thesis deals with dramatizations of literary works that were introduced at the National Theatre after1990. Compares prose texts with newly formed theatrical texts. It also focuses on the transformation of interpretations of individual works, which occurred as a result of dramatization. For each unfinished work also always gives relevant circumstances relating to the production.

(in English): The figure of Judas Iscariot is one of the most controversial ones in Christianity and Christian reception. Traditionally Judas used to be synonymous for the ultimate sinner, who would not deserve any compassion at all. He was first and foremost conceived as the traitor of Jesus and was judged and damned accordingly. In every period he attracted attention, was commentated upon and interpreted anew. The paper at hand deals with one of the latest interpretations of Judas: Uwe Saeger's novel Die gehäutete Zeit: Ein Judasbericht (The skinned time: A Judasreport). Published in 2008, this novel is a retelling of the gospel, as seen through Judas' eyes. Uwe Saeger re-interprets the founding story of Christianity and casts a new light on Judas. Saeger disengages himself from a simple black and white perspective on Judas, which was popular for many centuries not only among laymen, but also among theologians. The author does not divide the characteristics into a pure and good Jesus on the one hand, and a bad and dishonest Judas on the other hand, but rather merges the two into one figure, expressed by making up the name Je-Judas-us at one point of his book. Saeger describes the two as an inseparable couple, where each of them has his special task to fulfil. Throughout the novel, Judas is being...

Teufelsmühle e omnibus são nomenclaturas empregadas para designar modelos estruturais profundamente aparentados, que envolvem cromatismo, polifonia, modulação, relação de terças menores, inversão simétrica, condução de vozes e reinterpretações enarmônicas de acordes. Trata-se de padrões cujas origens remontam no mínimo à prática musical do século XVIII e que já nesta época começaram a ser codificados por teóricos. No entanto, estas sequências cromáticas só receberam estudos específicos a partir do final da década de 1960 por duas principais correntes de pesquisa, a alemã, que emprega o termo Teufelsmühle e a americana, com a designação omnibus. Dividido em duas partes, este trabalho expõe inicialmente os aspectos estruturais do Teufelsmühle e omnibus, a partir de uma revisão bibliográfica e apontamentos críticos realizados por esta pesquisa. Já a segunda parte busca vislumbrar a representatividade e abrangência destes modelos cromáticos no processo composicional de F. Chopin, evidenciando o modo com que tal princípio foi utilizado e os principais contextos em que está inserido. / Teufelsmühle and omnibus are nomenclatures used to designate structural models deeply similar, which involve chromaticism, polyphony, modulation, minor thirds relation, symmetrical inversion, voice leading, and enharmonic reinterpretations of chords. They refer to patterns originated at least with the musical practice of the eighteenth century, and that even in that time started to be codified by theorists. Nevertheless, these chromatic sequences were studied specifically only beginning at the end of the 1960s and done by two main streams of research, the German, which uses the term Teufelsmühle, and the American, with the designation omnibus. Divided in two parts, this study presents initially structural aspects that refer to Teufelsmühle and omnibus based on a literature review and critical comments developed in this research. The second part intends to look at the relevance of these chromatic models and what they encompass in the compositional process of Chopin, showing the way such principle was used and the main contexts in which it happens.