Every reader will respond to and think in a different way about a book. They will have different interpretations of the book. It is not possible to say with scientific certainty in what way a reader will interpret a book. To address this issue, this study focuses on the reader response theory as explained by Iser and Jauss. However, the reader response theory is at present supported by research from the cognitive theory to narratology. This study attempts to understand how a reader reasons with regards to a certain text. A further aim is to understand why a specific reader will think about and interpret the text in the way he or she does. In this study the books 30 Nagte in Amsterdam (30 Nights in Amsterdam) by Etienne van Heerden and Swartskaap (Black Sheep) by Odette Schoeman is used to test the hypothesis. Qualitative research methods were used and the data was processed in different stages as is displayed in the addendum DVD. Cognitive theory wants to explain how the reader will respond to the book as a whole, characters, events and the places and spaces represented in the novel. In this study, it was found that a reader's response will always be influenced by his/her background. Readers use their background either to make sense of the book and the story it tells or to make sense of what has happened in their own lives in order to accept and understand it. On account of the results reached in the study it can be argued that readers should be taken into account when books are reviewed and discussed, because they are the ones that have to do the actual reading. Because of this finding, this study puts forward the suggestion that a review model is developed so that readers can make informed decisions as to which book will be best suited to them. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2012

Every reader will respond to and think in a different way about a book. They will have different interpretations of the book. It is not possible to say with scientific certainty in what way a reader will interpret a book. To address this issue, this study focuses on the reader response theory as explained by Iser and Jauss. However, the reader response theory is at present supported by research from the cognitive theory to narratology. This study attempts to understand how a reader reasons with regards to a certain text. A further aim is to understand why a specific reader will think about and interpret the text in the way he or she does. In this study the books 30 Nagte in Amsterdam (30 Nights in Amsterdam) by Etienne van Heerden and Swartskaap (Black Sheep) by Odette Schoeman is used to test the hypothesis. Qualitative research methods were used and the data was processed in different stages as is displayed in the addendum DVD. Cognitive theory wants to explain how the reader will respond to the book as a whole, characters, events and the places and spaces represented in the novel. In this study, it was found that a reader's response will always be influenced by his/her background. Readers use their background either to make sense of the book and the story it tells or to make sense of what has happened in their own lives in order to accept and understand it. On account of the results reached in the study it can be argued that readers should be taken into account when books are reviewed and discussed, because they are the ones that have to do the actual reading. Because of this finding, this study puts forward the suggestion that a review model is developed so that readers can make informed decisions as to which book will be best suited to them. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2012

In die 1970’s (voor die ontwikkeling van gevorderde klanktegnologie) was Afrikaanssprekers gedwing om hulle self te vermaak. Volksliedjies en ander Afrikaanse liedjies is dikwels onbegeleid of met eenvoudige begeleiding gesing. In skole is kinders aan verpligte sangonderrig blootgestel en Afrikaanse kinderliedjies soos dié van Anna Rudolph is landwyd deur Afrikaanssprekers gesing. Vandag (2011) word hierdie liedjies baie selde gehoor, en sonder “backtracks”, mikrofone en klankversterkers vind feitlik geen kindersang meer plaas nie. Die doel van die studie is gemotiveer deur twee moontlike negatiewe gevolge van foutiewe aanvangsonderrig in ag te neem: die huidige (2011) positiewe resepsie van onaanvaarbaar geïntoneerde en swak gekomponeerde populêre liedere, en baie Afrikaanssprekers se skynbare onvermoë om te kan sing. Deur op die vertrekpunt van musiekonderrig en spesifiek die aanleer van Afrikaanse kinderliedjies soos dié van Anna Rudolph te fokus, is resepsie-aspekte van Afrikaanse kinderliedere uitgewys. Die literatuurstudie het die bestudering van Afrikaanssprekers se sangkultuur vanaf die 1970’s tot vandag (2011) en die resepsie van kinderliedere deur kinders behels. ’n Kwalitatiewe navorsingsontwerp is gebruik. Verskeie onderhoude is gevoer. 45 van Rudolph se kinderliedere is geëvalueer volgens erkende kriteria vir kinderliedere en ’n katalogus van die kultuurbydrae van Rudolph is saamgestel. Die uitvoer van ’n veldproef wat die samestelling van ’n nuwe Anna Rudolph-CD en -bladmusiek insluit, onderskei hierdie navorsing van enige vorige soortgelyke studie. Probleme ondervind tydens die studie sluit die finansiering van die produksie van die CD en die voortdurende bemarking en verkope daarvan in. Die saamstel van die katalogus van Anna Rudolph se kultuurbydrae het ’n uitgebreide soektog behels en is steeds onvolledig, aangesien Rudolph op versoek en soos wat geleenthede hulle voorgedoen het, onverpoos gekomponeer het en die komposisies dus nie almal gepubliseer is nie. Baie van die gepubliseerde komposisies se publikasiedatums kon ook nie opgespoor word nie. Die bevindinge waartoe geraak is, toon die vervanging van die Afrikaanse sangkultuur van die 1970’s met ’n elektroniese luisterkultuur (2011). Hierdie transformasie het oor ’n tydperk van 40 jaar plaasgevind. Daar bestaan reeds ’n hele geslag nuwe Afrikaanse ouers met klein kindertjies wat nie kan of wil sing nie. Dit bring mee dat die resepsie van baie Afrikaanse kinderliedere soos wat dit in musiekbundels verskyn kommerwekkend negatief is. Die evaluering van ’n seleksie van Anna Rudolph se kinderliedere het getoon dat die musiek van die 1970’s steeds vandag gebruik kan word, alhoewel sommige lirieke vernuwe moet word. Die verpakking van die liedjies in CD-formaat in plaas van musiekbundels is van deurslaggewende belang. Die navorsing met veral die suksesvolle uitvoering van die veldproef waartydens 1500 Anna Rudolph-musiekstelle (met opnames uit die 1970’s) verkoop is, bring die navorser by die volgende aanbeveling: Die hernude verwekking van ’n Afrikaanse sanglus moet nou dringend by klein kindertjies begin. Vir die strewe na hierdie doelwit moet daar deurlopend CD’s van Afrikaanse kinderliedjies vervaardig word wat gebaseer is op die volgende praktiese prosedure: <ul> <li> Die redigering van sekere Anna Rudolph-kinderliedjies asook dié van ander kinderliedkomponiste (van die 1970’s);</li> <li> Die krities-wetenskaplike evaluering (deur musiekkenners) van bestaande kinderliedere aan die hand van erkende kinderliedkriteria;</li> <li> Die implementering van ’n kinderpaneel om kinderliedere (wat voldoen aan die wetenskaplike kinderliedkriteria) te resepteer vir gebruik in skoolverband en by die ouerhuis;</li> <li> Die opneem van bogenoemde kinderliedjies op CD’s in ’n eietydse idioom en met gebruik van kindersangertjies en kinderkore as kunstenaars; en</li> <li> Die effektiewe verspreiding van sulke CD’s na Afrikaanse skole.</li></ul> ENGLISH : During the 1970s, before the development of advanced sound technology, Afrikaans speakers were compelled to entertain themselves. This included singing songs. Folk songs and other Afrikaans songs were often sung, either unaccompanied or with simple accompaniments. In schools children were exposed to compulsory tuition in singing, and children’s songs with Afrikaans texts, such as those by Anna Rudolph, were sung throughout the country. Currently (2011) these songs are seldom heard and almost no singing by children takes place without backtracks, microphones and sound amplifiers. The motivation for this study was the consideration of two results that could be regarded as negative due to incorrect initial instruction: the current (2011) positive reception of unacceptable intonation and badly-composed popular songs, and the apparent inability of many Afrikaans-speaking people to sing. By focussing on the starting point of music education, specifically the learning of Afrikaans children’s songs such as those written by Anna Rudolph, aspects of the reception of Afrikaans children’s songs were identified. The literature review covered studies of the singing habits of Afrikaans speakers from the 1970s until the present (2011) and the reception of children’s songs by children. A qualitative research design was used. Various interviews were conducted. 45 of Rudolph’s children’s songs were evaluated using recognised criteria for such songs and a catalogue of Rudolph’s cultural contribution was compiled. In the conducting of a field experiment a new CD of children’s songs by Anna Rudolph, plus sheet music, was produced, and this aspect sets the research apart from any previous, similar studies. Problems that were experienced during the study included the financing of the production of the CD as well as its ongoing marketing and sales. The compilation of the catalogue of Anna Rudolph’s cultural contribution required extensive research and it remains incomplete because Rudolph composed incessantly on request as well as for specific occasions. Consequently, not all the compositions were published. It was also not possible to ascertain the dates of publication of all the compositions. The conclusions reached indicate that the Afrikaans singing culture of the 1970s has been supplanted by an electronic listening culture (2011). This transformation has taken place over a period of 40 years. There is, therefore, a whole new generation of Afrikaans-speaking parents with young children who either cannot or will not sing. This results in a disturbingly negative reception of Afrikaans children’s songs that are published only as sheet music. The evaluation of a selection of Anna Rudolph’s children’s songs showed that this music from the 1970s can still be used today, although some lyrics would need to be updated. The packaging of the songs in a CD format instead of as sheet music would be of cardinal importance. The research gleaned from the successful conducting of the field experiment during which 1500 music sets of songs by Anna Rudolph (containing recordings made during the 1970s) were sold leads the researcher to the following recommendation: A new desire to sing in Afrikaans should be inculcated in young children as a matter of urgency. To attain this objective CDs of Afrikaans children’s songs should continually be produced, and these should be based on the following practical procedures: <ul> <li> The editing of selected Anna Rudolph children’s songs, and also those of other composers of children’s songs (from the 1970s);</li> <li> The critical and scientific evaluation of existing children’s songs (by music experts) according to recognised criteria for children’s songs;</li> <li> The formation of a reception panel of children to evaluate children’s songs (which satisfy the criteria for children’s songs) for use in schools and at home;</li> <li> The recording of such children’s songs on CDs in a contemporary idiom sung by children’s voices and children’s choirs; and</li> <li> The effective distribution of such CDs to Afrikaans schools.</li></ul> Additional information available on a CD, DVD stored at the Merensky Library on Level 3 Copyright / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

Summaries and keywords in English and Afrikaans / John Henry Newman maak in sy outobiografiese geskrifte 'n aantal belangrike verwysings na sy toewyding aan Johannes Chrysostomos. Is dit bloot 'n kwessie van vroomheid, of dui dit op 'n dieper verband met die punt dat Newman in sy eie teologiese begrip, geestelike insig en pastorale praktyk deur Chrysostomos beïnvloed word? Hierdie proefskrif poog om te toon dat die besonderse voorbereiding van Newman vir die lees van die Kerkvaders, en in besonder, sy omvattende begrip van Grieks, hom van jongs af tot 'n verdieping in die patristiese denke georiënteer het, 'n feit wat hoofsaaklik deur sy Briewe en Dagboeke getoon word. Die aanhaling van Chrysostomos as 'n teologiese gesag, in Newman se leerstellige geskrifte en in sy gepubliseerde prediking, word toenemend duidelik en demonstreer wat beskou kan word as teologiese eienskappe wat die twee teoloë gemeen het. In Newman se geestelike begeleiding, veral in sy geestelike bystand en begeleiding van vroue, blyk daar 'n korrelasie te wees met raad wat Chrysostomos in soortgelyke omstandighede gegee het. In hierdie studie word dit ondersoek in 'n vergelyking van die briewe van Chrysostomos aan Olympias, en die korrespondensie van Newman met Maria Giberne. Behalwe enkele teologiese ooreenkomste en invloede, eksplisiet sowel as implisiet, is daar bewyse dat Newman iemand baie soortgelyk aan homself in Chrysostomos gesien het: 'n diep teologiese denker wat as gevolg van sy prediking prominent geword het en aansienlike institusionele weerstand op 'n diep persoonlike manier weerstaan het, en ‘n aansienlike mate van verlies as gevolg van sy oortuiging gely het, en tog onbelemmerd in sy getrouheid aan wat hy as sy missie verstaan het, gebly het, as priester,teoloog, leraar en predikant. / John Henry Newman makes a number of significant references in his autobiographical writings to his devotion to John Chrysostom. Is this simply a matter of piety, or does it reveal a deeper connection to the point that Newman is influenced in his own theological understanding, spiritual insight, and pastoral practice by Chrysostom? This thesis attempts to demonstrate that Newman’s very particular preparation for reading the Fathers, and in particular, his comprehensive grasp of Greek, orientated him, from an early age, towards an immersion in Patristic thought, a fact largely demonstrated by his Letters and Diaries. Citation of Chrysostom as a theological authority, in Newman’s doctrinal writings, and in his published preaching, becomes increasingly evident, and demonstrates what might be considered theological characteristics the two theologians hold in common. In Newman’s spiritual direction, particularly in his spiritual accompaniment and guidance of women, there appears to be a correlation with advice given by Chrysostom in similar circumstances; in the present study this is treated in a comparison of the letters of Chrysostom to Olympias, and Newman’s correspondence with Maria Giberne. Beyond any theological similarities, and influences both explicit and implicit, there is evidence that Newman saw in Chrysostom someone very similar to himself: a profound theological thinker, who rose to prominence as a result of his preaching, and who met with serious institutional opposition expressed in a deeply personal way, suffered a considerable amount of loss as a result of holding to his convictions, and yet remained undeterred in his fidelity to what he understood to be his mission, as a priest, a theologian, a teacher and a pastor. / New Testament / D. Litt. et Phil. (Biblical Studies)

advancements in Old Testament and New Testament Studies. For example, new knowledge is available on the variant versions of the Septuagint and application of the literary concept of intertextuality has yielded significant results in recent biblical scholarship. However, considering that 1 Peter arguably uses the Old Testament in the most condensed manner of all the New Testament writings, it is surprising that relatively few recent studies have been carried out on the use of the Old Testament in 1 Peter. As a partial corrective to this situation, this in-depth study is focused on the use of the Psalms in 1 Peter, utilizing an integrated hermeneutical procedure that combines traditional grammatical-historical analysis with the state of the art on New Testament use of the Old Testament. The aim is to clarify the hermeneutical implications of the use of the Psalms in 1 Peter for Old Testament and New Testament exegesis within the Reformed tradition today. Thus, a comprehensive exegetical approach is systematically applied to each pericope of 1 Peter and to every relevant Psalm passage in order to establish a valid foundation for understanding how the author interprets the Psalms and how the Psalm references function within the argument of 1 Peter. In addition, intertextual resonance is considered as an effective means to enhance understanding of the function and effect of Psalm references as intended by the author, and to determine the possible unintended effect of Psalm references upon the addressees and later readers. Furthermore, consideration of reader response sometimes makes it possible to identify echoes of Psalm passages not likely intended by the author, but nevertheless, very likely to have come to the minds of the recipients with significant effect. One conclusion of this study is that there is no compelling evidence that the author’s interpretation of the Psalms ignored the intended meaning of the Psalm in its own context, or merely reflected contemporary Second Temple interpretations. Furthermore, it has been possible to refine the criteria for identifying and classifying Psalm allusions rather than merely following broad, predetermined criteria. Thus, a distinction is made between specific allusion, in which case the author’s argument depends upon recognition of specific Psalm passages, and general allusion, in which case the author’s argument depends upon a concept recognizably derived from the Psalms but not limited by the wording of specific references. This study also demonstrates that the use of the Psalms in 1 Peter is based upon a strong sense of solidarity with believers of the past, especially as they expressed their responses to God in the context of suffering. In particular, compared with other New Testament writings, 1 Peter stands out for the fact that the majority of its Psalm allusions are used for the purpose of developing and reapplying significant themes. Thus, 1 Peter provides compelling reason for present-day interpreters to view theme development as a valid and effective way to apply the Psalms to the circumstances of Christian believers as they face the challenge of living faithfully in new contexts of suffering and persecution. / PhD (New Testament), North-West University, Potchefstroom Campus, 2014

advancements in Old Testament and New Testament Studies. For example, new knowledge is available on the variant versions of the Septuagint and application of the literary concept of intertextuality has yielded significant results in recent biblical scholarship. However, considering that 1 Peter arguably uses the Old Testament in the most condensed manner of all the New Testament writings, it is surprising that relatively few recent studies have been carried out on the use of the Old Testament in 1 Peter. As a partial corrective to this situation, this in-depth study is focused on the use of the Psalms in 1 Peter, utilizing an integrated hermeneutical procedure that combines traditional grammatical-historical analysis with the state of the art on New Testament use of the Old Testament. The aim is to clarify the hermeneutical implications of the use of the Psalms in 1 Peter for Old Testament and New Testament exegesis within the Reformed tradition today. Thus, a comprehensive exegetical approach is systematically applied to each pericope of 1 Peter and to every relevant Psalm passage in order to establish a valid foundation for understanding how the author interprets the Psalms and how the Psalm references function within the argument of 1 Peter. In addition, intertextual resonance is considered as an effective means to enhance understanding of the function and effect of Psalm references as intended by the author, and to determine the possible unintended effect of Psalm references upon the addressees and later readers. Furthermore, consideration of reader response sometimes makes it possible to identify echoes of Psalm passages not likely intended by the author, but nevertheless, very likely to have come to the minds of the recipients with significant effect. One conclusion of this study is that there is no compelling evidence that the author’s interpretation of the Psalms ignored the intended meaning of the Psalm in its own context, or merely reflected contemporary Second Temple interpretations. Furthermore, it has been possible to refine the criteria for identifying and classifying Psalm allusions rather than merely following broad, predetermined criteria. Thus, a distinction is made between specific allusion, in which case the author’s argument depends upon recognition of specific Psalm passages, and general allusion, in which case the author’s argument depends upon a concept recognizably derived from the Psalms but not limited by the wording of specific references. This study also demonstrates that the use of the Psalms in 1 Peter is based upon a strong sense of solidarity with believers of the past, especially as they expressed their responses to God in the context of suffering. In particular, compared with other New Testament writings, 1 Peter stands out for the fact that the majority of its Psalm allusions are used for the purpose of developing and reapplying significant themes. Thus, 1 Peter provides compelling reason for present-day interpreters to view theme development as a valid and effective way to apply the Psalms to the circumstances of Christian believers as they face the challenge of living faithfully in new contexts of suffering and persecution. / PhD (New Testament), North-West University, Potchefstroom Campus, 2014