Die literêre simbool word onderskei van die konvensionele simbool soos dit in A dictionary of Symbols van J.E. Cirlot verskyn. Die literêre simbool kan in die literêre kunswerk dieselfde, of 'n ander betekenis as die konvensionele simbool hê. Die literêre kunswerk self is die kontrole vir die literêre simbool. Die literêre kunswerk moet genoeg konstituerende elemente bevat om die literêre simbool "simbool" te maak. 'n Woord wat as literêre simbool funksioneer, kan in ander verse, selfs in dieselfde vers, weer voorkom sonder dat dit simbolies funksioneer. Die studie wys op die gevare van waninterpretasie indien simboliek van buite die kunswerk op die kunswerk afgedwing word. "Vel", "glas", "groen", "swart", "wit", en "water" word as simbole in Die ysterkoei moet sweet bespreek. Tabulering by hoofstukke 4, 5 en 6 dui aan in watter verse en versreëls die simbole voorkom, asook waar dieselfde woorde voorkom, maar nie as simbole funksioneer nie. Die simbole wat behandel word, is terugkerende simbole; dit keer telkens terug en roep telkens dieselfde assosiasie op, naamlik die van wysiging van konvensionele grense. Terselfdertyd skep dit 'n wêreld van versoenende eenheid, 'n wêreld waarin die paradoks van lewe en dood, binne en buite, heel en verbrokkeld, een word. In hoofstuk 7 wys die studie ook op die waarde van "buite-literêre" gegewe, naamlik die invloed van die Zen-Boeddhisme en die Surrealisme in Breytenbach se poësie. Hierdie invloede bevestig wat reeds deur analise uit die vers duidelik geword het: dit is nie irrelevant ten opsigte van die poësie nie, maar dit alleen kan nie die vers bevredigend genoeg verklaar nie. Die slotsom is dat die eenheid van 'n totale wêreld, deur o.a. die gebruik van terugkerende simbole, in Breytenbach se poësie herkenbaar word wanneer, met die vers as enigste gegewe, die verse aan analise onderwerp word. / Dissertation (MA)--University of Pretoria, 1982. / gm2013 / Afrikaans / MA / Unrestricted

This study was motivated by a crisis in Biblical hermeneutics within postmodernity. Within postmodernity the Bible is no longer read for various reasons and therefore it has become inaccessible for many people although they own a Bible. The Biblical world is too ‘strange’ and therefore for many people it has lost its relevance to today’s challenges and daily struggles. The problem of interpretation and understanding becomes even more complicated with a book like the Revelation of John where the message is hidden behind culturally and historically conditioned symbols and metaphors. There are numerous interpretations and commentaries available to help explain these books, but through these explanations and interpretations much of the narrative and literary affect of these writings is lost. There are however books, such as J R R Tolkien’s The Lord of the Rings, which have a tremendous impact on millions of readers throughout the world. Tolkien’s book together with the Revelation of John, have deeply inspired me as books of comfort and strength in times of trial. The questions arose whether these two books can be compared, and secondly, whether a well-loved book like The Lord of the Rings, can be used to help readers to enter the world of a wonderful biblical book like Revelation? These two questions could not be answered with a simple comparative study, but needed to be asked within a theological hermeneutical framework which led to the hypotheses of this study: It is hermeneutically and theologically justifiable to make use of secondary, non-biblical literature which is comparable in its intent, genre, theological perspective, characters and plot, as a hermeneutical tool with which to elucidate and gain access to primary biblical literature. It was in the search for an appropriate hermeneutic which is theologically justifiable that I discovered the narrative-critical approach. The search for a hermeneutical approach which would create the necessary space for a non-biblical literary work to be used to interpret and elucidate a biblical work raised numerous theological questions, such as questions with regards to scriptural authority and the question of the relationship between revelation and scripture. I reflected on this approach theologically with regards to revelation and the authority of Scripture and discovered that this hermeneutical approach is very appropriate within a postmodern context as it aptly responds to the challenges of postmodernity. The two narratives were described within the narrative-critical approach and then compared with each other using the principle of analogy. It was discovered that these two narratives have enough important similarities with regards to intent, genre, theological perspective, characters and plot, so that the one can be used to illuminate the other. It is the conclusion of this study that the narrative critical approach is a wonderful hermeneutical tool not only to elucidate biblical books, but also to interpret and understand contexts and identity-forming stories and to bring these stories into dialogue with Scripture with the help of secular and contemporary literature where needed. / Thesis (DD (New Testament Studies))--University of Pretoria, 2007. / New Testament Studies / unrestricted

The presence of at least two prominent streams of church music within the DRC is evident – this is also true of most other Protestant and Reformed churches. There is tension between the ‘old music’ and the ‘new music’; traditional church music and contemporary church music; the official repertoire of church music and the utilized repertoire of songs. Liturgical singing often includes various free songs (songs outside the official hymnal). Songs from various traditions are cut and pasted or copied and merged into liturgy through a process of bricolage. Within bricolage liturgy there is a growing tendency towards bricolage liturgical singing. A brief overview of the history of church music illustrates the complexities regarding church music. The official song of the temple was often complimented by the ecstatic song of individuals. The more formal and official song of the church often stood in contrast to the song and music that were played and sung in houses and elsewhere. Christian believers in different eras expressed themselves in different forms and genres of music. The Bible does not support a blueprint for church music. There is no Biblical church music, mainly because no ‘melodies’ could be preserved (cf. Mowinckel 2004:9). The latter is further complicated by the culture-bound nature of Biblical music and songs. The Biblical data mostly provides snapshots of instances where God’s people utilized music and singing in their interaction with the Almighty and covenantal God. Certain principles and guidelines for church music could be drawn from these, although the danger of fundamentalism, relativism and subjectivism remains. A study of liturgy illustrates the important role of music and singing within the dialogue of the liturgy. Recent studies emphasize that church music could function as a ritual symbol within a specific cultural or sub-cultural community. As such church music is closely related to the culture (or sub-culture) of a given community and can never be evaluated apart from that culture. Within a postmodern culture, church music will be greatly influenced and coloured by the values and attitudes of postmodernism. The latter have major implications for musical styles, genres, repertoires and the sanctification of church music. Within postmodernism the borders between sacred and secular are not so clear, neither between sacred (liturgical) music and secular music. Within Western culture and postmodernism there is a growing need for an inculturated and an inter-culturated song, expressing the smaller narrative(s) of the local congregation in idioms, language, metaphors and styles true to the local culture. Church music is closely related to the spirituality of the local congregation. The dominant type of spirituality will necessarily have a sound influence on the musical genres, accompaniments, styles and repertoire of the local congregation. The growing phenomenon of popular spirituality has definite implications for church music. At least three circles of spiritualities must find expression in the song of the local congregation, namely an ecumenical spirituality, a denominational spirituality and a congregational spirituality. Where the official song (Liedboek van die Kerk) gives expression to the denominational or Reformed spirituality as well as the meta-narrative, the free song often gives expression to the congregational spirituality as well as the smaller narrative. It is argued that the freely chosen song is an important means of expressing the spirituality of the local congregation (culture). In this sense, it does not threaten the official church song but compliments it. These two could stand in a positive and creative tension. Regarding liturgical singing, the DRC is presently moving from a societas through a phase of communitas to a new societas. It is impossible to predict the outcome of this process. As Burger (1995:31) indicates, a communitas-phase releases a lot of new energy that could be of great value to the church. Church music, as folk music and cultural music, will have to be faithful to the culture and spirituality of God’s people living in the twenty first century within a given context. The age-old tradition must continue hand in hand with a new song. Vos (2009:5) summarizes accurately: “However, each generation of believers must interpret the ancient sources and traditions of the Church anew, within the demands of their time, without being unfaithful to the traditions in which a definitive liturgy exists”. / Thesis (PhD)--University of Pretoria, 2011. / Practical Theology / unrestricted

Die Bybel is die boek wat die meeste gelees word en tog is dit moeilik om die leefwêreld van daardie era te verstaan. My doel is om ’n nuwe blik te gee op ’n paar Ou-Testamentiese simbole. Die ontdekking van ivoorobjekte in die middel negentiende eeu in Nimrud se paleise het tot groot opwinding gelei, aangesien dit met die literatuur ooreenstem. Die ivoorstukke het ’n “verhaal” kom vertel. Deur die streke se kuns te bestudeer kan ons ’n prentjie vorm van die kuns wat in die Ystertydperk in Mesopotamië en Palestina se paleise en welaf huise voorgekom het. Die ikonografie word ontrafel deur ’n paar ivoorstukke te “lees.” Ikonografie is die beskrywing en verklaring van beelde wat op bepaalde onderwerpe betrekking het. Sekere beelde kom herhaaldelik voor in Mesopotamië. In dié studie word hoofsaaklik die Gevleuelde Wesens, die Boom van Lewe, die Gevleuelde Sonskyf asook Rosette beskryf. / The Bible is widely read but it is difficult to understand the world and culture of the era that it is set in. It is my aim to provide new insight into a few Old Testament verses with their symbolic meaning. When ivory was discovered at Nimrud the discovery elicited huge excitement. The ivory pieces came to tell a story. Through studying the art of the different cultures a picture begins to appear of the palaces and homes of the wealthy in the Levant. The iconography could be “read.” Iconography is the science of interpreting the message the art wants to convey to the viewer. A few images are repeatedly showing up in the Levant during the Iron Age. In this study I am focusing mainly on The Tree of Life, the Winged Disc, the Rosette and Winged Spiritual Beings. I am attempting to discern the meaning behind these images. / Biblical & Ancient Studies / M.A. (Ou Nabye-Oosterse Studies)

Die Bybel is die boek wat die meeste gelees word en tog is dit moeilik om die leefwêreld van daardie era te verstaan. My doel is om ’n nuwe blik te gee op ’n paar Ou-Testamentiese simbole. Die ontdekking van ivoorobjekte in die middel negentiende eeu in Nimrud se paleise het tot groot opwinding gelei, aangesien dit met die literatuur ooreenstem. Die ivoorstukke het ’n “verhaal” kom vertel. Deur die streke se kuns te bestudeer kan ons ’n prentjie vorm van die kuns wat in die Ystertydperk in Mesopotamië en Palestina se paleise en welaf huise voorgekom het. Die ikonografie word ontrafel deur ’n paar ivoorstukke te “lees.” Ikonografie is die beskrywing en verklaring van beelde wat op bepaalde onderwerpe betrekking het. Sekere beelde kom herhaaldelik voor in Mesopotamië. In dié studie word hoofsaaklik die Gevleuelde Wesens, die Boom van Lewe, die Gevleuelde Sonskyf asook Rosette beskryf. / The Bible is widely read but it is difficult to understand the world and culture of the era that it is set in. It is my aim to provide new insight into a few Old Testament verses with their symbolic meaning. When ivory was discovered at Nimrud the discovery elicited huge excitement. The ivory pieces came to tell a story. Through studying the art of the different cultures a picture begins to appear of the palaces and homes of the wealthy in the Levant. The iconography could be “read.” Iconography is the science of interpreting the message the art wants to convey to the viewer. A few images are repeatedly showing up in the Levant during the Iron Age. In this study I am focusing mainly on The Tree of Life, the Winged Disc, the Rosette and Winged Spiritual Beings. I am attempting to discern the meaning behind these images. / Biblical and Ancient Studies / M.A. (Ou Nabye-Oosterse Studies)