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The use of fantasy in christian church sermons in the central Gauteng areaKrige, Alta January 2006 (has links)
Thesis (MTech. degree in Drama)--Tshwane University of Technology, 2006. / This study aims to express the inherent connection between fantasy literature
and the Christian church and how this connection can be employed in
Christian church sermons.
It is a utilitarian study, aimed to place the art of fantasy literature and the oral
interpretation thereof in service of, in this case, the church. The twenty-first
century church needs to find ways to minister effectively to the postmodern
person. Fantasy literature can help fulfil some of these needs.
Fantasy and Religion seems to have a natural connection. History shows
that the earliest fantasies had religious, and specifically Christian,
connotations. The inherent attributes of fantasy make it predisposed to
spiritual meaning. The combination of these factors makes it a useful genre
to help explain Biblical and Spiritual concepts.
This dissertation aims to show how the two divergent ideas of faith and
fantasy can be reconciled and how it is currently being done in churches in
Gauteng. A multiple or collective case study design has been used with a
purposive sampling method with a theoretical base. Semi-structured
interviews have been conducted with pastors and ministers from a variety of
churches, to discover to what extent fantasy is currently being used in church
sermons in Gauteng.
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El Sur como espacio identitario en Torres García, Borges y SolanasPageau, Christian 05 1900 (has links)
No description available.
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El Sur como espacio identitario en Torres García, Borges y SolanasPageau, Christian 05 1900 (has links)
L’étude conceptualise la symbolique du Sud en tant qu’espace identitaire
construit par une idéologie politique et une esthétique.
Les cartes géographiques inversées (1936, 1943) de Joaquín Torres García
(Uruguay) sont une prise de position politique qui affirme le pouvoir d’énonciation des
artistes latino-américains de façon indépendante aux centres culturels européens. Sa
théorie, l’« Universalisme Constructif », propose un nouvel art pour l’Amérique latine,
combinant l’éthique artistique précolombienne et l’abstraction moderniste.
Dans la nouvelle « Le Sud » (1953) et l’essai « L’écrivain argentin et la
tradition » (1951), Jorge Luis Borges (Argentine) redéfinit la littérature latino
américaine, marginalisée et périphérique, en tant que littérature qui a droit à toute la
culture occidentale. Il rejette une culture qui ne serait que nationaliste.
Le diptyque de Fernando Solanas (Argentine) formé des films Sud (1985) et
Tangos, l’exil de Gardel (1988) est étudié à partir de son manifeste « Vers un Tiers-
Cinéma » (1969), coécrit avec Octavio Getino. Dans le diptyque, le Sud est un espace
de dénonciation des censures de la dictature et de l’impérialisme, mais aussi un espace
de rénovation culturelle et identitaire. Dans son cinéma, Solanas utilise un produit
culturel régional, le tango, comme outil de dénonciation politique.
Tout au long de l’étude, on utilise des notions de Michel Foucault,
(hétérotopie) et de Walter Mignolo (le centre amovible) pour approfondir le sens de
l’espace Sud. / This study conceptualizes the symbolism of the South as an identity space built
by a political ideology and a local aesthetics.
The Uruguay artist Joaquín Torres García’s inverted maps (1936, 1943) are a
political stand that asserts the enunciative power of Latin American artists who create
independently of the European cultural centers. His theory of “Constructive
Universalism" proposes a new art for Latin America, for the South, and originating in
the South, by combining pre-Colombian artistic ethics and modernist abstraction.
In the short story "The South" (1953) and the essay "The Argentine writer and
the tradition" (1951), the Argentine writer Jorge Luis Borges redefines South
American literature, marginalized and peripheral, as a literature that is entitled to all
aspects of the Western culture. By doing so, he rejects a culture that would only be
nationalist.
We analyze Argentine filmmaker Fernando Solanas’ cinematic diptych, which
includes the films South (1985) and Tangos, the Exile of Gardel (1988) in dialogue
with the manifesto "Towards a Thrid Cinema" (1969), co-written with Octavio Getino.
The South is seen as a space for the denunciation of the censorships imposed by the
dictatorship and imperialism, but also as a space for the renovation of culture and
identity. In the two movies, Solanas uses a regional cultural product, the tango, as tool
of political denunciation.
Throughout the study, we use Michel Foucault's notion of “heterotopia” and
Walter Mignolo’s concept of the “moveable center” to explore South’s multiple
meanings. / Esta memoria conceptualiza la simbólica del Sur como un espacio identitario
construido por una ideología política y una estética.
Los mapas geográficos inversos de (1936, 1943) de Joaquín Torres García
(Uruguay) son una postura política que afirma el poder de enunciación de los artistas
latinoamericanos de modo independiente con respecto a los centros culturales
europeos. Su teoría, el Universalismo Constructivo, propone un nuevo arte para
América Latina que combina la ética artística precolombina y la abstracción
modernista.
En el cuento “El Sur” (1953), y el ensayo “El escritor argentino y la tradición”
(1951), Jorge Luis Borges (Argentina) vuelve a definir la literatura latinoamericana,
marginada y periférica, como una literatura que tiene derecho a toda la cultura
occidental. Rechaza una cultura que sólo sería nacionalista.
Estudiamos el díptico de Fernando Solanas (Argentina), constituido por las
películas Sur (1985) y Tangos, el exilio de Gardel (1988) a partir del manifiesto
“Hacia un Tercer Cine” (1969), co-escrito con Octavio Getino. En el díptico, el Sur es
un espacio de denuncia de las censuras de la dictadura y del imperialismo, pero
también un espacio de renovación cultural e identitaria. En su cine, Solanas utiliza un
producto cultural regional, el tango, como instrumento de denuncia política.
A lo largo del estudio, utilizamos nociones de Michel Foucault, (heterotopía) y
de Walter Mignolo (movilidad del centro) para ahondar en el significado del espacio
Sur.
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