[pt] O objetivo do presente trabalho é examinar o quadro teórico proposto pela obra do filósofo germano-americano Eric Voegelin (1901-1985), seus paradigmas orientadores e suas possíveis contribuições para a ciência da história e da política. Tomando como pressuposto a existência de uma dimensão espiritual na experiência humana, a obra voegeliniana procura oferecer instrumentos conceituais aptos a vislumbrar pontos de encontro entre a política e a religião. No cerne de sua problemática está o papel que símbolos exercem no ordenamento da vida humana e a natureza das experiências às quais esses símbolos procuram se reportar. Procuraremos explorar como Voegelin discerne as experiências que denominamos religiosas, como elas se manifestam na realidade política ao longo da história e como elas adquirem autoridade social. Paralelamente a isso, procuraremos explorar como símbolos podem se desprender das suas experiências engendradoras e gerar discursos ideológicos em desarmonia com a experiência da realidade. Na medida em que examinarmos como Voegelin trata esses e outros problemas, procuraremos expor os parâmetros através dos quais esse pensador elabora a sua própria filosofia da política e da história. / [en] The objective of this study is to examine the theoretical framework laid out in the works of German-American philosopher Eric Voegelin (1901-1985), its guiding paradigms, and its tentative contributions for the science of history and politics. Presupposing the existence of a spiritual dimension to human existence, Voegelin s work seeks to provide conceptual instruments fit to explore the meeting points between politics and religion. At the center of its problematic is the role of symbols in the ordering of human life and the nature of the experiences to which these symbols refer. We shall seek to explore how Voegelin discerns the experiences we term religious, the way in which they manifest in political reality throughout history, and how they acquire social authority. Parallel to these questions, we shall explore how symbols can detach themselves from their engendering experiences and develop ideological discourses removed from the experience of reality. As we examine how Voegelin deals with these and other questions, we shall seek to expose the parameters through which this thinker elaborates his own philosophy of politics and history.

Den långa traditionen av sekularitet i Frankrike har ett stort inflytande i den publika sfären och har därmed blivit djupt rotad i den franska identiteten. Den sekulära ideologin har resulterat i en lag som förbjuder religiösa symboler i skolan. Sedan hösten 2004 får muslimska flickor inte längre bära slöja i skolan. Syftet med denna uppsats är att presentera unga muslimska kvinnors uppfattning och syn angående denna nya lag. Uppsatsen strävar efter att förstå hur lagen har påverkat dessa kvinnor. Arbetet betonar också unga muslimska kvinnors föreställning om slöjan såväl som deras erfarenheter av ett sekulärt samhälle. Essän är ett resultat av empiriskt arbete av kvalitativ karaktär byggd på ostrukterade intervjuer med sju muslimska kvinnor. Saids koncept orientalism och Foucaults teori om governmentality är centrala element i analysen. Analysen i sin helhet är baserad på olika begrepp. Arbetet konkluderar en ökning av muslimska kvinnors exkludering som en följd av lagen. Lagen har således fått effekter utanför skolans sfär. Muslimska kvinnor i den här studien är stigmatiserade på grund av deras slöja och lagen har plötsligt legitimerat diskriminering mot dem. / The long tradition of secularism in France has a great influence in the public sphere. It is furthermore deeply ingrained in the French identity. Eventually the secular ideology resulted in a law against religious symbols in school. Since autumn 2004 Muslim girls are not any longer permitted to wear the veil in school. This thesis aims to present the perspective of young Muslim women in France regarding the new law. It seeks to capture how the law has had an influence on these women. Additionally it puts forward young Muslim women´s experiences of a secular society and their understandings of the veil. It is an empirical study of a qualitative character, based on unstructured interviews with seven Muslim women. Said´s notion of orientalism and Foucault´s idea of governmentality are central elements in the analysis. Further, the analysis of the empirical material is structured around a variety of concepts. The paper concludes that the law has contributed to an increased islamophobia in French society. Further, Muslim women are excluded to a greater extent due to the law. Hence the law has been extended beyond the educational sphere. Muslim women in this study are stigmatised due to their veil and the law has suddenly legitimatized discrimination against them.

[ES] La pintura abstracta de tipo matérico se manifestó en Puerto Rico para la década de 1950 siguiendo en sus inicios los signos del arte estadounidense y europeos. Esta incorpora cantidades significativas de materiales pictóricos y/o extrapictóricos sobre el soporte. El estilo abstracto en Puerto Rico fue politizado por un grupo de artistas que entendieron que era un arte integrista de la cultura estadounidense y primaron la figuración como el estilo idóneo para afirmar la identidad cultural puertorriqueña. Este conflicto surgió en el contexto de la aprobación de la constitución del Estado Libre Asociado de Puerto Rico en 1952 como fórmula de gobierno bajo los poderes plenos del Congreso de los Estados Unidos. El arte abstracto proliferó al margen del gobierno que auspiciaba a través del arte y la cultura el desarrollo de proyectos que sirvieron para forjar la idiosincrasia cultural puertorriqueña. Por una parte, analizamos la construcción de varios símbolos identitarios bajo el concepto de imágenes ardientes de Didi-Huberman para intentar explicar cómo la imagen figurativa se podría fijar en la memoria colectiva. Por otra parte, proponemos un análisis del fenómeno opuesto a la imagen, la abstracción matérica tomando en consideración la Teoría de la proyección sentimental de Theodoro Lipps esbozada por Wilheim Worringer. Esta argumenta que una de las posibles razones para que surja el "afán por la abstracción" proviene de una "intensa inquietud" provocada por las condiciones de vida adversas. Según Worringer, lo abstrayente evade representar la realidad por medio de las imágenes. Tomando en cuenta que la abstracción de tipo matérico se fundamenta en la incorporación de cargas de material pictórico o extra-pictóricos sobre el soporte o fuera del mismo, a modo de "derrame" de instalación-ambiente, proponemos que esta no necesariamente elude la realidad, sino que, forma parte de ella por el tipo de relieve que le identifica más con la tridimensionalidad. Consideramos el concepto de la transmodernidad esbozado por el filósofo Enrique Dussel como un acercamiento de análisis descolonizador que fija la atención en el reconocimiento de la producción local frente a las influencias extranjeras y más allá de ellas. En ese contexto que toma en cuenta las influencias euro-estadounidense pero que busca identificar razones locales que expliquen la manifestación de la pintura abstracta, identificamos las obras de tipo matérico más significativas en las colecciones públicas del país a lo largo de las décadas de 1950 al 2020. Finalmente, investigamos dos casos de estudio: los artistas Ivelisse Jiménez y Ángel Otero por ser estos representantes actuales de este tipo de arte con trayectorias consistentes. El análisis de sus obras nos permitió descubrir cuáles son sus influencias, a qué aluden sus abstracciones, qué tipo de evasión y regreso a la realidad, según Worringer y otras escuelas, plantean sus producciones artísticas y cuál es la aportación de la pintura abstracta de tipo matérico al conocimiento del arte en Puerto Rico. / [CA] La pintura abstracta de tipus matèric es va manifestar a Puerto Rico en la dècada del 1950, tot seguint inicialment els signes de l'art estatunidenc i europeu. Aquest tipus de pintura incorpora damunt del suport quantitats significatives de materials pictòrics i/o extrapictòrics. L'estil abstracte el va polititzar a Puerto Rico un grup d'artistes que el considerava com una part integral de la cultura estatunidenca, i per tant primà la figuració, que veia com l'estil idoni per a afirmar la identitat cultural porto-riquenya. Aquest conflicte va sorgir en el context de l'aprovació de la constitució de l'Estat Lliure Associat de Puerto Rico l'any 1952, com a fórmula de govern sota els poders plens del Congrés dels Estats Units. L'art abstracte va proliferar al marge del govern, que afavoria a través de l'art i la cultura el desenvolupament de projectes que serviren per a forjar la idiosincràsia cultural porto-riquenya. D'una banda, analitzem la construcció de diversos símbols identitaris sota el concepte d'imatges ardents de Didi-Huberman, tot mirant d'explicar com la imatge figurativa es podria fixar en la memòria col·lectiva. D'altra banda, proposem una anàlisi del fenomen oposat a aquesta imatge: l'abstracció matèrica. I ho fem tot prenent en consideració la teoria de la projecció sentimental de Theodoro Lipps, esbossada per Wilheim Worringer, teoria que argumenta que una de les possibles raons perquè sorgisca l'"afany per l'abstracció" prové d'una "intensa inquietud" provocada per les condicions de vida adverses. Segons Worringer, l'abstraent evadeix representar la realitat per mitjà de les imatges. Tenint en compte que l'abstracció de tipus matèric es fonamenta en la incorporació de càrregues de material pictòric o extrapictòric damunt del suport -o bé fora del suport, a manera de vessament d'instal·lació ambient- proposem que aquesta abstracció no necessàriament eludeix la realitat, sinó que en forma part pel tipus de relleu, que la identifica més amb la tridimensionalitat. Considerem el concepte de la transmodernitat, esbossat pel filòsof Enrique Dussel com una aproximació d'anàlisi descolonitzadora que fixa l'atenció en el reconeixement de la producció local, enfront i més enllà de les influències estrangeres. En aquest context, que té en compte les influències europees i estatunidenques, però que cerca identificar raons locals que expliquen la manifestació de la pintura abstracta, identifiquem les obres de tipus matèric més significatives de les col·leccions públiques del país al llarg de les dècades que van del 1950 al 2020. Finalment, investiguem dos casos d'estudi: els artistes Ivelisse Jiménez i Ángel Otero, que són representants actuals d'aquest tipus d'art amb trajectòries consistents. L'anàlisi de les seues obres ens ha permès descobrir quines són les seues influències, a què al·ludeixen les seues abstraccions, quin tipus d'evasió i retorn a la realitat, segons Worringer i altres escoles, plantegen les seues produccions artístiques, i quina és l'aportació de la pintura abstracta de tipus matèric al coneixement de l'art a Puerto Rico. / [EN] Abstract matter painting surge in the 1950s, following in its beginnings the signs of American and European art. It incorporates significant amounts of pictorial and/or all kind of materials on the support. The abstract style in Puerto Rico was politicized by a group of artists who understood it to be representative of the American culture and realistic art prevailed as the ideal style to affirm the Puerto Rican cultural identity. This conflict arose in the context of the approval of the constitution of the Commonwealth of Puerto Rico in 1952 as a form of government under the full powers of the United States Congress. Abstract art proliferated outside the government that sponsored through art and culture the development of projects that served to forge the Puerto Rican cultural idiosyncrasy. On the one hand, we analyze the construction of various identity symbols under Didi-Huberman's concept of burning images; to try to explain how the figurative image could be fixed in the collective memory. On the other hand, we propose an analysis of the phenomenon opposed to the image, the material abstraction, taking into consideration Theodore Lipps' Theory of Sentimental Projection outlined by Wilheim Worringer. This argues that one of the possible reasons for the surge of the "desire for abstraction" comes from an "intense concern" caused by adverse living conditions. According to Worringer, the abstractions evades representing reality through images. Considering that abstract matter painting is based on the incorporation of loads of material on the support, or outside of it, as an installation-environment "spill", we propose that it does not necessarily elude reality, but is part of it due to the type of relief that identify more with tridimensionality. We consider the concept of transmodernity outlined by the philosopher Enrique Dussel as an approach to decolonizing analysis that focuses on the recognition of local production in the face of foreign influences and beyond. In this context that considers Euro-American influences but seeks to identify local reasons that explain the manifestation of abstract painting, we identify the most significant materic abstract paintings in the country's public collections throughout the 1950s to 2020. Finally, we investigate two case studies: the artists Ivelisse Jiménez and Ángel Otero for being these current representatives of this type of art with consistent trajectories. The analysis of his works allowed us to discover which are their influences, what they allude, what kind of evation and return to reality according to Worringer and other schools their work propose and what is the contribution of abstract matter painting to the knowledge of art in Puerto Rico. / Cruz Corchado, R. (2022). La pintura abstracta matérica en Puerto Rico 1950-2020 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181338

Denna uppsats utforskar förhållandet mellan filmtekniska aspekter av klipptempo och en mors ilska i avsnitt 6 Fishes av TV-serien The Bear. Genom en kvalitativ analys, med en kvantitativ tabell som bas, granskas avsnittet med hjälp av semiotisk teori om symboler och genusteori om mom rage för att upptäcka kopplingar mellan timern som symbol och mammans ilska. Resultaten visar på en medveten användning av tempo och timer för att gestalta mammans stress och ilska. Användningen av tempo och timer i köksscenerna i The Bear bidrar till att skapa en känsla av intensitet och stress som speglar mammans upplevelse av händelserna.  Detta dokument inkluderar även en designdokumentation vid namn Stranger Things - en titelsekvens som var en del av examensarbetet för Visuell kommunikation. Projektet är en animation på hur en titelsekvens till TV-serien Stranger Things hade kunnat se ut. Designdokumentationen börjar från sida 31. / This paper explores the relationship between filmic aspects of editing pace and a mother's anger in Episode 6, Fishes, of the TV series The Bear. Through a qualitative analysis, supported by a quantitative table, the episode is examined using semiotic theory of symbols and gender theory of mom rage to uncover connections between the timer as a symbol and the mother's anger. The findings demonstrate a deliberate use of tempo and timer to portray the mother's stress and anger. The utilization of tempo and timer in the kitchen scenes of The Bear contributes to creating a sense of intensity and stress that mirrors the mother's experience of the events.

The Order of the Seraphim is Sweden's foremost order of chivalry and is conferred upon members of the Swedish Royal House, foreign heads of state or individuals of equal merits. Each new knight of the order is expected to submit a proposal for a heraldic coat of arms, a Seraphim Coat of Arms, which is then painted. Heraldry has traditional and often strict rules, and the sole function of a coat of arms is to identify its owner. However, this does not prevent a coat of arms from conveying idea-content, such as specific messages and identities. This essay is a qualitative analysis of the Seraphim Coats of Arms of Finnish and Icelandic presidents, where the aim is to analyze symbols and idea-content, heraldic style as well as style development and national differences. The investigation analyzes the Seraphim Coats of Arms of eight Finnish presidents and five Icelandic presidents between the years 1925 and 2018. The essay employs semiotics as its theoretical framework and iconographic and iconological analysis as method. The results show that the weapons not only identify their owner, but also convey messages and identity – idea-content that can be intentional, but not always obvious. Symbols, idea-content and heraldic style vary. The majority represent the office of president and national symbols, such as the flag or coat of arms of the country. The Seraphim Coats of Arms of the Finnish presidents, with few exceptions, follow the strict tradition of heraldry and are generally archaically simple in their design. Among Finnish presidents, for example, policies and statements are more frequent, where the image of the president as a unifying figure is conveyed in the coats of arms. The coats of arms of the Icelandic presidents are more varied in both idea-content and style. In both countries there are examples of canting arms, arms that represent the bearer's name. The coats of arms of the Finnish and Icelandic heads of state represent a distinct heraldic time frame. The Finnish arms cover a period of just under a century, the Icelandic somewhat shorter. Together they form a unique insight into Nordic heraldry for almost 100 years.

The author examines how a North American commercial Web site developed by Environmental Systems Research Institute serves as a vehicle through which American hegemony and cultural imperialism are propagated to Latin America. The author argues that the content of the web site pages, which contain American cultural symbols and values, may serve to influence or change the values of its Latin American visitors.

No description available.

Text in Afrikaans / Die proefskrif ondersoek die funksie van fonteine en putte in die religie van ou Israel. Die religie van die Hebreeuse Bybel word tradisioneel beskryf as 'n historiese religie waarin Jahwe, die god van Israel, fundamenteel gemoeid is met die verlossing van sy volk in die gang van die geskiedenis, terwyl die wêreld van die natuur van marginale belang is. Dit is egter duidelik dat die natuur in die vorm van haar grondwaterbronne 'n belangrike rol in ou Israel se leefwerêld gespeel het, nie alleen as lewegewende bronne in die droē fisiese Palestynse landskap nie, maar ook in hulle narratiewe en simboliese wêrelde. Fonteine en putte was kultiese plekke en heilige ruimtes waar teofanieē plaasgevind het, konings gekroon is, regsgedinge gevoer is, voorvadergeeste opgeroep is en die nageslag van ou Israel verseker is toe die voorvaders hulle toekomstige bruide by putte ontmoet het. Deur middel van die ou Nabye Oosterse ikonografie as hulpwetenskap in die interpretasieproses, is gevind dat die rede vir die sakrale waarde wat aan die waterbronne geheg is, opgesluit is in ou Israel se kosmologie wat hulle met hulle mitologies-gesinde en natuurvererende bure gedeel het. Daarvolgens ontspring fonteine uit die kosmiese onderaardse oeroseaan om lewe en vrugbaarheid te bring aan alles wat lewe. Die beeld het daartoe aanleiding gegee dat fonteine en putte metafories vir vroulike seksualiteit en vrugbaarheid gedien het. Die waterbronne tree ook as draers van hoop op. In verhale oor die wonderbaarlike ontstaan van fonteine in die wildernis deur lewensonderhoud aan die Israetiete tydens hulle woestynomswerwinge te voorsien. Ons kan met sekerheid aanneem dat ou Israel hulle watergate as lokaliteite van integrasie, sin en orde teen die aanslae van die chaosmagte ervaar het. Deur die eeue het die mensdom nagedink oor eksistensiele kwessles soos lewe en dood, vrugbaarheid en steriliteit, die redes vir rampe en oor wat die toekoms inhou. Dit is ten diepste religieuse vrae wat die vervloe bybelskrywers vir hulle tyd en omstandighede aangespreek het deur 'n refigurasie van Palestina se waterbronne. Grondliggend aan hierdie studie as 'n herevaluering van die natuur in die Hebreeuse Bybel om menslike wesens as deel van die natuur op te stel en nie as staande bo die natuur nie. / The dissertation investigates the function of springs and wells in the religion of ancient Israel. The religion of the Hebrew Bible has traditionally been descibed as a historical religion in which Yahweh, the god of Israel, was fundamentally concerned with the salvation of Yahweh's people In history in which the world of nature is of marginal interest. However, it is evident that nature in the form of its groundwater sources played an important role, not only as life giving sources in the arid physical environment of Palestine, but also in their narrative and symbolic worlds. Springs and wells served as cultic centres and sacred places where theophanies took place, kings were crowned, lawsuits conducted, ancestral spirits conjured up and the future progeny of Israel was ensured when patriarchs betrothed their future brides at wells. By means of ancient Near Eastern iconography as an interpretation aid, this study finds the reason for the sacred value attributed to groundwater sources in the cosmology of ancient Israel which she shared with her mythically-minded and nature-worshipping neighbours. Springs were believed to arise from the cosmic subterranean ooean to bring life and fertility to all living things. This image caused springs and wells to serve as metaphor of female sexuality and fertility. They also act as agents of hope in stories of miraculous springs in the desert which provide sustenance during the Israelites' desert wanderings. We can safely conclude that ancient Israel experienced their springs and wells as localities of integration, meaning and order amidst the threatening forces of chaos. Through the ages humankind reflected on existential questions regarding life and death, fertility and sterility, the reasons for disasters and what the future holds. These are profoundly religious questions addressed by the biblical authors for their time and circumstances by implementing a refiguration of the groundwater sources of Palestine. Ultimately this study serves to re-evaluate nature in the Hebrew Bible and to construe human beings not as standing above nature, but as part of nature. / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

Summaries in English and Afrikaans / This thesis embarked with the problem within the liturgy that tension exists in trying to minister justly according to the current context and trying to minister faithful to Scripture. A departing perspective is that the liturgy is the heartbeat in the congregation whereto and from where every aspect is networking. Also, that the emphasis can be on both proclaiming and celebrating in Protestant liturgies. Dialogical communication was chosen as theoretical approach together with communicative action for the sake of the gospel of Jesus Christ. The first and last chapters illustrate what is meant with the term liturgy. The problem is stated (and investigated) that liturgy is a complicated and central phenomenon, which ought to let Reformed theology as well as a postmodern context come to their own. It is also indicated that liturgical spirituality, liturgical communication and liturgical pastorate can better be used and improved during Sunday liturgies. For the liturgy in order to serve the Reformed tradition and the postmodern context, and to uplift the three liturgical aspects of spirituality, communication and pastorate, liturgical symbols and rituals are posed as timeless agents to better the liturgy. Attention was also given to symbolism in Scripture. This led to a model of application as a theory of praxis for the liturgical use of symbols and rituals. The core of this model or theory of praxis, is: I. The highest priority in liturgical symbolism will always be to promote the holy Trinity and Biblical principles. II. The supplementary use of right-brain components, such as experience, emotion and music. III. A high premium on active participation and repetition. IV. An approach of simplicity and soberness. V. Relevance to the culture and context of the day. VI. Services that take hold of total persons and focus on multiple senses and corporeality (bodily involvement). i VII. Room for transendence, imagination and mystic worship of God. VIII. Actions and services that embrace diversity, pluralism and generative variety. IX. Meetings where pastoral and therapeutic dimensions are included. X. Celebration and positive experiences in meetings. XI. The use of images, stories, metaphors and icons. XII. The use of meta-communicative principles such as attitude, intention and high validation of other people. / Hierdie proefskrif het vertrek met die probleem vanuit die liturgie dat daar binne die huidige konteks en die deurlopende poging tot getrouheid aan die Skrif toenemend spanning groei in die eredienspraktyk. Die proefskrif vertrek ook vanuit die perspektief dat die liturgie die hartklop en voedingsaar van die gemeente is van waaruit en waarheen die totale gemeente netwerk en dat die verkondigingsbenadering en die vierings-benadering altwee 'n legitieme plek in die Protestantse liturgiese tradisie het. As teoretiese vertrekpunt vir die liturgiese handelinge word dialogiese kommunikasie gekies saam met kommunikatiewe handelinge ter wille van die evangelie van Jesus Christus. In die eerste en laaste hoofstukke word verduidelik wat met die begrip liturgie bedoel word. Die probleem word gestel dat die liturgie 'n komplekse handeling en kardinale fenomeen is wat reg moet laat geskied aan die Gereformeerde teologie en aan 'n postmoderne konteks. Verder word uitgewys dat liturgiese spiritualiteit, liturgiese kommunikasie en liturgiese pastoraat in ons huidige tydgleuf meer benut en uitgebou kan word tydens die weeklikse liturgiee. Ten einde die liturgie in haar Gereformeerde tradisie en postmoderne konteks te dien en om die drie liturgiese fasette van spiritualiteit, kommunikasie en pastoraat te bevorder, word liturgiese simbole en rituele aangebied as tydlose en tydige agente om die liturgie mee te verryk. Om die ondersoeke af te rond, is daar ook aan simboliek in die Bybel aandag gegee. 'n Werkswyse is gevolg waar die Gereformeerde teologie en postmoderniteit ontleed is en in verband gebring is met simbole en rituele. Liturgiese spiritualiteit, liturgiese kommunikasie en liturgiese pastoraat is ook gedissekteer, ten einde dit beter te begryp, en in verband te bring met liturgiese simbole en rituele. Daarna het simboliek aan die beurt gekom en is simbole en rituele gedefinieer, ontleed en na aard, wese en toepassing bestudeer. Simboliek in die Bybel is afgetas om gewig te verleen aan die ondersoeke. Uit al die genoemde ontledings en bevindings wys die proefskrif uit dat simbole en rituele inderdaad uitnemend geskik is om die liturgie eer aan te doen in die eiesoortige soeke na voortreflike vlakke van spiritualiteit, kommunikasie en pastoraat binne Gereformeerde en postmoderne kontekste. Hieruit is 'n toepassingsmodel as omvattende praktykteorie aangebied vir die liturgiese gebruik van simbole en rituele as die bydrae van hierdie proefskrif. (5.4 en 5.5). Die kern van die model of praktykteorie vir die liturgiese toepassing van simboliek is: I. Dat die hoogste doelstelling en swaarwigtigste vergestalting met simboliek in die erediens altyd God Drie-Enig en Bybelse waardes en beginsels is. II. Dat aanvullende gebruikmaking en verrekening van regterbreinkomponente soos ervaring, emosie en musiek noodsaaklik is. Ill. 'n Doelbewuste hoe premie op handelende deelname en herhaling. IV. 'n Benadering van eenvoud en soberheid. V. Handelinge en momente wat spreek tot die kultuur en konteks van die dag. VI. Erediensmomente wat die totale mens betrek en infokus op veelsintuiglikheid en liggaamlikheid. VII. Ruimte vir transendensie, verbeelding en mistiek om God te aanbid. VIII. Handelinge wat diversiteit, pluralisme en generatiewe verskeidenheid omhels en vier. IX. Byeenkomste wat pastorale en terapeutiese roepings insluit. X. Samekomste waar feestelikheid en aangename ervarings beleef word. XI. Kommunikeerders wat beelde, verhale, metafore en ikone gebruik. XII. Handelinge waar ag geslaan word op metakommunikatiewe beginsels soos gesindheid, intensie en hoe waardetoekennings aan die ander persoon. / Practial Theology / D. Th. (Practical Theology)

The primary focus of this dissertation is to establish the extent to which ta§awwuf, commonly referred to as Islamic Spirituality, impacted on Cape Muslim culture. The study spans the time period between the arrival of the first significant political exiles at the Cape in 1667 to the founding of the Muslim Judicial Council in 1945. To this end a short historical review of ta§awwuf as it unfolded since its inception in the Muslim world is given in order to provide the necessary background against which any study of ta§awwuf at the Cape must be measured. This, in the authorÕs opinion, has not been attempted before in local studies in any systematic way. To further augment this study, a review of the nature and character of ta§awwuf as it emerged in the geographical areas from whence the political exiles and slaves were brought to the Cape is also engaged. As part of the conclusion to this dissertation an ÒafterwordÓ is provided that briefly sketches the post-1945 theological milieu that increasingly witnessed the emergence of new anti-ta§awwuf pressures within the Muslim community. / Religious Studies and Arabic / MA (Arabic)