Thesis (MEdPsych) -- Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study was undertaken with the view to explore the ecosystemic variables that may impact on learners' acquisition and generalisation of the study and thinking skills that they have been introduced to. In addition, my own journey of growth as a reflective practitioner has been recorded. A literature review was undertaken in order to obtain a perspective of research conducted in this field. I fulfilled the dual role of researcher and reflective practitioner which enabled me to use both the 'objective knowledge' gained from the literature review and my 'personal knowledge' which resulted from teaching experience. I selected the ecosystemic framework as the preferred educational psychological framework with which to approach this study. The nature of this research study is post-modernist, phenomenological and emancipatory. I have taken a qualitative stance in an attempt to explore, firstly, the learners' impressions of the usefulness of the programme and secondly, the variables that may be impacting on the learners' ability to acquire and generalise new strategies. The information has been gathered from my observations and questionnaires. The research report describes my observations of the ecosystemic variables that affected the implementation of a study and thinking skills programme, and the learners' impressions of the programme. In addition, I reflected on my journey through this research process. Suggestions were made as to how a study and thinking skills programme could best be implemented in a school; and as to the usefulness of emancipatory action research in South Africa. / AFRIKAANSE OPSOMMING: Hierdie navorsingsprojek is onderneem met die oog daarop om die ekosistemiese veranderlikes te ondersoek wat 'n invloed het op die opname en veralgemening van studie-en denkvaardighede waaraan leerders blootgestel is. Tesame hiermee is my persoonlike groeiervaringe as reflektiewe praktisyn ook aangeteken. 'n Literatuuroorsig is onderneem ten einde 'n perspektief te verkry van navorsing wat reeds in hierdie gebied onderneem is. In hierdie proses het ek die gesamentlike rol van navorser en reflektiewe praktisyn aangeneem. Dit het my in staat gestelom die 'objektiewe kennis' verkry uit die literatuuroorsig met die 'persoonlike kennis' opgedoen tydens my onderwyservaringe, te kombineer. Ek het die ekosistemiese raamwerk as 'n geskikte opvoedkundige sielkundige vertekpunt vir hierdie studie gekies. Die aard van hierdie navorsingsprojek IS postmodernisties, fenomenologies en emansipatories. Ten einde die leerders se indrukke van die program en die verandelikes wat hulle vermoë om die nuwe vaardighede op te neem en te veralgemeen te bepaal, is 'n kwalitatiewe benadering gevolg. Hierdie inligting is ingesamel deur middel van my eie observasies sowel as vraelyste. Hierdie navorsingsverslag beskryf my observasies van die ekosistemiese veranderlikes wat die implementering van 'n studie- en denkvaardigheidsprogram, sowel as die leerders indrukke daarvan, geaffekteer het. In toevoeging hiernee, het ek ook oor my persoonlike ervaringe gedurende die navorsingsprojek gereflekteer. Voorstelle is gemaak oor die mees geskikte wyse waarop so 'n program in 'n skool geïmplementeer kan word, asook ten opsigte van die bruikbaarheid van die emansipatoriese aksienavorsings-benadering in Suid Afrika.

published_or_final_version / English Studies / Master / Master of Arts

published_or_final_version / abstract / Education / Doctoral / Doctor of Philosophy

published_or_final_version / abstract / Education / Doctoral / Doctor of Philosophy

The goal of this study was to understand black women’s perspectives on stay-at-home mothering and examine the ways in which Mocha Moms, Inc. provides support. Twelve African American mothers from three chapters of Mocha Moms, Inc. were interviewed and data were analyzed and coded for themes. Findings indicate that participants did not aspire to stay home with their children. Additionally, participants reject stereotypical ideas of at-home mothering. They also see themselves as the primary educators of their children. Finally, they do not feel respected in the black community or in society.

This thesis examines Augustine of Hippo's support of the cult of relics through the lens of Peter Brown's revision of the two-tiered model which was proposed in his 1981 book The Cult of Saints. More specifically, this thesis attempts to explain the introduction of saint's relics in the final book, book 22, of Augustine's magnum opus The City of God (De Civitate Dei). After providing proof of the theologian's opposition to the cult of relics in his youth, historical, biographical, and textual evidence is used to trace his later change of heart. This change in position is crystallized in a series of miracle accounts in the 8th chapter of the 22nd book. The analysis of this 'chain of miracles' is essential in understanding the purpose of the City of God as a whole and Augustine's own theories of death and resurrection.

梁氏的一生，無論在思想上、在行動上，都可說是多彩多姿，前人有關其之著作大都 側重其一生行動之一面，如其之鄉村建設運動。本論文主在研究梁氏思想之一面，然 而思想與行動在梁氏而言是不能截然劃分的，梁氏幾乎在其每本著作中都極力否認自 己是個學問家，他稱自己是“問題中人”，“行動中人”，凡其所探究都起于有感於 人生世事而有之問題，其中包括中國問題及其個人的人生問題，梁氏研究這些問題的 目的就在尋找可為其行動之指標，有鑒於此，筆者擬以梁氏所提出之問題串連全篇論 文，至於其思想與行動間之配合狀況則不在討論之列。 梁氏一生思想階段的劃分，主要是依其人生態度之轉變而來，梁氏在十九歲前抱持著 實用功利主義的人生態度，二十歲時自殺未成轉入佛家，及至一九二二年梁氏正式宣 佈放棄佛家生活轉入儒家，從此積極入世，致力於救國理論的建立與實踐。一九四九 年共產黨建立政權後，梁氏歷經批鬥，自知無法施展抱負，乃轉而專心從事學術著作 。本論文研究重點在於分析梁氏各階段轉變的原因及其如何由形上學、歷史哲學以至 文化社會學的研究中建立其救國理論－鄉村建設理論。 筆者從研究中發現梁氏的理論來源相當混雜，並不只有儒家，還包括佛學及某些西方 哲學，如柏格森的生命哲學、叔本華的唯意志論等等。故從思想上看來，梁氏並非純 粹儒家，他是本其歷史哲學之研究結果認為中國前途在民族精神、特別是儒家“剛” 的人生態度之復興乃轉入儒家思想，一九二一年他的棄佛所棄的只是佛家的生活方式 ，佛家思想之價值梁漱溟在其歷史哲學中另有安排。 本論文所使用的資料主要是梁氏的專書著作，其一九四九年後者亦大致收齊。

本論文以熊十力所探討的儒家之內聖外王思想為研究範圍，前人對熊十力思想的研究 。解有就其對儒家之詮釋做過系統探討者，按經學為儒家內聖外王思想所寄託者，本 論文著重於透過熊十力對經學之土釋以闡釋儒家內聖外王的思想。 本論文共分六章，約九萬餘字。 第一章，導論、略述內聖外王思想在歷史中之演變及熊十力為學歷程。 第二章，敘述熊十力對體用論的反省，及如何展開對西方思想及佈道二家思想的批判 。 第三章，敘述其如何尋繹、闡繹儒家經學的精神。 第四章，敘述內聖外王的理論，著重於內聖學，熊十力對內聖學的闡述，部分見諸體 用論中，所以此章須與第二章參看。 第五章，此章著重於外王學部分。 第六章，結論，說明其對內聖外王的探討已跳出傳統的囿限而呈現出新貌。

<p>This work concerns the linguistic relativity hypothesis, also known as the Sapir-Whorf hypothesis, which, in its most general form claims that ‘lan-guage’ influences ‘thought’. Past studies into linguistic relativity have treated various aspects of both thought and language, but a growing body of literature has recently emerged, in this thesis referred to as neo-Whorfian, that empirically investigates thought and language from a cross-linguistic perspective and claims that the grammar or lexicon of a particular language influences the speakers’ non-linguistic thought.</p><p>The present thesis examines the assumptions about language that underlie this claim and criticizes the neo-Whorfian arguments from the point of view that they are based on misleading notions of language. The critique focuses on the operationalization of thought, language, and culture as separate vari-ables in the neo-Whorfian empirical investigations. The neo-Whorfian stud-ies explore language primarily as ‘particular languages’ and investigate its role as a variable standing in a causal relation to the ‘thought’ variable. Tho-ught is separately examined in non-linguistic tests and found to ‘correlate’ with language.</p><p>As a contrast to the neo-Whorfian view of language, a few examples of other approaches to language, referred to in the thesis as sociocultural appro-aches, are reviewed. This perspective on language places emphasis on prac-tice and communication rather than on particular languages, which are vie-wed as secondary representations. It is argued that from a sociocultural per-spective, language as an integrated practice cannot be separated from tho-ught and culture. The empirical findings in the neo-Whorfian studies need not be rejected, but they should be interpreted differently. The findings of linguistic and cognitive diversity reflect different communicational practices in which language cannot be separated from non-language.</p>

One of the most fundamental ways of understanding the struggles and delights of an ethnic group is to study the art the group produces. Art –visual, literary, auditory– functions as an expression of the history of the group. Often, what is considered great art in one culture is disparaged in many others. In my thesis, I will be examining how comics function as an expression of simultaneous pride and shame among Ashkenazi Jews, particularly comics created in the 20th century. Perhaps comics do not seem like an obvious expression of Eastern European Judaism. After all, there are far more renowned, and even sophisticated works to look at, such as the whimsical art of Marc Chagall and stately rabbinical paintings of Isidor Kauffman, or even the heady philosophical work of Theodor W. Adorno. “Ashkenazi expression” and “comics” do not seem intuitively connected. This disconnect is precisely why I want to explore the relationship between comics and Ashkenazi Jewry. In addition to many of the most prominent comic creators being Jewish, I posit that there is something inherently yiddish, Jewish, about American comics. The purpose of this essay is not to name individual comic artists in an attempt to prove the Jewishness of the the comic-book industry. Rather, I will explore why Jews of Eastern European descent gravitated toward the comic-book industry in the early to mid 20th century. I posit that American comics acted as an expression of a pride-shame tension found in American Jews of Eastern European descent. To explore this connection, I will first examine the origins of simultaneous Jewish pride and shame by tracing the roots of Eastern European Jewish self-hatred. Next, I will delve into why comics encapsulate this balance of self-deprecation and self-glorification. I will analyze both the nature of the medium itself, and the circumstances grounding the formation of American comics. Ashkenazi Jews, or Jews of Eastern European, specifically German descent, have been at the center of much scholarly literature. Although an extremely small percentage of the world's population, the bulk of Jews are Ashkenazi, as opposed to Sefardic. Much literature has been devoted to Ashkenazi Judaism, as the ethnic division has produced an impressive body of scientific and literary accomplishment. Although the countries from which Ashkenazi Jews originate are diverse, the key words surrounding Ashkenazi discourse are reoccurring. Concepts such as “exile,” “self-hatred,” and “Jewish humor” all arise. Another central concept is Yiddishkeit. Yiddishkeit literally translates to “Jewishness” in none other but the language of Yiddish. Yiddish has been the subject of both outward Ashkenazi expression –there is a great deal of Yiddish literature and art– and scholarly examination. Perhaps most recently, Michael Wex published a book called Born to Kvetch, an in-detail study of the history of Yiddish, and how it embodies Ashkenazi culture. Within this book, a particular theme appears: the theme of simultaneously occuring pride and shame. Jews created Yiddish as a result of the primary culture's rejection. However, after this initial dismissal, great pride emerged out of Yiddish, manifesting itself in rich Yiddish culture. Other scholars have explored the concept of Jewish self-hatred, and the fine line this self-hatred straddles between bona fide self-hatred and isolationist pride. Sander Gilman, who writes extensively about the topic, discusses how language and literature embody this dichotomous tension of pride and shame. While conducting research for the connection between comics and class in 20th century American, I came to the understanding that many of the founders of and participants in the American comic industry were Jewish. I dug up analyses of specific comics/graphic novels (usually Maus) exploring certain Jewish themes in comics, yet I had a hard time finding extensive research asking the question as to why comics and Jews have such a strong connection. In my thesis, I hope to further this question by not only investigating the circumstances surrounding comics that made Jews turn to the industry, but why comics themselves embody Jewish pride and shame. On a much humbler scale, I hope to accomplish what Wex has in Born to Kvetch, a linguistic analysis that provides insight into the greater ethnic group engaging with it. In chapter one, I will establish the pride-shame dichotomy found in Ashkenazi Judaism. I will first explore several biblical passages, including Lamentations, Micah, and Isaiah. By exploring these instances in the tanach, I will try to establish the uniqueness the Jews feel due to their personal and punitive relationship with God. Throughout these passages, we will see the Jews taking pride in the punishment God doles out for them, because such pain is indicative of the Jews' superiority among other nations. Next, I will provide a brief explanation of why I am choosing to focus on the act of conversion in the Medieval time period as an indicator of Jewish pride and shame. In specific, I will focus on infamous Johannes Pfefferkorn, who converted from Judaism to Christianity. Pfefferkorn is the perfect example of a Jew who both detested his Judaism, yet used it to his advantage to speak authoritatively about Judaism to Christians, as his professed textual knowledge gave him clout. Next, I will give an introduction on the connection between Otherness and language, explaining how Hebrew and the Talmud spurred both fascination and disgust toward Jews from their surrounding neighbors. After segueing into the origins of Yiddish as a language created out of exile, I will explain how though Yiddish originated out of spurning, the language became a source of pride of its rejected roots. I will consider the statements of various Yiddish authors, in particular American immigrant Isaac Bashevis Singer. Through both an analysis of Singer's self-reflection of his own life and an analysis of his short story, Gimpel the Fool, I will establish the pride Ashkenazi Judaism takes in its outsider status. Singer himself remarks of the positivity of being lonely and different. His character, Gimpel, is a foolish outcast. Much like the Jews in the biblical passages explored earlier in the chapter, he suffers constant misfortune and mockery, yet his very pain is what lends him favor in God's eyes. In chapter two, I will explore how 20th century American comics reflect the Ashkenazi dichotomy of pride and shame. Much like Yiddish is not a mainstream language, the idea of comics as mainstream art or literature has been greatly contested. I will try to determine which circumstances surrounding 20th century comics, and the comics themselves, connect with this pride-shame tension. I will use Paul Buhle's Jews and American Comics as a frame of reference, since the book often links comics and Yiddish. I will first give a brief history of the American comic-book, starting with the Hogan's Alley comics strip, and exploring up until the mid 20th century. By understanding the working-class origins of comics, we can better understand the low-brow perception of them from the standpoint of both their readers and their critics. I will then explain how American comics in the 20th century contained Jewish themes of pride and shame, despite their characters not being explicitly Jewish. I will more closely explore this idea through an analysis of the character Superman, drawing on both the commentary from the character's creators and the content clues of the character himself. A true foreigner, Superman masks his real identity, his superhuman powers. While his alias is what makes him exceptional, it is also the thing he abhors the most. Will Eisner, a giant in the world of comics, denies inserting Jewish identity in his own characters. However, his assistant, Jules Feiffer, half-jokingly claimed that his character, Denny Colt, featured in Eisner's The Spirit series, is in actuality a secret Jew. Instead of focusing on Colt and The Spirit, I will do a close reading of one of Eisner's other works, A Contract with God, which is an exemplary work of Jewish pride and shame. Contract contains a motif that is similar to that of the biblical passages analyzed in chapter one. The protagonist, Russian-American immigrant Frimme Hershe, has a personal relationship with God that leaves him demoralized and punished. I will then explore the use of visual stereotype in Contract, comparing it to that of Art Spiegelman's Maus, and contrasting it with that of the film Inglorious Basterds. I will argue that through engaging with Jewish visual stereotypes, the first two reveal them as falsehoods. Thus, through an admittance of these shamed images, the comics mock them. The latter film chooses to ignore stereotypes, thus leaving them extant. I will conclude the chapter by positing that Jews have coped with their constant exile through through the self-deprecation of comics. Buhle mentions that comics about Jewish-American gangsters turned into a source of pride, presumably for Ashkenazi American Jews. The trope, hated by others, was lauded by those it was forced upon. Much like Yiddish, comics may have been born out of exclusion, but they came to be a source of pride among Ashkenazi Jews.