Spätestens mit Erwin Panofskys bahnbrechender Arbeit über den verkleideten Symbolismus in der altniederländischen Malerei, die den Zeichencharakter ihrer minutiös-gegenständlichen Bildwelt anschaulich machte, wurde die den Werken des späten Mittelalters lang anhaftende Vorstellung eines rein aus künstlerischer Erzählfreude und Detailliebe entspringenden malerischen Realismus in Frage gestellt. In Hinsicht auf den symbolischen Wert der den Akteuren der veranschaulichten Handlung verliehenen Ausstattung findet sich in der kunstwissenschaftlichen Betrachtung allerdings noch gegenwärtig vielfach ein Umgang mit den Bildern des Mittelalters, in dem die dargestellte Bekleidung nicht im Sinne eines inhaltlichen Sinnträgers, sondern vielmehr als Zeittracht und das Kleiderbild dementsprechend als Dokumentation der historischen Moderealität gleichsam als getreues Abbild der wirklichen Welt angesehen wird. Daß man sich der kommunikativen Qualitäten der Rollenbekleidung in den massenwirksamen Bildmedien des Mittelalters sehr wohl zu bedienen wußte, können auf besonders eindrucksvolle Weise jene Quellen bezeugen, die über die Wirkungskraft der optischen Versinnlichungsmittel in den spektakulären Aufführungen der spätmittelalterlichen Passionsspiele informieren, in denen das Kostüm nicht nur Zeit und Raum des Geschehens zu bezeichnen, sondern darüberhinaus vor allem Wesen und Gesinnung der Handelnden auszuweisen hatte. In diesem Bewußtsein der KLEIDERBILDER, welche die BILDER DER PASSION in den malerischen Großrauminszenierungen der Simultandarstellungen des Kalvarienberggeschehens im ausgehenden 15. Jh. wiedergeben, möchte die vorliegende Forschungsarbeit am Beispiel der Hamburger Kreuzigungstafel aus St. Katharinen die KLEIDER DER PASSION in ihrer polyvalenten Zeichenfunktion analysieren und im Sinne der im spätmittelalterlichen DRAMA DER PASSSION inszenierten Kostümierung als permanent präsentes Informationsmedium interpretieren, das über die in ihnen eingetragenen MENSCHENBILDER Auskunft zu geben verspricht. / The long-upheld interpretation of simple pleasure in artistic narrative and love of detail to explain the use of miniscule objects to depict the world in paintings of the Old Dutch School was finally discredited by Erwin Panofskys revolutionary work on concealed symbolism. However when considering the symbolic value of costume and equipment in paintings, art historians today are still very much concerned with works from the Middle Ages in which the clothing depicted is not in keeping with the contextual weaver, but is, far more, the clothing of the time, and as such simultaneously acts as a documentation of the contemporary fashion and provides an accurate illustration of the real world. Sources which provide information of the effectiveness of the optical devices used in the spectacular performances of passion-plays in the late middle ages, in which clothing not only denotes the time and place of the event, but also the nature and direction of thought of the characters concerned, confirm most impressively that contemporary pictorical mass media quite definitely exploited the communicative qualities of costume. In this awareness of pictures of clothes, reflected by the pictures of large scale productions of passion plays performed towards the end of the 15th century, this piece of research aims - using the crucifiction panel in St Catherine's Church in Hamburg as an example - to analyse passion costumes in their polyvalent function in drawings, and to interpret the costumes used to perform passion-plays in the late Middle Ages as a permanently present medium of informationn which extends beyond the mere portrayal of charcter type.

Thesis (M.A.)--Trinity International University, 2000. / Abstract. Includes bibliographical references (leaves 157-168).

Thesis (M.A.)--Trinity International University, 2000. / Abstract. Includes bibliographical references (leaves 157-168).

Thesis (M.A.)--Trinity International University, 2000. / Abstract. Includes bibliographical references (leaves 157-168).

The thesis deals with the subject of Christ s journey with the cross. Separate interruptions remind us of the last moment of Jesus suffering on earth. The work begins with the sentencing of Jesus to death and ends with his placing in the tomb. Everything is executed with the technique of slumping glass on plaster forms. The cycle contains fourteen glass reliefs including inscriptions of separate crosses. A possible fixture falls into the interior of a modern church or larger chapel, as well as into the exterior in the likeness of village chapels set up along the so-called The Hill of the Cross. The work is supplemented by a theoretical attachment with thematic description, inspirational sources and technological procedures.

This study looks at the concepts of organizational commitment and communication. Multiple methods of ethnography and interviews were used to study teacher commitment to their school. Specifically, I focused on teachers within private elementary and secondary schools. Meyer and Allen’s (1991) conceptualization of organizational commitment was used as the basis for understanding commitment. Questions were asked of participants during the interview that focused on their commitment as it related to their attachment or identification with the organization, the costs associated with leaving the organization, and their sense of duty or moral obligation to the organization. I found that teachers demonstrated a five stage process towards organizational commitment. The first stage for the teacher is the calling to the vocation and/or school. The calling was found to have confirmations, be dynamic, and sustain commitment. The second stage is the enactment of the calling in the form of action. A distinction was made between action that was aligned with the job description and action that was sacrificial and went beyond what was required in the job description. The third stage is the result of this action in the form of conflict. Conflict was seen as an iterative process that involved the elements of person, peers, administration, and policies. It is at the point of conflict that a teacher enters the fourth stage towards commitment. This stage is seen as the decision stage. The decision to remain with or leave the organization was also based on the elements of person, peers, administration, and policies. The final stage along the way to commitment is perseverance. It is in this stage that the individual decides to persevere or commit to the organization. This study also found that negative communication, in the form of complaining can be perceived as lacking commitment to the organization. Distinctions were made between complaining that was aimed at organizational change and complaining that appeared to be for the sake of complaining. Teachers who complained for the sake of complaining were viewed as lacking commitment to the organization. This paper concluded with implications for future research. / text