Yn yr ymchwil hwn ystyrir sut y gall astudiaethau perfformiad gynnig mewnwelediad i sut y mae cymdogaeth y capel Cymraeg - trwy weithredoedd perfformiadol - yn cael ei chreu, ac yn perthnasu at y capel. Trwy gyfuno damcaniaeth perfformiad ac ymarfer yng nghyd-destun y capel Cymraeg, mae’r ymchwil hwn yn gyfraniad gwreiddiol i’r meysydd dan sylw. Defnyddir syniadaeth Diana Taylor o’r archif a’r repertoire er mwyn esbonio bod perfformiad yn fodd dilys o fynegi hunaniaeth a bodolaeth. Trafodir wedyn fod modd cromfachu gweithgarwch perfformiadol er mwyn ei ddadansoddi. Cyfeirir at syniadaeth yr anthropolegydd Victor Turner fod perfformiad, o’i gromfachu, yn cynnig dramâu cymdeithasol (social drama) a fedr ddatgelu rhywfaint am hunaniaeth cymdogaeth. Arddelir methodoleg Ymarfer fel Ymchwil yn rhannol, mewn perthynas a syniadaeth ffenomenolegol, er mwyn trafod gweithgarwch byw repertoire'r capel. Er mwyn gosod sail i hyn, trafodir cyd-destun gweithgarwch perfformiadol y capel drwy edrych ar y berthynas hanesyddol a fodola rhwng y capel Cymraeg, cymdogaeth a pherfformiad, gan ddadlennu fod y berthynas rhwng y rhinweddau hyn wedi bod yn bresennol yn hanesyddol ac yn dylanwadu ar wead y rhinweddau heddiw. Trafodir profiadau o gyd-weithio’n ymarferol gyda thri chapel. Perfformiwyd darn unigol yn edrych ar fy mherthynas at y capel ar ffurf atgofion, wedyn gweithiwyd gyda’r capeli i greu perfformiadau a oedd yn dadlennu eu perthynas hwythau at eu capel. Bwriad y gwaith ymarferol oedd profi’n ymgorfforedig y modd y gall perfformiad glymu pobl at ei gilydd mewn cymdogaeth ac at ofod arbennig. Cyflwynir fel rhan o’r ddoethuriaeth berfformiad unigol i’r arholwyr, a dogfennaeth ar ffurf lluniau anffurfiol o berfformiadau’r capeli (gan gydnabod nad yw’r lluniau hynny, yr archif, yn medru cyfleu anian y gwaith.) Cesglir bod y repertoire yn bwysig er mwyn deall cyd-destun y capel Cymraeg, a bod defnyddio Ymarfer fel Ymchwil wedi caniatáu amlygiad o’r repertoire. Trwy’r ymarfer, gwelwyd bod y capel Cymraeg yn dibynnu ar egni’r gymdogaeth i’w ddiffinio drwy weithredoedd perfformiadol.

Thesis (D. Min.)--Trinity International University, 2003. / Abstract. Includes bibliographical references (leaves 248-254).

Thesis--University of London. / Bibliography: p. 244-247.

Thesis (D. Min.)--Trinity International University, 2003. / Abstract. Includes bibliographical references (leaves 248-254).

Thesis--University of London. / Bibliography: p. 244-247.

Thesis (D. Min.)--Trinity International University, 2003. / Abstract. Includes bibliographical references (leaves 248-254).

No description available.

My thesis is an exploration of the emotional connection we have with architecture. The inspirations for the Grief and Healing Sanctuary were the healing experienced at quiet spaces of reflection and my father's stories as a Navy Vietnam shipboard combat veteran. I designed a building to provide a place for healing and to deal with grief. The building was designed for patients and their families being treated at the National Institutes of Health in Bethesda, Maryland. Not all families leave as they arrive. The families, many from out of town, need a place to reflect, pray, cry, or laugh. This need was reinforced by my father's stories of his transition from normal life to the extremes of combat to life back as a civilian. No one comes out unaffected, and there is not always a place to go and reflect. The Grief and Healing Sanctuary provides these spaces for all people who have these needs. / Master of Architecture

The focus of this research study was to determine the nature of the experiences visitors have at The Byzantine Fresco Chapel Museum in Houston, Texas. In order to discover these experiences visitors have in the space I conducted a phenomenological research study by interviewing eleven people at the Chapel and asking them to recount their experiences inside the space. Phenomenology enables the collection of rich description of the visitors’ experiences. To gather the data I used the methodology of narrative inquiry in an effort to accurately depict the participants’ stories about their experiences. The narratives I collected at the Chapel demonstrated that the space is one that provides an evocative learning experience rather than one that is informative. I found that there were a range of experiences in the space that related to the previous experiences or knowledge that visitors brought with them to the Chapel. The motivations for this study came from my own experience with the space before I started my graduate studies. However, during the course of this study it became clear that there is a lack of knowledge about visitors’ responses to The Byzantine Fresco Chapel Museum. The results of this study benefit the field of museum education by making a case for recognizing spaces that provide opportunities for evocative learning, rather than viewing them as purely informative. / text

Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2006. / Includes abstract and vita. Includes bibliographical references (leaves 238-245).