This study focuses on testing the five hermeneutic principles set out by Jakob Klein and two ofmy own. The test consists ofwriting a commentary on Plato's Jon read in accordance with those principles. In summary these principles require paying close attention to the dramatic aspect ofthe dialogue and reading in a very detailed fashion. The success or failure ofthe principles is to be decided on the basis ofthe quality ofthe reading they produce. If following the principles produces a more comprehensive and deeper understanding of the dialogue then they should be deemed successful. The principles require that attention be given to the framing details of the dialogue and that an attempt be made to integrate them into the overall understanding. This interpretation thus reaches a somewhat different understanding of Sokrates' purpose in talking to Ion and Plato's purpose in writing the dialogue. Instead ofan abstract battle between philosophy and poetry, we have a battle between two particular characters over a real city. / Thesis / Master of Arts (MA)

This dissertation explores the musical uncanny in the piano chamber music of Johannes Brahms. Both Jentsch and Freud explored the notion of das unheimliche, though their definitions are slightly different. Jentsch’s definition emphasizes the emergence of uncertainty (“intellectual uncertainty”), claiming “the emergence of sensations of uncertainty is quite natural, and one’s lack of orientation will then easily be able to take on the shading of the uncanny (Jentsch, 1906: 4). Freud, on the other hand, defines the uncanny as “that class of the terrifying which leads back to something long known to us, once very familiar” (Freud, 1919: 2). The study of the uncanny has fascinated scholars in fields “from the humanities, through architecture, queer studies, and postcolonial studies, to sociology and urban studies” (Collins and Jervis, 2008: 1). This dissertation contributes to such interdisciplinary discourse by discussing the uncanny in the music of Brahms. Several scholars, such as Cohn, Klein, Smith, Kramer, Petri, Dolan, Cherlin, and Venn, have contributed to the topic of the uncanny in music. Signifiers for the uncanny in music include the use of hexatonic poles (Cohn, 2004: 287), chromatic passages, the Neapolitan, and signifiers related to ombra (Klein 2005: 80). Concerning Brahms, Smith mentions the unheimlich E naturals in his analysis of the Piano Quartet in C minor, but neither Smith nor any others listed above fully develop the idea of the unheimlich nor frame it in a hermeneutical sense. This dissertation begins by defining the uncanny both in and out of music (Chapter 1), then undertakes a general survey of the uncanny in Brahms’s piano chamber music to establish it as a topic in his music (Chapter 2). The remaining chapters consist of three case studies (Violin Sonata in D minor, Piano Quartet in G minor, and Piano Quintet in F minor). To support my analyses, I use Hepokoski and Darcy’s Sonata Theory, Schenkerian Analysis, Lacan’s model of subjectivity, and Derrida’s notion of hauntology. Using these methodologies reveals how Brahms’s Violin Sonata in D Minor is haunted by musical ghosts (Chapter 3). Lacan’s notion of the symptom and the musical déjà vu in analysis of the Piano Quartet in G Minor (Chapter 4) points to a musical persona experiencing a musical narrative with troubling repetitions of material and uncertain pathways. Hauntology and the previous concepts come together in an analysis of the Piano Quintet in F Minor (Chapter 5), showing how the uncanny makes time come out of joint: the Lacanian notion that a symptom comes not from the past but from the future. The music is haunted by its future from its first phrase. The dissertation concludes with a brief indication of future research on the uncanny in Brahms’s music. / Music Theory

yes / In this article, we suggest that our semiotic understanding of embodiment could be expanded to include a socially exalted individual who embodies a symbol. To illustrate this argument, we draw on an ongoing research project that examines fandom rhetoric and debates around the ‘Greatest of all time’ or the GOAT symbol in Tennis. Grounding Bakhtin’s tri-distinctions of identity, I-for-myself, I-for-other, other-for-me, in a Kantian hermeneutic tradition, we perform a theoretically informed analysis of the GOAT debate. Neither of the three components exists in isolation, rather, they interact in a reflexive dialogue which continually shapes and re-shapes individual consciousness and experiences of embodiment. We apply a ‘Romanticism aesthetic activity’ analytical framework to the tri-distinctions of identity, that consists of ‘creative’ and ‘critical’ rhetoric, within which we found genres of ‘myth,’ ‘art,’ and ‘science.’ Each genre functions, through disparate means to exalt or metamorphise an individual (our focus is on Roger Federer) into a cultural symbol, and that the symbolic form of GOAT reflexively organises the emotional field and identities for those fans deeply invested in it. This paper contributes to the current cultural psychological literature on understanding the mediation of people to symbols in a new digital age.

Although existing literature is rich with descriptions of the process of coming out for lesbian women, the present study is distinctive in its systematic examination of coming out from the perspective of lesbian women who were sexually abused as children. Through the hermeneutic-phenomenological analysis of interviews with selected participants who identified as lesbian women, the objective of this study was to identify and describe participants' perspectives of childhood sexual abuse, coming out experiences, and their perception of how these experiences might interrelate. Within the complex layers that were common to all the participants, the researcher attempted to interpret and make sense of phenomena across all cases, while respecting and recognizing the meanings that each participant brought to the interview. The results of this study were consonant with findings from previous studies that suggested maintaining a lesbian identity is an ongoing task, continually informed by events and relationships that typically occur during the lifespan of an individual. However, in the course of this investigation, the findings pointed to a new understanding—the coming out process becomes more complicated when histories of childhood sexual abuse need to be considered. While family and social factors had powerful influences on coming out for all the participants, the emotional and behavioral strategies that each woman adapted in order to cope with long-term sequelae of CSA, also appeared to have considerable impact on the coming out process as well. / Ph. D.

This work considers the theoretical, epistemological and methodological criteria for a hermeneutic phenomenological approach to the study of spiritual experience founded within a qualitative paradigm. Spirituality is noted to be of increasing significance in society and as a developing discipline within the academy and spiritual experience is offered as an opening to greater understanding and appreciation of an individual's understandings of their spirituality. The methodology provides an interpretative approach towards an opportunity for resonance, identification and empathy between individual and reader through richly descriptive narratives offering insights into such experiences and developing themes and threads of particular interest prior to seeking universal and semi universal traits between or amongst narratives. Practical methods for applying the methodology are considered, including ethical and researcher reflexive issues. The assessment of the methodology includes its application to a case study, located within contemporary Christianity in the Roman Catholic Archdiocese of St Andrews and Edinburgh, Scotland, which due to limitations of space focuses particularly on the notion of the Gift and assists in the determination of the efficacy and validity of hermeneutic phenomenology in the study of spiritual experience.

This thesis is an attempt to contribute a fresh perspective on marriage and related subjects, making use of public theology in dialogue with the Christ narrative. The phenomena of post secularism, postmodernism and film hermeneutics are explored. Critical hermeneutics are used as a point of departure. This study aims to bridge the gap between the Christ narrative and public theology as it surfaces in the cinema. In Chapter 2 the terms of the concepts public theology and posttheism are investigated. Public theology is understood as the contribution of people in the public sphere participating in “God-talk”, as an exponent of post theism. Chapter 3 investigates the historical development of marriage. This investigation shows that social-political and philosophical influences caused different forms and models of marriage to evolve. It becomes clear that it is practically impossible to define one specific form of marriage that dominated history. Chapter 4 is divided into two parts. The first part explores New Testament texts related to the themes of marriage and relationships. It is shown that these New Testament texts are part of a broader context and therefore cannot be applied directly to marriage in modern times. On the other hand the Christ narrative, seen as an ancient biography, does outline important values applicable to marriage, intimacy and sexuality. These values were identified and are used in following chapters to define intimate relationships. The investigation of biblical models in the second part of this chapter shows that biblical models of marriage were also rooted within a historical situation. Certain values that are found within these models can still serve as guidelines for relationships, while others are influenced by an androcentric background. Chapter 5 is a theoretical investigation using Gerhard Ebelings’ “new hermeneutics” as model, applied to the field of the public theology of film. From a hermeneutical perspective recent films with biblical themes are important to communicate the gospel and morals in our times as the postmodern generation is primarily influenced by visual media. In Chapter 6 three films are discussed as examples of film hermeneutics and public theology: Roepman, As it is in heaven and Les misérables. Similarities with the Christ narrative surfaced, for instance: critique is expressed against destructive ideologies; selfless acts are commendable and unconditional love and acceptance, forgiveness, faith and hope are essential for an authentic existence. These films do not focus on ethical dogmas about marriage, intimacy and sexuality, although some ethical values can be derived. In the concluding chapter a bifocal melting of horizons, based on the findings of the research, are described. Both the public theology of film hermeneutics and the Sache Jesu highlight the importance of the inner values that constitute a meaningful relationship. The study argues that the church should reconsider their traditional view on marriage and sexual relationships by emphasizing the values found in the Sache Jesu instead of concentrating on enforcing the outward form of wedlock. In doing so, the church will help postmodern and postsecular people to again understand the meaning of a loving relationship in the presence of God. / Thesis (PhD)--University of Pretoria, 2014. / lk2014 / New Testament Studies / PhD / Unrestricted

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

Utilising a hermeneutic phenomenological approach twenty women’s experiences of breast cancer were explored through semi-structured interviews at three time points during their healthcare trajectory from recent diagnosis to early follow-up. Phenomenological analysis guided by van Manen’s (1990) principles revealed numerous multifaceted themes some of which were time limited while others spanned the data collection period. Use was made of an adapted life grid approach in order to enhance the implicit meanings to be elicited through interpretation of text. Central themes depicting the medicalisation of breast cancer, perceptions and management of the body and participants’ emotional journey were uncovered. Breast cancer was found to represent a biographical disruption that had a long-term impact on a woman’s body, self, identity and sense of embodiment. Changes to the body, due to breast cancer treatment, and an altered way of being in the world, elicited disruption to the body-self relationship, a separation that was reinforced by the healthcare system. Participants were found to adopt a variety of coping strategies to manage ongoing change and the stress elicited by experiencing breast cancer as a chronic illness. Avoidance, information management, conscious passivity in treatment decision-making and positive cognitive restructuring are examples of such mechanisms. However, women’s experiences of each theme identified and the emergence and maintenance of these themes varied according to women’s biography, diagnosis and prescribed treatment regime, cancer schema, and social support. Accordingly, models of care must address women’s individual experiences and recognise their changing needs throughout the year post diagnosis.

The purpose of this study was to investigate how four preschool teachers experience their discretion in the working team and what is reinforcing and limiting factors for this. The empirical data for this qualitative thesis was collected through interviews with four preschool teachers working in different preschools in Stockholm. I used semi-structured interviews, which is characterized by open questions and a curios and open attitude for me as an interviewer, where I tried to follow the interviewee by asking follow-up questions. A phenomenological perspective has been used as a theoretical framework for this study. This has led to that I have looked at discretion as a phenomenon and how it is experienced and perceived in the preschool teachers’ lifeworlds. The empirical data were analyzed and interpreted based on a hermeneutical approach.The result shows that a critical factor for discretion in the working team at preschool is their own personal characters ability to "stand up for oneself," without being hindered by the fear to be seen as troublesome. To find good arguments, to give and receive feedback and be able to compromise and include others and have clear procedures was also perceived as reinforcement for discretion. Limiting for the experience of discretion could be the lack of good communication and colleagues who don’t have the same level of education.