Thesis (Ph. D.)--University of Chicago, 1980. / Includes bibliographical references (p. 379-411) and index.

Syftet med uppsatsen är att analysera hur filmmusiken har använts i Batman: The Movie (1966), Batman (1989) och The Dark Knight (2008). Att se en narrativ användning och beskrivning av Batman samt hur upplevelsen av filmen ändras när man ser den utan musik. Kompositörerna till filmerna är, för Batman: The Movie (1966) Nelson Riddle, till Batman (1989) är det Danny Elfman och till The Dark Knight (2008) är kompositörerna Hans Zimmer och James Newton Howard. Filmerna analyserats från ett multimodalt perspektiv och delar in filmmusiken i filmmusikens berättarfunktioner framtagna av Johnny Wingstedt Scenerna har setts på flera gånger både med och utan musik för att få fram musikens roll och betydelse. En scen per film analyseras. Scenerna är valda på så sätt att de beskriver Batman som karaktär på ett bra sätt. Scenerna beskrivs tydligt och en analys görs innan det avslutas med en konklusion. Scenerna jämförs sedan med varandra för att se likheter och skillnader.

Purpose of this diploma thesis is Starbucks marketing strategy analysis on the Czech market. Theoretical part focuses primarily on company characteristics with regard to its historical development, key values, brand identity and positioning. This also covers company's global strategy, ways of international expansion and requirements for perspective business partner. Practical part analyses Czech market, its macro-environment and competition in the field. In addition present thesis includes SWOT analysis, practical examples of marketing strategy adaptation as well as marketing mix.

Uppsatsen syftar till att undersöka hur två översättare har tolkat och översatt de kinesiska idiom som förekommer i verket Camel Xiangzi skriven av Lao She. Den ena översättningen utfördes av Shi Xiaojing år 1981 och den andra översättningen av Howard Goldblatt år 2010. Utifrån en kvalitativ komparativ metod med hjälp av Mona Bakers sex översättningsstrategier gällande översättning av idiom, har respektive översättares översättning av idiom identifierats och kategoriserats enligt Bakers strategier. Dessutom syftar uppsatsen till att undersöka om det förekommer några likheter och skillnader gällande översättarnas översättningar. Genom att använda två lexikon om översättning av kinesiska idiom kunde 30 idiom i Camel Xiangzi identifieras. Resultatet visade att endast tre av Mona Bakers översättningsstrategier kunde identifieras vid översättarnas översättningar av idiom. De strategierna var: “using an idiom of similar meaning but dissimilar form”, “translation by paraphrase'' and “translation by omission of entire idiom”. Det visade sig även vid översättning av en del av idiomen krävdes det att Bakers strategier kombinerades eller identifierades med uppsatsförfattarens egna konstruerade strategier. Slutligen visade studien att Mona Bakers översättningsstrategier inte alltid lämpar sig vid översättning av kinesiska idiom, vilket delvis beror på kulturella skillnader mellan språken. / The thesis aims to investigate how two translators, Shi Xiaojing and Howard Goldblatt have interpreted and translated the Chinese idioms that appear in the work Camel Xiangzi written by Lao She. Based on a qualitative comparative method using Mona Baker's six translation strategies for translating idioms, each translator's translation of idioms has been identified and categorized according to Baker's strategies. In addition, the thesis aims to investigate whether there are any similarities and differences regarding the translators' translations. Using two dictionaries on the translation of Chinese idioms, 30 idioms in Camel Xiangzi could be identified. The results showed that only three of Mona Baker's translation strategies could be identified in the translators' translations of idioms. The strategies were: “using an idiom of similar meaning but dissimilar form”, “translation by paraphrase” and “translation by omission of entire idiom”. Furthermore the result showed that when translating part of the idiom, Baker's strategies were required to be combined or identified with the essay author's own created strategies. Finally, the study showed that Mona Baker's translation strategies were not always suitable for translating Chinese idioms, which is partly due to cultural differences between the languages.

This thesis examines four tracts authored by three Christian Identity rhetors. The study argues that these rhetors employ elements of the narrative paradigm to spread their own brand of hate-based theology. This study employs a method of narrative criticism as outlined by Foss ( 1996) in examining Howard B. Rand's "Who Crucified Jesus?" and "The Verdict of Time"; Wesley A. Swift's "Who Crucified Christ?"; and Sheldon Emry's "Who Killed Christ?" Howard B. Rand was the leader of the Anglo-Saxon Federation of America during the 1930s, an organization which was the forerunner of the contemporary Christian Identity movement. Wesley A. Swift was a major leader of Christian Identity during the late 1940s through the 1960s.

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This project seeks to analyze the philosophies of the African American theologian and philosopher, Howard Thurman, via Afrocentricity, to determine whether Thurman was Afrocentric in his philosophies. To examine Thurman's philosophies, a content analysis was completed using the following books by Howard Thurman: Jesus and the Disinherited, The Luminous Darkness, The Search for Common Ground, The Inward Journey, and The Temptations of Jesus. Two collections containing sermons by Thurman were used: Sermons on the Parables and Moral Struggle and the Prophets. These works were analyzed via a content analysis method while using Afrocentricity as the lens by which these works were analyzed. Additionally, Thurman's autobiography, With Head and Heart: The Autobiography of Howard Thurman was used within this discussion to examine what, if any impact, his life experiences had on his philosophies. This project found that, while there are numerous examples of similar streams of thought between Howard Thurman's philosophies and various aspects of Afrocentricity, ultimately, he cannot be labeled as an Afrocentric philosopher due to his centering and location. / African American Studies

Denna uppsats undersöker exegetikens roll i John Howard Yoders, Walter Winks och Stanley Hauerwas tolkning av Matt 5:38-48. Uppsatsens syfte nås genom att dels göra en exegetisk analys av Matt 5:38-48 i dess litterära och historiska kontext och att sedan studera utvald litteratur av de tre författarna och sedan jämföra deras material. Uppsatsen visar att alla tre författare menar att texten manar till en pacifistisk livshållning. Skillnaden mellan de tre ligger i att Hauerwas och Yoder väljer att förankra denna etik genom att läsa Matteusevangeliet som helhet medan Wink väljer att göra en ingående analys av vår aktuella text och istället söka efter textens ursprungliga historiska kontext. Genom att Yoder och Hauerwas väljer

Thesis (DTh (Systematic Theology and Ecclesiology))—Stellenbosch University, 2008. / The premise for this research is that Yoder’s restorative vision for an ecclesial theology holds great potential for a more adequate involvement of the South Central Synod (SCS) of the Presbyterian Church of Nigeria (The PCN) with the public. Significant resources from Yoder’s Christocentric vision for restoring ecclesial reflections and practices can assist the church to revision its distorted ecclesiology. Contemporary challenges within the Nigerian socio-cultural context question the meaningfulness of the Enlightenment-based and Constantinian-Doceticfaced ecclesiology of the SCS to its host religio-cultures. This ecclesiology is in conflict with the Reformed tradition which the SCS upholds, and which does not have a timeless, a-historical ecclesiology. The study adopted a systematic-theological approach focusing on historical, Christological and ecclesiological perspectives. With its theological lens, the historical perspective is used to retrace the dilemma of the SCS to some distressing legacies of the Enlightenment-based projects in Nigeria. These perplexing bequests do not spare the growing mission and projects of Nigerian churches, particularly The PCN which, gave birth to the SCS. Truism, universalism, abstract and competitive ideologies of the Reformation era often characterize the Enlightenment-based violent ethics. Local resources and contexts have less significant respect in their witnesses. Often, their competing ideologies becloud the embodied proclamation of the lordship of Jesus Christ by the churches. In other words, the social ethics of the SCS compromises the figure of Christ in its theological witnesses. Thus, Yoder’s reflection on Christology is suggested as a restorative vision. Yoder’s reflection on Christology is an ecumenical vision. It is grounded in the historical life and works which the biblical Jesus Christ demonstrated in concrete ommunities. Yoder’s Christological vision is scripturally rooted in the catholicity of the pre-Constantinian church traditions. It is Barthian in its foundation and orientations; albeit from a nonviolent-resistant Diaspora perspective. It also reflects on historical Christology as a nonviolentnon-violentresistant ministry for renewing society. Fundamentally, Yoder’s vision also seeks the restoration of shalom in the community. Yoder’s visionary project takes local resources and contexts seriously in its ethical witness. Above all, it expects believers to adopt a Christocentric witnessto the political (non-violent-resistant) ethics of Jesus as their life responsibility. Yoder’s reflection on Christology envisions an ecclesial witness that is defined and sustained by the merits of the gracious Christ-event. Yoder’s vision for ecclesiology replays the Barthian rhythm: ecclesiology is the Church’s affirmation of the lordship of Jesus Christ over its polity and politics. It envisions a Christocentric corporate and embodied witness of the Kingdom vision as an historical reality. Yoder’s vision for the ecumenical ministry of the Church re-presents believers’ corporate (Christocentric) Kingdom realization as a Christological mandate to the empirical Church in concrete contexts. His vision for ecclesiology re-interprets and appropriates a Christocentric ministry of the whole people of God as a more significant practice of ‘the rule of Christ’ within historical contexts. It is a Christological ecclesiology. For Yoder, ecclesiology is ethics. Yoder’s restorative vision for social ethics is tied to his reflection on Christology. It bespeaks the believers’ embodiment of a Christocentric jesulogical ethics as body politics. His social reflection suggests a multidimensional, exploratory, experimental, often spontaneous and ad hoc practice of trans-community embodiment of the fulness of Christ as a Christocentric social Gospel within historical contexts. It is concerned with the burning issue of restoring and reconstituting human dignity. Yoder’s restorative vision seeks a Christocentric approach to nation building, social transformation and development. His Christocentric vision relocates mission and development to historical Christology. Consequently, the SCS can learn from Yoder’s social vision that historical Christology is a ministry to church renewal; that Christological ecclesiology is an ethical proclamation of Christ’s lordship above the polity and politics of the Church and; that jesulogical social ethics is the historic kerygma of the revolutionary Gospel of Jesus Christ among the nations. His restorative vision for renewal can present the SCS with a more substantive reflection on a reforming church in a reforming society that is in dire need of a reforming economy.

Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2008. / A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources (academic literature and literature from ancient Egypt) were then consulted to support and/or expand on the iconographic, symbolic, and functional aspects of the motif: - At the iconographic level, the historical development and ‘structural dynamics’ of the motif are investigated to deduce the artistic rules that applied to its creation. - At the symbolic level, the symbolic meaning of the artwork is ascertained by theorizing on the meaning of the motif and its parts in an Egyptian context. - At the functional level, the function of the artwork is ascertained by investigating how the motif’s symbolism was intended to be applied to benefit the individual. The results of this research is that the avian motif developed over time according to strict artistic rules; that it symbolized the king, eternity and protection; and that its function was to protect the king in all phases of his existence in a political and mythological context in order to ensure that the he would attain an eternal life in the afterlife. In the mind of the ancient Egyptian this was achieved through the transference of the avian motif’s magical qualities to the user. The intended outcome of this study is to highlight the avian motif’s importance in the context of the ancient Egyptian culture.