This study involves an investigation into the use of satire and humour as strategies of communication. The poetry of four Tsonga poets selected for study includes these strategies which are investigated for the purpose of determining the extent to which they function as strategies of communication. The study consists of four chapters which can be summarized as follows: CHAPTER 1 contains the introduction, aim, scope and method of approach of the entire study. Theories and definitions of satire and humour are also presented here. In CHAPTER 2 the poems selected for study are analysed in terms of invective, subtle and light-hearted satire. CHAPTER 3 focuses attention on the style of presentation of comic and derisive humour. CHAPTER 4 highlights and elucidates the most significant findings of the study. The most competent poet of the four at using satire and humour is identified and his excellence declared and justified / African Languages / M.A. (African languages)

Transdisciplinarity emerged from the urge to grasp the elusive knowledge in the most fertile zone in between and beyond disciplines that escapes even the most elaborate interdisciplinary operations. While interdisciplinary protocol enables experts to operate within foreign disciplines, in the extreme case as diverse as art and science (by inviting artists into scientific departments and vice versa), the production of knowledge remains confined to particular domains. To transcend these confinements and access the knowledge that evades institutionalisation Basarab Nicolescu’s Manifesto of Transdisciplinarity sets up conditions for an open structure to be grown outside the current compartmentalisation into a living knowledge. This thesis imagines a possible evolution of transdisciplinarity into knowledge to be lived internally rather than learnt externally in order to overcome the anxiety in transcending the established culture of disciplinary research. By entering the transdisciplinary zone, the identity of experts-specialists dissolves, even the crudest separation into artists and scientists becomes obsolete. From the illusion of losing control over knowledge arises the fear of a return to archaic, mystic or even shamanic ways of knowing. Far from proposing a return to shamanism in its ancient forms this thesis imagines the way of polyphibianism – an imaginary solution to navigate efficiently the protoplasmic state of knowledge that would be indigenous to culture of disciplinary researchers. With every significant discovery the disciplinary researchers already intuitively trespass into the very zone that the Manifesto of Transdisciplinarity invites them to enter intentionally. From examination of documented introspective inquiries into their act of discovery the thesis infers the necessary sensibilities and adaptabilities of the individuals to cross the borders of their disciplines. Their seemingly lost identity is temporarily restored with the term polyphibian (analogous to amphibian) designating their ability to survive and explore multiple environments. With each change of circumstances in research a polyphibian adapts by swiftly reinventing its instinctive instruments, mutating its organs of knowing, indifferently to conventional habits of thought. Through their introspective writings this thesis investigates the polyphibic aptitude of Henri Poincaré, Henri Bergson and Marcel Duchamp to scout at the periphery of physics, metaphysics and ‘pataphysics, to intuitively anticipate the role of chance, chaos and complexity in both arts and sciences. A threshold of complexity has to be surpassed in order to bring the current apparatus of knowledge to life. Bergson’s insight on laughter and dreams suggests how intellect could transcend itself. The thesis proposes to consider laughter as faculty that could induce self-awareness in the intellectual apparatus while dreams are considered to facilitate self-organisation of intellect on higher orders of awareness. In Deleuzian manner of mutating Bergson’s work into Bergsonism, polyphibianism is a mutation in transcribing the code of Creative Evolution where Bergson insisted on interdependency between the theory of knowledge and the theory of evolution. The scholarly dispute on Bergsonian and anti-Bergsonian tendencies present in Marcel Duchamp’s work is revisited in the thesis by interpreting the higher dimensional Bride as a polyphibic organism of living knowledge with access to higher orders of awareness, able to guide the Bachelor’s apparatus of mechanical production and preservation of knowledge out of its predicament. Informed by peculiar Duchampian experiments that challenged both the domain of art and science the research projects in this thesis consist of an intervention at CERN that tested the impenetrability of institutionalised art-science collaborations and installation of the Interval of Suspended Judgement with high mathematical precision at the threshold between physics and ‘pataphysics. With these projects the problems of categorising researchers into artists and scientists are revealed. As Deleuze suggested, to effectively formulate the problem, to realize it in multiplicity of contexts, a new concept must be invented, a new organism must be conceived. This thesis gave birth to an imaginary organism of living knowledge in order to relieve the unnecessary anxieties and to fully engage in transdisciplinary research.

Transverse myelitis (TM) is a rare auto-immune inflammatory disease in which the patient’s immune system attacks their spinal cord resulting in an unpredictable degree of neurologic disability, ranging from complete recovery to quadriplegia. TM patients often experience insufficient assistance towards understanding causes of the illness and have little to depend on in trying to deal with it. This study explores psychological strengths and coping strategies used by TM patients in coping with the illness. A theoretical framework of positive psychology with a strong focus on seven constructs, namely positive coping, searching for meaning, benefit finding, hope, sense of humour, resilience, as well as religion and spirituality is presented. The main data collection strategy for this study was the gathering of stories as a form of conversation. These were subjected to thematic analysis by interpretative phenomenological analysis (IPA) focused on identifiable themes and patterns of living and behaviour. The emerging patterns and identified fortigenic qualities were then considered, analysed and argued in relation to corresponding coping strategies. A model for the psychological coping and well-being of TM patients, based on emphasising the positive and constructive and considering existing models and strategies for the well-being of patients, was developed. The strategic and therapeutic model is presented in easily understandable language for the benefit of any care-giver (e.g. family member, friend or nurse) or the patient him/herself. / Thesis (PhD)--University of Pretoria, 2013. / lk2013 / Psychology / unrestricted

Cette thèse de doctorat porte sur les implications de l’humour dans l’établissement du vivre ensemble au Québec. Je me penche tout particulièrement sur la production, le contenu et les effets des discours humoristiques dans le développement de certaines attitudes politiques à l’égard des communautés issues de la diversité culturelle et religieuse québécoise. L’ensemble de la recherche a été réalisé à travers la rédaction des trois articles, lesquels visent à mieux saisir la trajectoire empruntée par les messages humoristiques traitant de ces enjeux. Le premier article s’attarde sur les motivations et les procédés à travers lesquels les humoristes et les artisans de l’humour construisent leurs numéros. Cette partie de l’étude a pour objectif de comprendre les facteurs d’influence de création humoristique traitant des enjeux du vivre ensemble tels que perçus par les membres de l’industrie de l’humour au Québec. Grâce à la réalisation d’une vingtaine d’entrevues semi-dirigées, on constate que le premier et principal vecteur de création de numéros d’humour reste l’individu, l’humoriste lui-même. C’est avant tout ses points de vues, sa façon de comprendre et d’interpréter le vivre ensemble qui est mis de l’avant. Le reflet de la société que renvoie l’humoriste est toutefois sous l’influence des pressions qu’il perçoit de la part de l’auditoire. Ainsi, les créateurs d’humour, comme tant d’autres personnalités ou groupes de l’espace public, sont soumis à un contrat de communication, lequel demeure à l’esprit de bon nombre d’humoristes. Le second article propose une analyse de contenu de 76 vidéos humoristiques répertoriées sur la plate-forme de visionnement YouTube et abordant les questions du pluralisme. On y découvre que même si plus de 25 communautés culturelles et religieuses font l’objet de caricatures et de railleries, c’est la communauté arabo-musulmane qui représente la principale cible des humoristes, que ces derniers proviennent du groupe majoritaire ou des minorités. Le stéréotype liant islam et terrorisme est alors évoqué de façon récurrente. Le troisième et dernier article se penche sur les effets de l’humour sur l’alimentation des préjugés auprès des individus. Il s’agit d’une étude expérimentale réalisée auprès de quelques 216 personnes séparées en deux groupes : un groupe a été exposé à des numéros véhiculant des stéréotypes culturels et religieux, à l’égard des arabo-musulmans en particulier, l’autre groupe a été confronté à des prestations ne comportant pas ce genre de stéréotypes. D’une part, on n’observe aucun effet direct significatif, sans variable amplificatrice, entre les deux groupes, suggérant qu’il faut peut-être prendre en compte d’autres facteurs pouvant jouer un rôle. D’autre part, des impacts significatifs sont en effet observables en fonction de la participation religieuse. Ainsi, les effets de l’humour sont à l’évidence complexes à mesurer et il importe de prendre en considération des variables modératrices (moderated effects) afin d’en apprécier empiriquement les répercussions. En regard des différentes conclusions tirées dans mes trois recherches, il subsiste un écart entre la responsabilité ou les impacts des créations humoristiques tels que perçus par les humoristiques et ce que leurs numéros contiennent et les effets que ces derniers engendrent sur le terrain. / This dissertation focuses on the implications of humour in the establishment of the Quebecois concept of "le vivre ensemble" (that we could translate into social cohesion). In particular, I am looking at the role and effects of comedic speech in the development of political attitudes towards communities stemming from Quebec's cultural and religious diversity. All of the research was carried out through the writing of three articles, which aim to better understand the trajectory taken by humorous messages dealing with these kinds of issues. The first article focuses on the motivations and processes through which humorists and members of Quebec’s comedy industry construct their acts. The objective of this part of the study is to understand the influencing factors of the creative process dealing with the issues of the "vivre ensemble" as perceived by members of this industry. Based on about twenty semi-directed interviews, we can see that the first and main vector of comedy creation remains the individual, the stand-up comic themself. It is above all their points of view, their way of understanding the "vivre ensemble" that is put forward. The comedian’s thoughts on society are, however, influenced by the pressures they perceive from the audience. Thus, creators of comic communications, like so many other public figures or groups, are subject to a communication contract, which remains in the minds of many stand-up comics. The second article proposes a content analysis of 76 humorous videos listed on the YouTube viewing platform and addressing issues of pluralism. It reveals that although more than 25 cultural and religious communities are the subject of caricatures and taunting, it is the Arab-Muslim community that represents the main target of humoristic videos whether they come from the majority or minority group. The stereotype linking Islam and terrorism is then evoked repeatedly. The third and final article looks at the effects of humour on the feeding of prejudices among individuals. It is an experimental study carried out with some 216 people separated into two groups: one group was exposed to acts that conveys cultural and religious stereotypes, particularly towards Arab-Muslims, while the other group was confronted with performances that did not contain such stereotypes. On one hand, there were no significant direct effects, without controlling for intervening factors, between the two groups, suggesting that conditional factors may need to be taken into account. On the other hand, however, significant impacts are indeed observable depending on the religious participation of the audience. Clearly, the effects of humour are complex to measure and it is important to take into account moderated effects in order to empirically assess the impact.

This thesis is an exploration of tabooed literary creations that it terms carnival literature. To achieve the objective of establishing the effectiveness of posting material on Facebook walls of the selected group and individual accounts to escape censorship, the thesis compared traditional graffiti, particularly latrinalia, to ‗cyber‘ graffiti (social media) with Facebook as a case study. Lev Vygotsky‘s Activity Theory helped the study link graffiti, vulgarities, humour and Facebook to the Ndebele society‘s response to tabooing of carnival literature. The thesis argued that participating in traditional graffiti production and coming up with posts on a Facebook wall is a deliberate effort with a target audience just as other genres of literature have. However, society tends to condemn carnival literature as a rebellious genre that deserves exclusion from ‗normal‘ interaction. Carnival literature is therefore censored through tabooing its themes and language. The term carnival literature is derived from medieval performances that were named the ‗carnivalesque‘ by Bakhtin and have equivalents in Africa as a continent and in Zimbabwe as a nation. The characteristics of carnivality are found in both traditional graffiti and ‗cyber‘ graffiti. These, among others, include sex and sexuality as themes, obscenities, vulgarities, and all language that is considered offensive. Interestingly, these elements of carnivality evoke laughter of one kind or another. Latrinalia from selected public toilets from the city of Bulawayo was photographed and subjected to Critical Discourse Analysis with attention being paid to carnivality, Bakhtinian dialogism and humour and its impact on the interaction process. Posts on walls of the selected Facebook group and individual accounts were subjected to the same treatment that was given traditional graffiti. The thesis argues that social media can perform a similar function to that of traditional graffiti with added advantages. Social media has created world communities that are brought together by common interests and platforms where they meet and share ideas. The study also established that messages have layers of meaning, making it unreasonable to ban certain messages since they serve a particular purpose. Social media, particularly Facebook, provides pockets of privacy for candid and unfettered interaction that service specific audiences among the Ndebele; hence can function as the escape route for carnival literature from cultural censorship in Zimbabwe. / African Languages / D. Phil. (African Languages)

Mémoire en recherche-création / Cette recherche-création est consacrée à l’humour plurilingue, c’est-à-dire de l’humour généré par la juxtaposition de deux (ou de plusieurs) langues. Elle comporte deux œuvres originales relevant de cette thématique, consistant en un enchevêtrement d’allemand, d’anglais et de français. Chacune d’elles est analysée par le biais des concepts élaborés par le chercheur Dirk Delabastita pour catégoriser les jeux de mots polyglottes, ainsi que selon les principes de comédie et de jeux de langage élaborés par Henri Bergson et Pierre Guiraud. Il s’agit ainsi de comprendre quels sont les mécanismes susceptibles de générer le rire dans une performance scénique exolingue (lorsque la maîtrise d’une langue est inégale entre un artiste et son public), et, par le fait même, de les mettre en application dans les œuvres créées dans le cadre du présent mémoire. Marie-Claude Chamberland, autrice de cette recherche-création, est une comédienne, artiste de cirque, clown et chanteuse d’opéra performant ses numéros de comédie clownesque sur plusieurs scènes internationales, notamment dans des cabarets circassiens en Allemagne, en Autriche et en Suisse. La première œuvre de cette recherche-création, intitulée Poème, a déjà été présentée devant public au Palazzo Colombino de Bâle, en Suisse, en 2022 et 2023. Elle consiste en un numéro clownesque dans lequel un personnage récite un poème en anglais et demande à son partenaire (qui éprouve des difficultés en allemand) de le traduire phrase par phrase en allemand pour le public germanophone. Il va sans dire que l’humour issu de cette scène tient du fait que les traductions sont des plus malhabiles. Ainsi, dans le sillage de Delabastita, Marie-Claude s’intéresse ici, non pas à la traduction de l’humour comme telle, mais bien à la traduction en tant que véhicule humoristique. La deuxième œuvre, Tisch, consiste en une réflexion tenue en allemand sur la très grande variété de « tables » existant dans le lexique allemand. Le mot Tisch signifie certes « table », mais cette syllabe se retrouvant également à la fin de nombreux adjectifs allemands (« enthusiastisch »), l’humour naît ici de la décortication des termes, en faisant fi de la sémantique, et de ce jeu de langage émanent des types de tables dont aucun germanophone ne pouvait suspecter l’existence. / This research-creation is devoted to plurilingual humor, i.e. humor generated by the juxtaposition of two (or more) languages. It includes two original works on this theme, consisting of a jumble of German, English and French. Each is analyzed using concepts developed by researcher Dirk Delabastita to categorize polyglot puns, as well as the principles of comedy and language play developed by Henri Bergson and Pierre Guiraud. The aim is to understand the mechanisms likely to generate laughter in an exolingual stage performance (when the mastery of a language is unequal between a performer and his audience), and, by the same token, to apply them to the works created in this context. Marie-Claude Chamberland, author of this research-creation, is an actress, circus artist, clown and opera singer who performs her clownish comedy acts on several international stages, notably in circus cabarets in Germany, Austria and Switzerland. The first work of this research-creation, entitled Poème, has already been presented to the public at the Palazzo Colombino in Basel, Switzerland, in 2022 and 2023. It consists of a clown act in which one character recites a poem in English and asks his partner (who has difficulty in German) to translate it sentence by sentence into German for the German-speaking audience. Needless to say, the humor in this scene stems from the fact that the translations are extremely clumsy. So, following on from Delabastita, Marie-Claude's interest here is not in the translation of humor as such, but in translation as a vehicle for humor. The second work, Tisch, is a German-language reflection on the wide variety of “tables” in the German lexicon. Tisch does indeed mean “table”, but this syllable is also found at the end of many German adjectives (“enthusiastisch”), so the humor here comes from deconstructing the terms, disregarding semantics, and from this play on language emanates types of tables that no German speaker could have suspected existed. / Diese kreative Forschungsarbeit ist dem mehrsprachigen Humor gewidmet, d. h. dem Humor, der durch das Nebeneinander von zwei (oder mehreren) Sprachen entsteht. Sie umfasst zwei Originalwerke zu diesem Thema, die aus einer Mischung von Deutsch, Englisch und Französisch bestehen. Jedes dieser Werke wird anhand von Konzepten analysiert, die der Forscher Dirk Delabastita zur Kategorisierung polyglotter Wortspiele entwickelt hat, sowie anhand der von Henri Bergson und Pierre Guiraud entwickelten Prinzipien der Komik und der Sprachspiele. Es geht also darum, die Mechanismen zu verstehen, die in einer exolingualen Bühnenperformance (wenn die Beherrschung einer Sprache zwischen einem Künstler und seinem Publikum ungleich ist) Lachen erzeugen können, und sie dadurch in den in diesem Rahmen geschaffenen Werken anzuwenden. Marie-Claude Chamberland, die Autorin dieses kreativen Forschungsprojekts, ist Schauspielerin, Zirkusartistin, Clownin und Opernsängerin, die ihre clownesken Komödiennummern auf mehreren internationalen Bühnen aufführt, insbesondere in Zirkuskabaretts in Deutschland, Österreich und der Schweiz. Das erste Werk dieser kreativen Forschungsarbeit mit dem Titel Poème wurde bereits 2022 und 2023 im Palazzo Colombino in Basel, Schweiz, vor Publikum präsentiert. Es besteht aus einer Clown-Nummer, in der eine Figur ein Gedicht auf Englisch vorträgt und ihren Partner (der Schwierigkeiten mit der deutschen Sprache hat) bittet, es Satz für Satz für das deutschsprachige Publikum ins Deutsche zu übersetzen. Es versteht sich von selbst, dass der Humor, der sich aus dieser Szene ergibt, auf die Tatsache zurückzuführen ist, dass die Übersetzungen höchst ungeschickt sind. In Anlehnung an Delabastita befasst sich Marie-Claude hier also nicht mit der Übersetzung von Humor als solcher, sondern mit der Übersetzung als humoristisches Vehikel. Das zweite Werk, Tisch, beruht auf einer auf Deutsch gehaltenen Reflexion über die sehr große Vielfalt an ‘Tischen’, die es im deutschen Vokabular gibt. Das Wort Tisch beschreibt zwar den Gegenstand ‘Tisch’, da diese Silbe aber auch am Ende vieler deutscher Adjektive vorkommt (‘enthusiastisch’), entsteht der Humor hier aus der Zerlegung der Begriffe unter Vernachlässigung der Semantik. Aus diesem Sprachspiel ergeben sich Tischtypen, von denen kein Deutschsprachiger je etwas ahnen würde.

Text in German / Die gesellschaftliche Situation ändert sich stetig. Während früher alte Menschen zu Hause von ihren Familien gepflegt wurden, übernehmen heutzutage oft Altenpfleger diese schwere Aufgabe. Betrachtet man die Altenpflege, so lässt sich erkennen, dass die Pflege alter, kranker oder im Sterben liegender Menschen für die Mitarbeiter physisch und psychisch sehr belastend ist. Angesichts dieser Tatsache, besteht die Notwendigkeit ein differenziertes Personalentwicklungskonzept, das biblisch diakonische Grundprinzipien widerspiegelt, zu formulieren. Die vorliegende Arbeit zeigt deren Möglichkeiten und Potentiale auf. Sie untersucht und beschreibt entsprechende Prinzipien, unter anderem anhand des Ansatzes H.U.M.O.R. und des Modells „Pflege den Pflegenden". Diese Konzepte wurden im „Luise-Schleppe-Haus und Schloss", einer der traditionsreichsten Altenhilfeeinrichtungen Baden-Württembergs entwickelt. Die Darstellung und Untersuchung dieser Konzepte, sowie die Sichtung weiterführender Literatur eröffnet neue Perspektiven für die Personalentwicklung in der Altenhilfe. Der christlich ethische Aspekt von Führung wird berücksichtigt. Auf der Basis der erarbeiteten Prinzipien der Mitarbeiterentwicklung gibt die Masterarbeit Anregungen für die Praxis. Formerly elderly people were taken care of at home by their families. Nowadays this difficult task is often assigned to professional nurses. In closer analysis of their task it becomes evident that helping the very old, ill and dying people constitutes a physical and mental strain. This necessitates the development a differentiated concept of human resource development that reflects the fundamental Biblical diaconal principles. This dissertation analyses the opportunities and potentials of such a concept. It researches and describes appropriate principles, amongst others the approach of H.U.M.O.R. and the model of Care for Caregivers (Pflege den Pflegenden). These concepts were developed in the "Luise-Schleppe-Haus und Schloss", a geriatric facilities in Baden-Württemberg, Germany, of long standing. The analysis combined with further literature opens up new perspectives for the human resource development in the care for the elderly and the ethical aspects of leaderhship in this context. / Systematic Theology and Theological Ethics / M. Th. (Christian Leadership in Context)

OF THE THESIS: The novel Captain Pantoja and the Special Service introduces the second period of Mario Vargas Llosa's literary production, which is caracterized by the simplification of the narration and the discovery of humour. The thesis focuses on the formal and thematic analysis of the novel with the objective to prove that despite the novel is in general humorous and parodic, there could be found some constant topics, known to the readers from Llosa's previous novels, which he had always treated very critically, and he also did so in this erotic and humorous work. Therefore, apart from the analysis of humour the thesis also examines the critical approach to the social problems present in the novel. The analysis also shows that the narration is slightly simplified in comparison to the author's formers works, but it still perfectly demonstrates the unconventional narrative techniques, which Vargas Llosa has used since the 1960's, since the period of the new hispano-american novel. KEY WORDS: Mario Vargas Llosa, Captain Pantoja and the Special Service, The Time of the Hero, The Green House, Latin American boom, Hispano-American new novel, total novel, experimental narrative techniques, types of humour and irony, humorous prose, parody, erotic novel, libertine prose, rainforest, criticism of the...

Museums as colonial institutions and agents in nation building have constructed, circulated and reinforced colonialist, patriarchal, heteronormative and cisnormative national narratives. Yet, these institutions can be subverted, resisted and transformed into sites of critical public pedagogy especially when they invite Indigenous artists and curators to intervene critically. They are thus becoming important spaces for Indigenous counter-narratives, self-representation and resistance—and for settler education. My study inquired into Cree artist Kent Monkman’s commissioned touring exhibition Shame and Prejudice: A Story of Resilience which offers a critical response to Canada’s celebration of its sesquicentennial. Narrated by Monkman’s alter ego, Miss Chief Eagle Testickle, the exhibition tells the story of the past 150 years from an Indigenous perspective. Seeking to work on unsettling my “settler within” (Regan, 2010, p. 13) and contribute to understandings of the education needed for transforming Indigenous-settler relations, I visited and studied the exhibition at the Glenbow Museum in Calgary, Alberta and the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. My study brings together exhibition analysis, to examine how the exhibition’s elements work together to produce meaning and experience, with autoethnography as a means to distance myself from the stance of expert analyst and allow for settler reflexivity and vulnerability. I developed a three-lens framework (narrative, representational and relational/embodied) for exhibition analysis which itself became unsettled. What I experienced is an exhibition that has at its core a holism that brings together head, heart, body and spirit pulled together by the thread of the exhibition’s powerful storytelling. I therefore contend that Monkman and Miss Chief create a decolonizing, truth-telling space which not only invites a questioning of hegemonic narratives but also operates as a potentially unsettling site of experiential learning. As my self-discovery approach illustrates, exhibitions such as Monkman’s can profoundly disrupt the Euro-Western epistemological space of the museum with more holistic, relational, storied public pedagogies. For me, this led to deeply unsettling experiences and new ways of knowing and learning. As for if, to what extent, or how the exhibition will unsettle other visitors, I can only speak of its pedagogical possibilities. My own learning as a settler and adult educator suggests that when museums invite Indigenous intervention, they create important possibilities for unsettling settler histories, identities, relationships, epistemologies and pedagogies. This can inform public pedagogy and adult education discourses in ways that encourage interrogating, unsettling and reorienting Eurocentric theories, methodologies and practices, even those we characterize as critical and transformative. Using the lens of my own unsettling, and engaging in a close reading of Monkman’s exhibition, I expand my understandings of pedagogy and thus my capacities to contribute to understandings of public pedagogical mechanisms, specifically in relation to unsettling exhibition pedagogies and as part of a growing conversation between critical adult education and museum studies. / Graduate

Text in German / Die gesellschaftliche Situation ändert sich stetig. Während früher alte Menschen zu Hause von ihren Familien gepflegt wurden, übernehmen heutzutage oft Altenpfleger diese schwere Aufgabe. Betrachtet man die Altenpflege, so lässt sich erkennen, dass die Pflege alter, kranker oder im Sterben liegender Menschen für die Mitarbeiter physisch und psychisch sehr belastend ist. Angesichts dieser Tatsache, besteht die Notwendigkeit ein differenziertes Personalentwicklungskonzept, das biblisch diakonische Grundprinzipien widerspiegelt, zu formulieren. Die vorliegende Arbeit zeigt deren Möglichkeiten und Potentiale auf. Sie untersucht und beschreibt entsprechende Prinzipien, unter anderem anhand des Ansatzes H.U.M.O.R. und des Modells „Pflege den Pflegenden". Diese Konzepte wurden im „Luise-Schleppe-Haus und Schloss", einer der traditionsreichsten Altenhilfeeinrichtungen Baden-Württembergs entwickelt. Die Darstellung und Untersuchung dieser Konzepte, sowie die Sichtung weiterführender Literatur eröffnet neue Perspektiven für die Personalentwicklung in der Altenhilfe. Der christlich ethische Aspekt von Führung wird berücksichtigt. Auf der Basis der erarbeiteten Prinzipien der Mitarbeiterentwicklung gibt die Masterarbeit Anregungen für die Praxis. Formerly elderly people were taken care of at home by their families. Nowadays this difficult task is often assigned to professional nurses. In closer analysis of their task it becomes evident that helping the very old, ill and dying people constitutes a physical and mental strain. This necessitates the development a differentiated concept of human resource development that reflects the fundamental Biblical diaconal principles. This dissertation analyses the opportunities and potentials of such a concept. It researches and describes appropriate principles, amongst others the approach of H.U.M.O.R. and the model of Care for Caregivers (Pflege den Pflegenden). These concepts were developed in the "Luise-Schleppe-Haus und Schloss", a geriatric facilities in Baden-Württemberg, Germany, of long standing. The analysis combined with further literature opens up new perspectives for the human resource development in the care for the elderly and the ethical aspects of leaderhship in this context. / Systematic Theology and Theological Ethics / M. Th. (Christian Leadership in Context)