This dissertation explores popular culture-related themed space exhibitions and immersive museum pedagogy through the emerging post-museum, media convergence culture, and Deborah L. Perry’s museum-oriented “What Makes Learning Fun” framework. These exhibitions utilize popular media like Star Wars, Doctor Who, and the films of Hayao Miyazaki as a means of engaging audiences with brand and subject-specific pedagogy. By bringing fictional worlds to life through environmental stimuli (sets, sounds, objects, media segments), these exhibitions use popular texts as a means of facilitating the educational goals of the institution by having visitors engage in “work as play.” Learning becomes encompassed in the “fun” and “play” that is experienced with theme parks and games. Oftentimes educational programs are developed for these exhibitions that are frequently tied to specific national and regional educational requirements. In the post-museum, visitors are assigned interpretive powers where meaning is produced through their own personal experience. As Eilean Hooper-Greenhill argues, the use of visual media helps transcend usual classifications of high and low culture. This study argues that fandom within a themed space exhibition enhances this aspect, and the act of play enhances visitor interpretation. These key issues are examined through three main examples: The Doctor Who Experience (addressing public service vs. corporate profits), Star Wars Identities: The Exhibition (roleplaying as pedagogy and Alberta, Canada’s CALM program), and the Ghibli Museum (Japanese history, national identity, and self-discovery). These exhibits act as sites where the tension between branding and pedagogy operate, and illustrate how popular texts and education are localized for different audiences. The close examination of these themed spaces leads to a better understanding of contemporary media culture and its social/cultural applications on an international scale.

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Matthew’s Jewish audience was looking for continuity in the newly revealed kingdom.Thus, Matthew needed to connect faith in Jesus to the covenant ideal that was the foundation of their heritage. However, the Matthean community was blended to include formative, common, and Hellenized Jews along with non-Jewish believers. Within this context, Matthew used the concept of plēróō to connect this varied audience to the Jewish heritage. An examination of Matthew’s use of plēróō determines that it reveals the Christological characteristics that endorse Jesus’ divine initiative of proclaiming the coming reign of heaven within the hermeneutics of covenant. After the introduction to the aim, objectives, and methodology, chapter two evaluated the cultural influences on the form and structure of Matthew’s Gospel, demonstrating how this may have motivated his use of plēróō to support the Jewish heritage of covenant, Christology, and kingdom. This study contends that the concept and historical background of Greek drama is the most suitable structure for Matthew to relate the story of Jesus. The Matthean community would be familiar with this literary form and its capacity to depict the drama of Jesus’ life. Chapter three sets the story of Jesus in the dramatic context of his contemporary, Jewish culture. The drama builds on conflict, with many characters taking part in the story. The most prominent is the conflict between Jesus and the Pharisees that demonstrates Matthew’s intent that Jesus is the only logical choice to satisfy (fulfil) the requirements of righteousness, law, and prophecy. Prior to the investigation of the plēróō statements, chapter four examines the foundation of the cultic background for the Matthean milieu through the study of the prophets to whom Matthew referred in his plēróō statements. The final chapter is an exegesis of the plēróō statements, dividing them into contextual and prophetic perspectives. The former are statements regarding righteousness and law (Matthew 3:15 and 5:17-20, respectively) in which Matthew speaks to Jesus’ ontological essence set in the events of his baptism and the Sermon on the Mount. The latter reveals the key prophetic fulfilment passages (2:17, 8:17, 12:17, 13:35, 21:14), supporting the Matthean them of Jesus, son of David, son of Abraham. This study concludes that Matthew structured his Gospel like a Greek drama in order to attract both Jew and Gentile to Jesus, who is God’s anointed for both groups. Matthew uses the plēróō statements to confirm Jesus’ ontological nature, which was important to his Hellenized audience, and to confirm Jesus as the fulfilment of the Jewish (messianic) hope of Israel. This bonded both elements of the Matthean community to the nature and purpose of Jesus. / Thesis (PhD (New Testament))--North-West University, Potchefstroom Campus, 2013.

Matthew’s Jewish audience was looking for continuity in the newly revealed kingdom.Thus, Matthew needed to connect faith in Jesus to the covenant ideal that was the foundation of their heritage. However, the Matthean community was blended to include formative, common, and Hellenized Jews along with non-Jewish believers. Within this context, Matthew used the concept of plēróō to connect this varied audience to the Jewish heritage. An examination of Matthew’s use of plēróō determines that it reveals the Christological characteristics that endorse Jesus’ divine initiative of proclaiming the coming reign of heaven within the hermeneutics of covenant. After the introduction to the aim, objectives, and methodology, chapter two evaluated the cultural influences on the form and structure of Matthew’s Gospel, demonstrating how this may have motivated his use of plēróō to support the Jewish heritage of covenant, Christology, and kingdom. This study contends that the concept and historical background of Greek drama is the most suitable structure for Matthew to relate the story of Jesus. The Matthean community would be familiar with this literary form and its capacity to depict the drama of Jesus’ life. Chapter three sets the story of Jesus in the dramatic context of his contemporary, Jewish culture. The drama builds on conflict, with many characters taking part in the story. The most prominent is the conflict between Jesus and the Pharisees that demonstrates Matthew’s intent that Jesus is the only logical choice to satisfy (fulfil) the requirements of righteousness, law, and prophecy. Prior to the investigation of the plēróō statements, chapter four examines the foundation of the cultic background for the Matthean milieu through the study of the prophets to whom Matthew referred in his plēróō statements. The final chapter is an exegesis of the plēróō statements, dividing them into contextual and prophetic perspectives. The former are statements regarding righteousness and law (Matthew 3:15 and 5:17-20, respectively) in which Matthew speaks to Jesus’ ontological essence set in the events of his baptism and the Sermon on the Mount. The latter reveals the key prophetic fulfilment passages (2:17, 8:17, 12:17, 13:35, 21:14), supporting the Matthean them of Jesus, son of David, son of Abraham. This study concludes that Matthew structured his Gospel like a Greek drama in order to attract both Jew and Gentile to Jesus, who is God’s anointed for both groups. Matthew uses the plēróō statements to confirm Jesus’ ontological nature, which was important to his Hellenized audience, and to confirm Jesus as the fulfilment of the Jewish (messianic) hope of Israel. This bonded both elements of the Matthean community to the nature and purpose of Jesus. / Thesis (PhD (New Testament))--North-West University, Potchefstroom Campus, 2013.

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Thesis (D. Min.)--Westminster Theological Seminary, Philadelphia, 1992. / Each volume has separate title: v. 1. Understanding the Sundanese worldview with special reference to the spirit realm--v.2. The theology of the kingdom of God--v.3. Ilmu kerajaan Allah = Bible studies on the kingdom of God. Includes bibliographies.

Thesis (D. Min.)--Westminster Theological Seminary, Philadelphia, 1993. / In two volumes, teacher and student manuals. Includes bibliographies.

Thesis (M.T.S.)--Catholic Theological Union at Chicago, 1991. / Vita. Includes bibliographical references (leaves [75]-78).

Thesis (M.T.S.)--Catholic Theological Union at Chicago, 1991. / Vita. Includes bibliographical references (leaves 90-91).

Thesis (Ph. D.)--University of Chicago, 1910. / Includes bibliographical references (p. 128-129).