The purpose of this study is to analyze the distribution, forms, and function(s) of iron amulets deposited in the late Iron Age gravefields of Lovö, with the goal of ascertaining how (and so far as possible why) these objects were utilized in rituals carried out during and after burials. Particular emphasis is given to re-interpreting the largest group of iron amulets, the iron amulet rings, in a more relational and practice-focused way than has heretofore been attempted. By framing burial analyses, questions of typology, and evidence of ritualized actions in comparison with what is known of other cult sites in Mälardalen specifically– and theorized about the cognitive landscape(s) of late Iron Age Scandinavia generally– a picture of iron amulets as inscribed objects made to act as catalytic, protective, and mediating agents is brought to light.

Univerzita Karlova v Praze Filosofická fakulta katedra estetiky Diploma thesis Šimon Svěrák Situation of the Surrealist Subject (abstract) 2012 thesis supervisor: prof. PhDr. Vlastimil Zuska, CSc. Abstract This thesis focuses on the situation of a substantial subject in the historical development of the surrealist experience and confronts it with our original postmodern interpretation of thoughts of early Marx. The surrealist consciousness is based on a dialectical opposition between rational and irrational elements of cognitive processes. André Breton apprehends this dialectics under the perspective of love life and relates it to values of love, freedom and poetry. Nevertheless, this conception changes in the immanent development of the surrealist consciousness from Breton over the work and thoughts Salvador Dalí and Mikuláš Medek to Vratislav Effenberger. Effenberger removes positive values from surrealism and puts emphasis on the critical functions of the irrational. On the psychological field, all these ideas are based on the conception of the unconscious which means there is the substantial approach in them. Our critical interpretation of Marx shows, that the surrealist concept of subject is in the contradiction with its substantial determination. The subject has to be perceived as the essential...

La thèse porte sur le work in progress de Raoul Hausmann, "Hylé", dont la genèse exceptionnelle s'étend sur plus de 30 ans (1926-58). "Hylé I" (inédit) et "Hylé II" (2006) traitent des années 1926-33 (Allemagne) et 1933-36 (Ibiza) de la vie de Hausmann. Ces ensembles textuels, qui résultent tous deux du montage d'une centaine d'unités textuelles, transcendent les appartenances génériques au profit d'une identité transgénérique, plurielle et mobile. Au regard du rôle majeur de Hausmann dans le mouvement Dada à Berlin, tant sur le plan théorique que par sa production plastique et poétique, le présent travail pose la question de la continuation d'un projet d'avant-garde dans "Hylé". L'exploration des relations intermédiales entre Hylé et le photomontage, la poésie visuelle et la photographie – formes d'expression investies par Hausmann pendant ou après Dada – permet d'éclairer la permanence de son projet utopique d'une augmentation de la perception sensorielle humaine. L'analyse comparée de "Hylé I" et "Hylé II" s'appuie sur la reconstruction de la genèse du texte à partir des deux grands fonds d'archives français et allemand. Elle montre d'abord, au niveau macrostructurel, que le montage crée un mode de cohérence spatial et dynamique qui concurrence celui de la linéarité narrative, soutenu en cela dans "Hylé II" par une véritable poétique de l'espace. Elle fait ensuite ressortir l'ambivalence d'une entreprise autobiographique qui se forme au cours de la genèse et oscille entre la constitution rétrospective du moi et sa dissolution (ou sa fragmentation). Enfin, elle s'attache à l'expérimentation langagière conçue comme le projet utopique de mettre en mouvement les limites rigides imposées à notre connaissance par le langage, projet qui culmine dans l'écriture multilingue de l'exil dans "Hylé II". / This thesis discusses Raoul Hausmann's work in progress, Hyle, whose genesis lasted over 30 years (1926-1958). "Hyle I" (unpublished) and "Hyle II" (2006) both have strong autobiographical character and deal with the years 1926-33 (Germany) and 1933-36 (Ibiza). Each consists of approximately a hundred units combined together into a textual ensemble, which goes beyond traditional genre classifications and produce a transgeneric, plural and mobile textual identity. Taking into account Hausmann's crucial importance in Berlin Dada both on the theoretical field and for his artistic and poetical production, this thesis looks into the question of the continuation of an avant-garde project within "Hyle". In order to understand what remains of Hausmann's utopian project of an enlargement of human perception, it is most helpful to explore the intermedial relations between the work in progress and Hausmann's practice of photomontage, visual poetry and photography. The comparative analysis of "Hyle I" and "Hyle II" is based on an extensive genetic enquiry using the two principal Hausmann archives in Germany and France. It first focusses on the macrostructural level and highlights how the technique of textual montage creates a spatial and dynamic coherence mode, which is conflicting with that of narrative linearity – this being supported in "Hyle II" by a comprehensive poetics of space. The analysis then sheds some light on the ambiguity of an autobiographical project which forms itself in the course of the genesis and oscillates between retrospective subject constitution and subject fragmentation or dissolution. It finally analyses the language experiment in Hyle as a utopian attempt to shift the verbal bondaries which limit our understanding – culminating in "Hyle II" with the multilingual writing influenced by the exile years. / Die Dissertation untersucht Raoul Hausmanns Work-in-progress "Hyle" unter Berücksichtigung seiner mehr als 30 Jahre umfassenden Textgenese (1926-1958). "Hyle I" (unveröffentlicht) und "Hyle II" (2006) handeln von Hausmanns Leben in den Jahren 1926-33 (Deutschland) und 1933-36 (Ibiza). Diese jeweils aus ca. 100 zusammenmontierten Einheiten bestehenden Textensembles gehen über traditionelle Gattungszugehörigkeit hinaus zugunsten einer transgenerischen, pluralen und beweglichen Identität. Ausgehend von Hausmanns wesentlicher Rolle in Dada-Berlin – im theoretischen wie im künstlerischen und poetischen Bereich – wird in dieser Arbeit der Frage nach der Fortschreibung eines Avantgarde-Projekts in "Hyle" nachgegangen. Das vielfach intermediale Verhältnis des Schreibprojekts zu den Ausdrucksformen der Fotomontage, der visuellen Poesie und der Fotografie wird herausgearbeitet und in Beziehung zu Hausmanns utopischem Projekt einer Erweiterung der menschlichen Wahrnehmung gesetzt. Die vergleichende Analyse von "Hyle I" und "II" erfolgt anhand einer fundierten, sich auf den beiden Haupt-Nachlässen in Deutschland und Frankreich stützenden Rekonstruktion der Textgenese. Sie zeigt zuerst auf makrostruktureller Ebene, wie die Text-Montage einen räumlich-dynamischen, im Spannungsfeld mit einem linear-narrativen stehenden Kohärenzmodus stiftet, und wie sich dies zudem in "Hyle II" in einer umfassende Raumpoetik artikuliert. Die Analyse hebt dann das Ambivalente eines autobiographischen Unternehmens hervor, das sich erst im Laufe der Genese entwickelt und zwischen retrospektiver Ich-Konstitution und Subjekt-Auflösung bzw. -Fragmentierung oszilliert. Sie befasst sich schließlich mit dem Sprachexperiment als einem utopischen Projekt, das den starren, unsere Erkenntnis beschränkenden Grenzen der Sprache erneut Beweglichkeit zu verleihen sucht – und im mehrsprachigen, durch Exil-Erfahrung geprägten Schreiben in "Hyle II" seinen Höhepunkt erreicht.

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This research study focused on measuring the impact of structures that support community-university research partnerships. The broad research question asked: How can we determine the impact of community-university research partnership support structures such as the Office of Community Based Research at the University of Victoria, within the university and within local, regional, national and international communities? Methods of inquiry included: participatory research, institutional ethnography and case study. These are among an increasing number of research approaches consistent with what is called engaged scholarship. Congruent with the methods of inquiry, methods of investigation included: in-context immersion, participant-observer-listener, use of available documents and information, use of an impact assessment framework prototype designed pre-data collection, key informant interviews, field notes, research journaling and the writing process. Data contributing to this study were drawn from key informant interviews. Interview participants were situated within local, regional, national and international communities. Methods of analysis included: a two-pronged approach to organising data, deductive and inductive approaches, the lens of praxis, and the prototype as an analytical framework. Assessment as praxis is proposed as broad analytic framework. Theory was constructed through data analysis. This study’s data and analysis point to impact assessment as a cycle of inquiry and eight elements that inform impact on and through community life and impact on and through the university. The proposed Impact Assessment and Measurement Framework (IAMF) includes eight elements: coupling intention with impact, spheres of impact, categories of impact, conditions of impact, points of impact, impact-focused documentation, multiple perspectives of impact, and impact assessment and measurement statements. Contributions of this study include: recognition of staff who support community-university research partnerships through their varied work spaces, research councils as a type of support structure, impact assessment as a cycle of inquiry, explicating impact through elements of impact assessment, and a literature consolidation of impact assessment in the context of support structures. Future research may include revision and refinement of the IAMF across different types of community-university research partnership support structures. / Graduate

From a feminist theology of praxis the appreciative inquiry used in this research reflected on the constituting role the living of values by facilitators play in transforming the lives of children who suffer the effects of poverty, neglect and abuse. The concretisation or the living of values within the school community linked with the theme of solidarity with the marginalised. The facilitators' solidarity with children as "concrete others" became ways of doing participatory ethics. As part of a postmodern paradigm, a social constructionist discourse made it possible for therapist-researcher and participants to view the facilitators' work and the research itself as part of a relational process. Appreciative inquiry invited a reflective stance towards action, relating and personal knowledge. The research also reflected on poststructuralist theory and practice, and the power of imagination and language to re-describe of the work of facilitators. / Philosophy, Practical and Systematic Theology / M. Th. (Practical Theology, with specialisation in Pastoral Therapy)

The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area. Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music. The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement. A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches. Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators. / Art History, Visual Arts and Musicology / D. Litt. et Phil.

This thesis is a study of nineteenth and twentieth century faith theology and praxis, seeking to determine a balanced, healthy faith that is both sound in theology and effective in practice, Part 1 presents a history and sources of Faith Teaching and Practices. It first looks historically at the roots of later faith teaching and practice by presenting a sampling of teachings on faith from early church fathers, reformers, mystics, and Pietists. These form the foundation for the movements of faith in the nineteenth and early twentieth centuries-the classic faith teaching, followed by the modern faith movement and leaders. Part 2 deals with the foundational issues of faith teaching and practice: the relationship of faith to the supernatural, the concept of the inheritance of the believer and the practice of claiming the promises of God, the nature of faith, and the authority of the believer and its inferences for faith praxis. Part 3 investigates seven major theological issues of faith teaching and practice: faith as a law and force, the object and source of faith, the relationship of faith and the will of God, distinguishing between a logos and a rhema word of God, the concepts of revelation and sense knowledge, the doctrine of healing in the atonement, the question of evidence of the baptism in the Holy Spirit. Part 4 examines major practical issues of faith teaching and practice about which controversy swirls: positive mental attitude and positive confession; issues of discernment in acting upon impressions, voices, revelations, and "words from the Lord;" questions of faith regarding sickness and healing, death, doctors and medicine; the relationships between sickness, suffering, healing, and sanctification; and prosperity. Part 5 reflects upon these issues and comes to final conclusions regarding: the role of hermeneutics in determining faith theology and praxis, how to handle unanswered prayers and apparent failures of faith, the seeming paradox and tension between claiming one's inheritance and dying to self, a summary of practical conclusions for exercise of healthy faith, and final conclusions and recommendations on developing a sound theology and practice of faith for the twenty-first century. / Philosophy, Practical and Systematic Theology / D.Th. (Practical Theology)

This empirical and theological research investigates the self-conception of the east-german women in the Brethren Movement, in order to discover by which role model they predominantly orientated themselves. Therefore women were interviewed, who are – on one hand – socialised in the Brethren Movement, and on the other hand have partly realized the GDR role model through working in a typically male business and/or in a leading position. It was possible to describe in that study three contrasting typologies. On that foundation, thesis and conclusions were drawn for the development of identity and the operation of the church. This project wants to make a contribution to the investigation of the –almost untouched academically – field of the women in the Brethren Movement. At the same time it should serve as an historical example in how the church dealt with changing role models. / In dieser Forschungsarbeit wird das Selbstverständnis der ostdeutschen Frauen in der Brüderbewegung empirisch-theologisch untersucht, um herauszufinden, an welchem der beiden divergierenden Rollenbilder (DDR-Gesellschaft oder Brüderbewegung) sich diese Frauen stärker orientieren. Dazu wurden Frauen interviewt, die einerseits in der Brüderbewegung sozialisiert sind, und andererseits durch ihre Berufstätigkeit in einem männertypischen Beruf und/oder in Leitungspositionen das DDR-Rollenbild teilweise umgesetzt haben. Im Verlauf dieser Studie ließen sich drei kontrastierende Typologien von Selbstbildern erkennen. Auf dieser Grundlage wurden Schlussfolgerungen und Thesen über die Identitätsfindung der Frauen und ihre gelebte Gemeindepraxis gezogen. Mit der Betrachtung der Frauen in den Brüdergemeinden will diese qualitative Studie einen Beitrag dazu leisten, neue Erkenntnisse aus einem wissenschaftlich bisher kaum erforschten Gebiet zu gewinnen. Gleichzeitig soll die vorliegende Studie anhand dieses historischen Beispiels den Umgang einer Gemeinde mit sich verändernden Rollenbildern zeigen. / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

Text in English, with abstracts and keywords in English and Sesotho / This doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context. / Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa. / Art and Music / Ph. D. (Art)