A combination of cross-cultural and symbolic methodologies suggests that women warriors occur in societies where there is both an emphasis on the sacred feminine that allows women greater access to positions of power and authority (as per Peggy Sanday) and where marital residency rules permit female fighters (following David B. Adams´s theory on women warriors). While neither theory can stand alone in explaining the existence of women warriors, when combined both theories give a solid picture of societies that allow for female combatants. In this paper I propose that by combining Sanday’s work on female power and Adams’s work on women warriors we can come to a better understanding about just what makes the cultures that allow for women’s participation in warfare unique, and perhaps what characteristics must be in place in order for a culture to have women warriors. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

African American women represent 19% of the 2.1 million living female veterans. They are the largest minority group among veteran women; however, little is known about the challenges that they face when they transition to a postsecondary learning environment. The purpose of this qualitative study was to understand better how this cohort of veterans who served in the U.S. Army during military campaigns in the Middle East overcame transitional challenges to higher education. This study utilized Schlossberg's adult transition theory and identity formation as described in Josselson's theory of identity development in women. The focus of this study was on how female veterans constructed meaning as they overcame transitional challenges and coped with change. The research questions focused on understanding the perceived social, emotional, and financial needs and discerning to what extent faculty and staff helped or hindered their academic success. Purposeful sampling strategies were used to select 12 veteran African American females who attend higher education to participate in semistructured interviews. Thematic analysis of the data indicated that being a better role model and provider; facing financial difficulties; and balancing home, school, and career were among the key findings. These findings on challenges of African American female veterans' experiences can be used to inform university administrators, state employment agencies, the Army's Soldier for Life Transition Program, and the U.S. Department of Veterans Affairs. This study contributes to positive social change by providing understanding to institutions of higher education regarding the transitional experiences of African American female veterans and the need to implement programs to assist them better.

This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ¶ Section One locates Turner’s concept of ‘cultural performance’ within his wider theory of ‘social drama’ and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of ‘liminality’ is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as ‘for an audience’. I describe this relationship between performances in film and theatre through Kristeva’s interpretation of Bakhtin’s concept of heteroglossia as intertextuality, especially through her distinction of a ‘transformative’ intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory: 1. Brecht’s theory of ‘gest’, 2. ‘direct address to the audience’ in relation to the ‘gaze’ in film and 3. Rebecca Schneider’s conceptualisation of ‘the performance artist’. ¶ Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turner’s concept of ‘cultural performance’, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechner’s performance theory, Michael Taussig’s understanding of ‘mimesis’, Vivian Sobchack’s phenomenology of film, Paul Ricoeur’s theory of text ‘as meaningful action’, Gadamer’s concept of ‘meaningful play’, Bakhtin’s conceptualisation of a ‘dialogic’ text and Catherine Bell’s theory of ‘ritualised behaviour’. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougall’s ‘transcultural cinema’ and Jodi Brook’s conceptualisation of a ‘gestural practice’ in film, which she positions both in terms of Brecht’s theatrical concept of ‘gest’ and Walter Benjamin’s concept of the ‘shock’ of modernity. ¶ The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who ‘film’ and people who ‘are filmed’. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same ‘social drama’: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as ‘fiction’ and the other as ‘non-fiction’ towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film – a signifying practice which has existed just over one hundred years.

This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.

Thesis (MBus) -- AUT University, 2008. / Includes bibliographical references. Also held in print (x, 130 leaves : ill. ; 30 cm.) in the Archive at the City Campus (T 796.0440993 CLE)

5 Abstract: Dissertation work is concerned with a political activism phenomenon, retardation and programme collaboration of army elite in Bohemia and Moravia Protectorate study. The aim of the work is to explore and chart the public and political life in Bohemia and Moravia Protectorate with a special attention to high Czech commissioned officer activity not only to summarize the acquired information but also to put them into the context with a development of Protectorate autonomous and occupation politics. The Thesis is not only focuses on the activity on the main organisations and their leading personalities but devotes its attention to opinions and points of view of centers of protectorate autonomous and occupation administration towards them, which had an influence on the organisation activity and their leaders. It situates them into the protectorate politics on the background of the events. The Thesis theme concentrates basically on the activity of the main Protektorate organisations and of the former soldiers such as Czech Union of Warriors and Central Union Former Soldiers in Bohemia and Moravia and their leaders - the general Otto Bláha, Robert Rychtrmoc and Bohuslav Kálala. In addition to that it also focuses on the activity of political and statutory organisations called National Conviviality,...

Thesis (D. Litt. et Phil. (Biblical Studies)) / The Fertile Crescent, due to its geographical characteristics, has always been an area troubled with conflict and warfare. The men who participated in these wars, from ca 2000 BCE to 1000 BCE operated from an ethos which was governed by a system of rules, all which were conceived to be the creation of divine will, to which kings and their warriors (keymen) were subject. The cuneiform texts from Mari, Ugarit, Ebla, Amarna and others, have not only thrown light on the political, social, religious and military aspects of those turbulent times, but have also given insight into the formation of armies as well as the commanders who led those armies and the royal officials who governed cities and provinces, all appointed by the monarch in order to effect the smooth running of his kingdom. They also shed light on the formation of coalitions and alliances in order to promote peace, arrange marriages to the daughters of other ruling powers and to promote trade relations. These were no easy tasks, considering the diversity of peoples, the birth and fall of kingdoms and empires, and the ever shifting and changes of loyalties of greedy kings and their men, to attain power and conquest for themselves.. However, these texts also give glimpses of the human side of the king and the close relationships between himself and his men of authority, whilst the women of the court also played their role in some areas of the social field. The responses, of these people towards matters and events, whether they were confrontations, marriage alliances, trade ventures or hunting expeditions, occurred within an ever changing world yet, it was also a world with an ethos of ancient traditions, which did not disappear but instead remained, albeit in adapted or altered form, to be a part of their contextual reality. / Biblical Studies

Strategic level spiritual warfare has been an emerging trend within Evangelical missiology ever since C. Peter Wagner published his Spiritual Power and Church Growth (1986). The distinctive doctrines of Wagner’s SLSW are 1. The doctrine of territorial spirits, which entails the belief that powerful demons control specific geographical territories and its human inhabitants. Through a variety of spiritual warfare techniques such demons can be overcome. 2. The doctrine of territorial defilement. The assumption here is that a territorial spirit can only hold people in a location in bondage if it has obtained the legal right to do so because of sins and evils committed in that locality in the past. Identificational repentance on behalf of the people living in such territories removes the legal right of the territorial spirits. 3. The doctrine of Strategic Level Spiritual Warfare prayer. The underlying assumption is that territorial spirits can only be removed by means of aggressive spiritual warfare in the form of a variety of prayer and exorcism methods for dealing with territorial spirits. (4) The doctrine of territorial commitment. This doctrine justifies the exercise of spiritual power and authority by modern apostles in their communities. Wagner’s missiology has been largely shaped by the church growth movement. In his quest for better techniques to bring about mass conversions Wagner, impressed by the Latin American Pentecostal churches, embraced Pentecostalism and developed SLSW. However, a thorough biblical study demonstrates that SLSW is mostly unbiblical. A study of SLSW in Church history also demonstrates that SLSW was never accepted in orthodox Christianity. From a contextual point of view SLSW turns out to be a North American missiology with nationalist and political biases. Finally, when looking at the potential effects of a SLSW style missiology in the context of Malawi it emerges that Wagner’s SLSW is likely to reinforce rather than diminish the prevalent witchcraft fears in the Malawian society. At the same time SLSW tends to ‘demonize’ other cultures and thus hinders genuine contextualization. In the final analysis SLSW turns out not to be a commendable strategy for Christian Mission in Malawi. / Christian Spirituality Church History and Missiology / D. Th. (Missiology)

This feminist analysis addresses Lindsey Collen’s intertextual use of myth in The Rape of Sita and how her reformation of the parodied texts becomes a resistance to patriarchy. Collen’s examination of possible counteractions against patriarchy is analysed and it is determined whether or not she posits writing, especially demythologization, as the best resistance to patriarchal discourse. Also, her assertion that transformation and a unity of the sexes are needed to bring about equality is studied. The methodology used is qualitative and inductive. The sources are examined and interpreted through close-reading strategies which reveal the complexities of the text and the way in which Collen subverts myth. Classical and Hindu myths and other texts, such as T.S. Eliot’s The Waste Land, are re-read and re-examined to investigate to what extent they have challenged or championed patriarchal ideology, through which it is hoped that a greater understanding of the way in which mythology contributes to attitudes to rape is gained. Three other texts dealing with rape are also studied, in order to better place Collen’s novel in context of the genre. Primarily, feminist criticism, particularly with an African feminist viewpoint, is used. However, because a conflation of post-colonial and postmodern approaches is embedded within feminism, these concepts are dealt with also. Theorists drawn upon include Michel Foucault, Roland Barthes, Mircea Eliade and Margaret Atwood. / Dissertation (MA (English))--University of Pretoria, 2007. / English / MA / unrestricted

Ce mémoire s’intéresse aux mouvements sociaux autochtones d’opposition aux oléoducs. Nous cherchons à comprendre pourquoi ces mouvements privilégient l’occupation territoriale comme mode d’action et surtout, quel sens ils donnent à ce type d’action. Nous examinons spécifiquement deux organisations, l'International Indigenous Youth Council (qui s’inscrit dans le mouvement des Water Protectors) opposé à l’oléoduc Dakota Access aux États-Unis, et les Tiny House Warriors, opposé.e.s à l’oléoduc Trans Mountain au Canada. Afin de mieux comprendre ces mouvements, nous avons effectué une analyse de discours à partir de 25-30 vidéos publiées sur Facebook et YouTube pour chaque groupe. Nos résultats mettent en évidence que ces mouvements ne s’opposent pas seulement aux oléoducs, ils ancrent en fait leur action dans un long héritage de résistance au colonialisme de peuplement et dans un projet plus large de (re)construction identitaire, s'inscrivant dans une éthique de la résurgence autochtone. Nous démontrons comment ces mouvements représentent l’occupation comme une réoccupation, à la fois physique et symbolique, du terrain politique. Ainsi, ces mouvements réaffirment par le fait même leurs systèmes de gouvernance traditionnels et leurs pratiques spirituelles. En ce sens, l’opposition aux oléoducs devient presque secondaire, un prétexte pour des objectifs plus larges. Nous soutenons également que bien que ces deux mouvements s’inscrivent dans une même éthique de la résurgence, celle-ci se manifeste différemment en raison du contexte, mais aussi de l’histoire coloniale et des cultures au sein desquelles ces mouvements s’inscrivent. La résurgence autochtone doit en ce sens être située historiquement et culturellement. / This dissertation is interested in indigenous social movements opposing oil pipelines. We are trying to understand why these movements favour territorial occupation as a mode of action and above all, what meaning they give to this type of action. We are looking specifically at two organizations, the International Indigenous Youth Council (part of the Water Protectors movement) opposed to the Dakota Access pipeline in the United States, and the Tiny House Warriors, opposed to the Trans Mountain pipeline in Canada. In order to better understand these movements, we carried out a discourse analysis from 25-30 videos published on Facebook and YouTube for each group. Our results show that these movements do not only oppose the oil pipelines, they in fact anchor their action in a long legacy of resistance to settler colonialism and in a broader project of (re)construction of identity, which is part in an ethics of indigenous resurgence. We demonstrate how these movements represent occupation as a reoccupation, both physical and symbolic, of political space. In doing so, these movements reaffirm their traditional systems of governance and spiritual practices. In this sense, opposition to pipelines becomes almost secondary, a mere pretext for more big picture objectives. We also maintain that although these two movements are part of the same ethic of resurgence, it manifests itself differently because of the context, but also because of the colonial history and the cultures in which these movements are embedded. In this sense, indigenous resurgence must be situated historically and culturally.