Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.

The following study examines the construction of political identities in the cinematic adaptations of Suzanne Collins "The Hunger Games". This is done through the lense of a post-structuralist, discourse-oriented, theoretical framework. Drawing on Chantal Mouffe's and Ernesto Laclau's concept of hegemony as well as Kimberle Crenshaw's theory of intersectionality (amongst others), I used the series main protagonist - Katniss Everdeen - as the focal point of my analysis. Situated in the intersection between class, gender and race, she is a pivotal subject in the hegemonic struggle of the films, having been labelled as a feminist icon. My aims were as follows: Firstly, I wished to establish the hegemonic structures of The Hunger Games. Secondly, I interpreted in what ways Katniss Everdeen related to these, and lastly, I sought to connect my findings to central concepts of school democracy - as I am to become an upper secondary teacher in social studies.       The analysis leaves one ambiguous as to whether Katniss is to be seen as a subversive or conformist figure. If we look at the narrative where she acts as the unifying "Mockingjay" in the struggle against "The Capitol", several subversive acts can be found - especially concerning class. However - the parallell narrative of the love-triangle, the one between Katniss, Peeta and Gale, distorts the picture. The revolutionary subversiveness of Gale is contrasted with the democratic conformity of Peeta. In the end, Katniss chooses the latter. This is to be seen against the horizon that most characters in disadvantaged positions die in their hegemonic resistance. Democracy is thus construed as the safe option, whereas heteronormativity and racism remain largely unchallenged. Regarding the reality of pupils - Katniss can be used to illustrate the limits and possibilities of the intersectional experience, and more so, to demonstrate the precariousness of diverging from the norm.

[pt] Sob o prisma do valor de mudança social ligado à juventude, criado histo-ricamente a partir do século XIX, o jovem possui a responsabilidade, no senso comum, de lutar por transformações e modificar circunstâncias indesejadas por ele e, ocasionalmente, pela sociedade. São os jovens que carregam a missão de mudar o mundo. Entretanto, a juventude hodierna decorre de antagônico cenário sobre si: descrença de engajamento em questões sociais. Tal pensamento é relacionado à condição de terem nascido junto a uma inovação mundial: a internet. Uma vasta literatura e matérias na mídia decorrem sobre o assunto. Nascidos entre os anos 1980 e 2000, os jovens millennials teriam conceitos e características muito específicas para tais fontes. Entre elas, a pouca adesão à mudança social. A presente pesquisa busca, então, compreender como esses jovens lidam com o as-sunto em foco. Para tal fim, outros conceitos criados sobre os millennials também foram verificados para a análise mais próxima da realidade dos jovens. Temas constantemente citados sobre o objeto desse estudo foram investigados com os próprios millennials na fase de ida ao campo. Dessa forma, primeiramente, foi explorada uma revisão bibliográfica que passa principalmente pela criação da juventude, mudança social, geração e modernidade, o que proporcionou embasamento para pesquisa. Nesse sentido, alguns autores como Philippe Ariès (1981), David Le Breton (2017), Karl Mannheim (2007), Anthony Giddens (2002) e Stuart Hall (2006) deram sustentação histórica e sociológica necessária para dialogar com os assuntos levantados. O trajeto percorrido pela metodologia foi desenhado partindo de uma análise de conteúdo acerca de como o jovem hodierno é mencionado pela mídia, grupo focal e uma entrevista em profundidade com um especia-lista, métodos acessórios que proporcionaram mais assertividade para, então, seguir para as entrevistas em profundidade e delas extrair o que a pesquisa propõe. À vista de determinado contexto, a pesquisa apresentará reflexões sobre a superficialidade com que os jovens são retratados midiaticamente, assim como o campo revelará noções e anseios sobre a forma com que os millennials percebem o mun-do em que vivem e as importantes implicações que tais classificações despertam em suas vidas. / [en] About the prism of the value of social change connected to the youth, cre-ated historically from the XIX century, the young has the responsibility, in the common sense, to fight for changes and modify circumstances unwanted by him and occasionally by the society. The young people are the ones who carry the mission of changing the world. However, the youth of today stems from an an-tagonistic scenario about itself: disbelief of engagement in social issues. Such a thought is related to the condition of having been born with a worldwide innova-tion: the internet. A vast literature and subjects in the media arise on the subject. Born between the years 1980 and 2000, the young millennials have concepts and very specific features to such sources. Among them, the low adherence to social change. The present project aims to understand how these young people deal with the subject in focus. To this end, other concepts created about the millennials were also checked for the analysis be the most accurate as possible. To this end, other concepts created on the millennials were also checked for the closest analysis of the reality of young people. Constantly cited themes about the object of this study were investigated with the millennials themselves in the research phase. In this way, a bibliographic review was first explored, mainly through the creation of youth, social change, generation and modernity, which provided a basis for re-search. In this sense, some authors such as Philippe Ariès (1981), David Le Bre-ton (2017), Karl Mannheim (2007), Anthony Giddens (2002) and Stuart Hall (2006) provided the necessary historical and sociological support for dialogue with the issues raised. The trajectory covered by the methodology was drawn from a content analysis about how the young man is mentioned by the media, a focus group and an in-depth interview with a specialist, accessory methods that provided more assertiveness to then go to interviews in depth and extract from them what the research proposes. In view of a given context, the research will reflect on the superficiality with which young people are portrayed in a mediatic way, as the field will reveal notions and yearnings about how millennials perceive the world in which they live and the important implications that such classifica-tions arouse in their lives.

S’khothane: Representation in, and influence on, contemporary visual arts practices For several years now, S’khothane youth culture has been viewed as a social ill. This view started after it received massive broadcast and print media coverage during the course of 2012. Crews claiming adherence to S’khothane were interviewed by investigative journalism programmes on two of South Africa’s most watched television channels, eTV and SABC1. While some townships1 in Gauteng claim to have been the birthplace of S’khothane, this subculture appears to be based on various other subcultures that preceded it. Cultures such as Swenkas (Umswenko), Sapeurs (La Sape) and Pantsula influenced various aspects of the S’khothane culture, from dance and poses, to dress style and performances. References made to S’khothane in studies by Mkhwanazi (2011) and Jones (2013a) as well as mass media coverage on programmes such as 3rd Degree (2015) and Cutting Edge, have generally been negative. Jones (2013a:210) describes S’khothane as a disruptive manifestation of consumption, which involves publicly destroying expensive designer clothes, shoes and accessories to show that these symbols of wealth are meaningless and easily replaceable. This study explores the representation of S’khothane in selected contemporary visual artworks and assesses any influence it might have on these artworks. The study also investigates public perceptions about the S’khothane youth culture and evaluates these against realities documented during data collection to determine whether the perceptions were premised on misconceptions. A group of participants was randomly selected from S’khothane events that took place in Fountains Valley (Pretoria), Soshanguve, Tembisa and other S’khothane gatherings held in places such as recreational parks and taverns. The participants were interviewed to gain insight into their perspective of the S’khothane culture, to establish the culture’s origin, its practises and elements. S’khothane is widely integrated and visually appropriated in the visual language of selected contemporary South African art practices. To this end, this research extends into a focused analysis of selected artworks in order to demonstrate how S’khothane influences selected contemporary visual arts practice in Gauteng. Through this approach, it becomes clear that these modes of representation embody no explicit moral judgement as one might find in investigative journalism programmes. There is a subtlety in the way S’khothane is represented by selected artists. In the Jamalaun Nxedlana artworks discussed, there is an element of realism depicted in the absence of manipulation through the documentation. On the other hand, Kudzanai Chiurai’s form of representation involves manipulation because he produced his visual artworks in a studio where he used props and had the ability to control the composition of the artwork. Nontsikelelo Veleko made a representation of various S’khothane elements including colourful clothes and accessories such as sunglasses. The study also investigates how S’khothane lifestyles, dance, poses, clothing and performances are trends shaped influenced by other subcultural historic groups such as Swenkas (Umswenko), Sapeurs (La Sape) and Pantsula; giving them fad status, whether it be morally correct or not. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to study social learning mediated virtual as element conceptual relevance to education. The construction heuristic around social learning mediated virtual is as the theoretical framework of Sociology of Everyday Life developed by Michel Maffesoli. It is the study of the meanings attributed to video games by young people and their relationships with the concept of sociality, in order to understand the nature, characteristics and structure of contemporary learning as field of analysis taking the use and ownership of electronic games under the youth culture. The authors main were Maffesoli (1996, 2001, 2003, 2004, 2006, 2009), Assisi (2007), Gularte (2010), Mendes (2006), Santaella (2003, 2009), Buckingham (2007), Dubet (2004 ), Eagleton (2005), Levy (1996, 1999), Geertz (1989), Morin (1990, 1997), Assmann (1998), Baudrillard (1991), Maturana (1997), Hushkoff (1999), Deleuze and Guattari ( 1980) and Scheibe (2009), Vygotsky (1978), Stern and Willis (2010), Stephens (1993), Moraes (1997), Tapscott (2010), Gardner (1994). The research was conducted in the metropolitan area of Aracaju, in the period March 2009 to November 2010 through the participation of ten young people, aged 18-26 years, users of electronic games. The research methodology used is qualitative, interpretive paradigm, inspired by the research-based phenomenological hermeneutics. The research approach is ethnographic. The instruments of data collection used were: newspaper book, diary, participant observation and semistructured interview active. The results give prominence to social virtual mediated learning as a concept relevant, meaningful and relevant to the analysis of practices relating to school culture, crossed, especially by young people and their sense of expressive styles in the daily organization of pedagogical knowledge, largely influenced by elements of the culture outside the school environment, namely, electronic games, digital culture, the presence of virtual relationships in individual and collective elements of sociality and its influence in the organization of educational work through social learning mediated virtual. / Esta pesquisa tem como objeto de estudo a aprendizagem social virtual mediada como elemento conceitual relevante para a educação. A construção heurística em torno da aprendizagem social virtual mediada tem como referência teórica a Sociologia do Cotidiano de Michel Maffesoli. Trata-se do estudo dos sentidos atribuídos aos jogos eletrônicos pelos jovens e suas relações com o conceito de socialidade, de modo a compreender a natureza, características e a estruturação da aprendizagem contemporânea tomando como campo de análise o uso e a apropriação dos jogos eletrônicos no âmbito da cultura juvenil. Os principais autores utilizados foram Maffesoli (1996; 2001; 2003; 2004; 2006; 2009), Assis (2007), Gularte (2010), Mendes (2006), Santaella (2003; 2009), Buckingham (2007), Dubet (2004), Eagleton (2005), Lévy (1996; 1999), Geertz (1989), Morin (1990; 1997), Assmann (1998), Baudrillard (1991), Maturana (1997), Hushkoff (1999), Deleuze e Guattari (1980), Scheibe (2009), Vygostky (1978), Stern e Willis (2010), Stephens (1993), Moraes (1997), Tapscott (2010), Gardner (1994). A pesquisa foi realizada na região metropolitana de Aracaju, Sergipe, no período de março de 2009 a novembro de 2010, através da participação de dez jovens, com idade entre 18 a 26 anos, usuários de jogos eletrônicos. A metodologia da pesquisa utilizada é de natureza qualitativa, inspirada no paradigma interpretativo de pesquisa de base fenomenológico-hermenêutica. O método de pesquisa é o etnográfico. Os instrumentos de coleta de informações utilizados foram: jornal de bordo, diário de campo, entrevista semidirigida e a observação participante ativa. Os resultados alcançados dão destaque à aprendizagem social virtual mediada como conceito relevante, significante e pertinente para as análises de práticas sobre a cultura da escola, atravessada, sobretudo, pelos sentidos dos jovens e seus estilos expressivos no cotidiano da organização dos saberes pedagógicos amplamente influenciados por elementos da cultura exterior ao espaço escolar, a saber, os jogos eletrônicos, a cultura digital, a presença do virtual nas relações individuais e coletivas, os elementos da socialidade e as suas influências na organização do trabalho pedagógico através da aprendizagem social virtual mediada.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-09T14:12:19Z No. of bitstreams: 1 giselecristinaluiz.pdf: 6708975 bytes, checksum: c02ae94c853d8b75123e23a5512b0e5c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-10T13:17:40Z (GMT) No. of bitstreams: 1 giselecristinaluiz.pdf: 6708975 bytes, checksum: c02ae94c853d8b75123e23a5512b0e5c (MD5) / Made available in DSpace on 2017-03-10T13:17:40Z (GMT). No. of bitstreams: 1 giselecristinaluiz.pdf: 6708975 bytes, checksum: c02ae94c853d8b75123e23a5512b0e5c (MD5) Previous issue date: 2016-09-16 / Esta dissertação busca uma reflexão sobre as preferências estilísticas juvenis de um grupo específico de jovens, o público de rock n’ roll. Aqui iremos dar destaque ao grupo público de heavy metal em Juiz de Fora/MG que viveu sua juventude nas décadas de 1980 e 1990. Inicialmente busca-se analisar o surgimento de uma cultura juvenil e o desenvolvimento de subculturas dando destaque para o surgimento do rock n’ roll através de uma pesquisa bibliográfica. Foi realizada uma análise dos movimentos de contracultura relacionados ao estilo musical e a sua segmentação a partir da década de 1970 que irá dar origem ao estilo musical heavy metal. Posteriormente foi realizado um panorama geral do desenvolvimento do estilo, procurando analisar as questões que permeiam o grupo de fãs do mesmo, denominados headbangers, buscando averiguar como se deu o desenvolvimento do estilo musical no Brasil e como foi o desenvolvimento da cena. Procuramos ainda situar às relações existentes entre a moda, o comportamento e a música de estilo heavy metal, e a partir disso, pesquisar a interlocução presente entre a música e o estilo de vida desses jovens. Por fim, foram realizadas entrevistas com pessoas público de heavy metal que desde as décadas de 1980 e 1990 a fim de analisar como se deu o desenvolvimento do mesmo em Juiz de Fora/MG, pesquisando como tiveram acesso ao estilo, quais foram as bandas precursoras, onde e como eram os lugares frequentados pelos headbangers, como ocorria a divulgação do heavy metal, como os headbangers se relacionavam com o estilo musical na cidade em termos de comportamento, moda e estilo de vida e sobre o legado da cena metal em Juiz de Fora/MG. / This dissertation seeks a reflection on youth stylistic preferences of a specific group of young people, the rock public n 'roll. Here we will highlight the public group of heavy metal in Juiz de Fora/MG who lived his youth in the 1980s and 1990s initially seeks to analyze the emergence of youth culture and the development of subcultures highlighting for the emergence of rock n 'roll through a literature search. an analysis of the counterculture movements related to musical style and its segmentation from 1970 that will give rise to heavy metal musical style was held. It was later performed an overview of the development of style, trying to analyze the issues that permeate the group of fans even called headbangers, seeking to find out how was the development of the musical style in Brazil, as was the development of the scene. We also seek to situate the relationship between fashion, behavior and heavy metal style of music, and from that, search the dialogue between this music and the lifestyle of young people. Finally, interviews were conducted with public people of heavy metal from the 1980s and 1990s in order to analyze how was its development in Juiz de Fora/MG, researching how to have access to the style, which were the forerunners bands where and how were the places frequented by headbangers, as was the release of heavy metal, such as headbangers were related to the musical style in the city in terms of behavior, fashion and lifestyle and the legacy of the metal scene in Judge Fora/MG.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-02-19T20:09:07Z No. of bitstreams: 1 Salim, Diego-Dissert-1980.pdf: 2393292 bytes, checksum: 2658a2a5ee3c7f55fc1e8a0ffb8a077a (MD5) / Made available in DSpace on 2014-02-19T20:09:07Z (GMT). No. of bitstreams: 1 Salim, Diego-Dissert-1980.pdf: 2393292 bytes, checksum: 2658a2a5ee3c7f55fc1e8a0ffb8a077a (MD5) Previous issue date: 2013 / A década de 1980 foi um período de transformações e reconfigurações da vida em sociedade, após um longo tempo de cerceamento das liberdades individuais. Os desafios impostos pela nova realidade questionavam os papéis sexuais, os valores morais, o comportamento, a participação política e traziam para o centro das questões do país, os grupos juvenis, ávidos por expressarem suas práticas culturais. Nesse cenário, o rock se manifestou em diversos pontos do Brasil, atingindo um grande sucesso comercial e aumentando o interesse da indústria fonográfica sobre essa produção. O cinema, apoiado pela emergência das culturas juvenis, encontrou no rock um elo fundamental para a expressão de uma nova safra de filmes, ancorados no gênero juvenil. Livros, revistas e publicações, em geral, confluíam em meio a essa efervescência juvenil em voga nos anos 1980. O cinema brasileiro desse período celebrou o encontro entre a juventude e o rock, seguindo uma tendência já tradicional no cinema internacional e experimentado em décadas anteriores pela produção nacional. Como síntese dessa experiência, a filmografia do diretor Lael Rodrigues é levantada como o eixo da incorporação de questões e problemáticas daquele tempo, através dos seus longas-metragens produzidos e lançados nos anos 1980: ―Bete Balanço‖ (1984), ―Rock Estrela‖ (1985) e ―Rádio Pirata‖ (1987). As trilhas sonoras, os videoclipes e os diferentes usos dos sons são marcas dessa produção que, apesar de pouco duradoura, escreveu suas linhas na história do cinema brasileiro. / The 1980’s decade was a period of transformation and reconfiguration of the society, after a long time of curtailment of individual liberties. The challenges posed by the new reality questioned gender roles, moral values, behavior, political participation and brought the youth groups, eager to express their cultural practices, to the center of the matters of the country. In this scenario, rock manifestations appeared in various parts of Brazil, obtaining a huge commercial success and increasing the interest of the music industry on this type of production. The cinema, supported by the emergence of youth cultures, discovered in rock music a key link for the expression of a new crop of films, anchored in teenpictures. Books, magazines and general publications coalesced amongst this youthful effervescence in vogue in the 1980’s. Brazilian cinema from that period celebrated the encounter between youth and rock, following a trend that was already traditional in international cinema, and experienced in previous decades by national production. As a summary of this experience, the filmography of director Lael Rodrigues is raised as the axis of the incorporation of issues and problems that time, through his feature films produced and realesed in the 1908’s: “Bete Balanço” (1984), “Rock Estrela” (1985) and “Radio Pirata” (1987). Sound tracks, video clips and different uses of sounds are trademarks of this production that, although short-lived, wrote its lines in the history of Brazilian cinema.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-05-26T19:57:26Z No. of bitstreams: 1 Salim, Diego-Dissert-1980.pdf: 2393292 bytes, checksum: 2658a2a5ee3c7f55fc1e8a0ffb8a077a (MD5) / Made available in DSpace on 2014-05-26T19:57:27Z (GMT). No. of bitstreams: 1 Salim, Diego-Dissert-1980.pdf: 2393292 bytes, checksum: 2658a2a5ee3c7f55fc1e8a0ffb8a077a (MD5) Previous issue date: 2013 / A década de 1980 foi um período de transformações e reconfigurações da vida em sociedade, após um longo tempo de cerceamento das liberdades individuais. Os desafios impostos pela nova realidade questionavam os papéis sexuais, os valores morais, o comportamento, a participação política e traziam para o centro das questões dos país, os grupos juvenis, ávidos por expressarem suas práticas culturais. Nesse cenário, o rock se manifestou em diversos pontos do Brasil, atingindo um grande sucesso comercial e aumentando o interesse da indústria fonográfica sobre essa produção. O cinema, apoiado pela emergência das culturas juvenis, encontrou no rock um elo fundamental para a expressão de uma nova safra de filmes, ancorados no gênero juvenil. Livros, revistas e publicações, em geral, confluíam em meio a essa efervescência juvenil em voga nos anos 1980. O cinema brasileiro desse período celebrou o encontro entre a juventude e o rock, seguindo uma tendência já tradicional no cinema internacional e experimentado em décadas anteriores pela produção nacional. Como síntese dessa experiência, a filmografia do diretor Lael Rodrigues é levantada como eixo da incorporação de questões e problemáticas daquele tempo, através dos seus longas-metragens produzidos e lançados nos anos 1980: "Bete Balanço" (1984), "Rock Estrela" (1985) e "Rádio Pirata" (1987). As trilhas sonoras, os videoclipes e os diferentes usos dos sons são marcas dessa produção que, apesar de pouco duradoura, escreveu suas linhas na história do cinema brasileiro.

Vårt syfte med denna uppsats är att fördjupa oss i och undersöka vilka pedagogiska möjligheter spelfilmen har i svenskundervisningen på gymnasiet bland annat genom att intervjua filmkunskapslärare. Vi har jobbat utifrån olika frågeställningar där den viktigaste lyder: Varför är det viktigt att låta det vidgade textbegreppet få större utrymme i svenskundervisningen? Studien genomfördes med åtta kvalitativa intervjuer med svensk- och filmkunskapslärare på fyra olika skolor. En kvalitativ enkätundersökning kompletterade intervjuerna. Huvudresultatet från detta arbete är att filmanvändandet skiljer sig åt på en mängd olika punkter i filmkunskap och svenskundervisningen samt att idag finns i stort sett alla tekniska förutsättningar för film i undervisningen. / Our purpose with this thesis is to explore the pedagogical possibilities of using film in the Swedish subject in high school, mainly so by interviewing teachers working with a subject primarily concerning film analysis (Filmkunskap). We have worked with different issues as the most important is: Why is it important to use a wider text concept to a greater extent in the Swedish subject? The study was conducted with eight qualitative interviews with teachers in the Swedish subject and in the Filmkunskap subject at four different schools. A qualitative survey complements these interviews. The main results of this work is that the use of films differ in a number of points comparing the two examined subjects and it also seems as schools today generally have all the technical possibilities for using film in teaching.

The Harry Potter series has been part of many kids’ socio-cultural context since 1997, and is a phenomenon that has had a huge impact on them (many of whom are now adults). It is argued that some kids’ identities and spiritualties may have been directly shaped, and may continue to be directly shaped, by the alternative sacred story presented by Rowling. As this has the Christ discourse woven into its narrative, there are kids who are using the Gospel values on a daily basis, whether they are aware of it or not. Rowling’s fantasy asks readers to question the impact that the dominant discourses of their ‘realities’ may be having on their identities and spiritualities, putting them in a position to question if that is indeed who they want to be. This study was motivated by how kids, who live in a Western society where one of the sacred stories is power/materialism/consumerism, can not only appreciate, but also live out (in lived theology) values of the Harry Potter series which are in complete opposition to the Western sacred story of power/consumerism/materialism. Since the consumerist discourse places a heavy burden on people to keep up with their socio-world, if they do not live up to these demands they will simply not ‘fit in’. People, especially kids, do not want to be perceived as outcasts. Practical theology seeks to react to, and understand the shifts that have a direct implication on how people’s lives are lived out and affected daily, in response to their socio-cultural world. One such shift is how people are now seeking ultimate answers from alternative sources such as for example literature, and specifically in this thesis, the Harry Potter series. Therefore, when a fantasy, such as Harry Potter, is published, it is important to question what kind of transformational and even transcendental impact it may be having on them. This is also an important question from a lived theology perspective as the Harry Potter series is lived religion. Lived theology seeks to understand how people practice and apply the sacred outside the Church and the four Gospels, while still using the Gospel message to live out their life on some level every day. These values include people’s practices, their actions towards others within their socio-cultural context and their personal sacred experiences that may allow them to transcend the way in which materialism affects their identity and spirituality. Lived theology seeks to understand how these values may affect practical theology. While some people no longer feel comfortable with/drawn to the Church, and feel alienated from the Gospels that were written for a socio-cultural context that is very different from Western society today, this does not mean that human beings are no longer spiritual/religious/Christian. They continue to seek for answers to the ultimate question at different stages of their lives. / Thesis (PhD)--University of Pretoria, 2014. / gm2015 / Practical Theology / PhD / Unrestricted