Dissertations / Theses on the topic 'The Disney Renaissance Era'

In 2010, the chief curator of the Museum of Art and Design in New York, David McFadden, posited a ‘renaissance’ in the application of paper as an independent medium. The international instatement of papercutting into contemporary art sectors commenced in North America during the mid-1990s. This movement was associated with the transition from digitalism to post-digitalism. The materiality of paper was considered antithetical to the non-materiality of digital art. A more recent global survey of paper as an independent medium, The First Cut, was organised by Manchester Art Gallery in 2012. It was the same year the term ‘post-digital’ was applied to paper by Alessandro Ludovico in The Post-Digital Print: The Mutilation of Publishing Since 1894. Using the paper as independent medium movement as a fulcrum, this doctorate employs an arts-based research methodology to explore the applications for this image-making technique in the post-digital era. A selection of the artworks utilise papercutting traditions that are both chronologically and geographically distinct. A primary example is the application of both silhouette portraiture and Foshan papercutting to critique Chinese emigration during the nineteenth century. This culminated in two series, exhibited at the National Portrait Gallery in Canberra and the Chinese Museum in Melbourne respectively. A key research tangent involves separating the materiality of ‘paper’ from the technique of ‘cutting’. It explores the role of perforating paper in the development of digital technology. The creation of punch cards for the Jacquard weaving loom during the early nineteenth century directly informed the invention of computer data tapes during the mid-twentieth century. The subsequent artworks utilise post-digital technology to translate papercut motifs into a variety of media, including vector-based animation, computer-aided design knitting, laser etched sandstone, laser cut steel, and 3D printed sculpture. These artworks were exhibited in a variety of venues, including the State Library of Queensland, Brisbane, Australia; ADGY Cultural Exchange Center, Beijing, China; Arteriet, Kristiansand, Norway; and the Museo de Gustavo de Maetzu, Navarra, Spain.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Italie phare selon les mots de Jacques Le Goff, Italie proie durant les invasions étrangères ou simple « expression géographique » selon le prince de Metternich, l’Italie a depuis son premier souffle offert à l’histoire du monde de nombreux visages. A ce titre, elle fait figure de véritable étrangeté dans le paysage européen actuel. Une Italie politique et religieuse dans une Europe intensément laïque. Une toute jeune nation au milieu de patries millénaires. Un pays où, encore aujourd’hui, politique et religion marchent main dans la main. Où les consciences s’éveillent à la messe comme dans l’isoloir. Un pays où l’humain cherche désespérément à toucher du doigt le divin. Où le divin lui-même devient humain en la personne des successeurs de Saint-Pierre, pendants aussi appréciés que redoutés des dirigeants temporels italiques. Or, si l’Italie occupe une telle place pour notre humanité, c’est avant tout du fait de la dichotomie qui l’a toujours habitée. Âme guerrière et conquérante autant qu’émanation sanctifiée de la religion catholique, elle est la terre qu’humain et divin se sont disputés pendant des décennies. Et c’est à la Renaissance que ce combat atteint son apex. Car temporel et spirituel furent animés d’une même tension créatrice dans leur âpreté à « faire l’Italie » et leurs affrontements incessants allaient façonner l’essence même de l’Italie d’aujourd’hui, lui donnant ce caractère bicéphale qui est probablement l’un des aspects les plus constitutifs de l’identité italienne actuelle. Et lui confère une spécificité sans pareille en Europe
Italy lighthouse according to Jacques Goff’s words, Italy prey during the French and Spanish invasions ou simple « geographic expression » according to the prince of Metternich ; Italy has since her very first breath given the world history many visages. As such, Italy is a true strangeness in our modern European landscape, deeply proud of still exposing today the two side of her personnality. A politic and religious Italy in a very secular Europe. A very young nation among millenial homelands. A country transcended by its stormy story, by its intrinsic fragilities. A country where today, politic and religious are walking together. Where the minds awakes during the mass or in the voting booth. A country where human is begging for divine. Where divine himself becomes human in the sanctified person of St-Peters’s successors, equivalent as appreciated as feared of Italic secular leaders. And whose power exceeds the Vatican confines to radiate in the whole world, making Italy a real beacon illuminating the whole planet. Or, if Italy occupies such a place in our humanity, it is because of the dichotomy who always inhabited it. Warrior soul and hallowed emanation of catholicity, Italy is the place that human and divine have fought about during centuries. And this quarrel reaches its climax during the Renaissance era. Where temporal and spiritual power were also guided by a same creative strenght in their acerbity to do Italy et their ceaseless quarrels were going to shape the very soul of modern Italy, giving her this two-headed dimension which is likely the most constituent aspect of Italian identity. And gives this Nation an unparalleled specificity in Europe

This thesis investigates the shifting representation of trash and trifles in the literature and art of sixteenth and early seventeenth century England. It connects previously disparate critical fields – religion, politics, national identity, travel, literary criticism – in order to offer new perspectives on the period. The investigation of the terms ‘trash' and ‘trifles' at the centre of this project reinstates a crucial literary perspective to the historical study of early modern England's crises in spiritual and material value, whilst retaining a keen awareness of the importance of interconnected historical contexts ranging from the mercantile to the spiritual and the cultural. I have traced the connected development of the terms trash and trifles across the period 1519-1614, and closely examined their use in response to various crises in value, whether spiritual or mercantile. How writers of polemic and drama develop a language in which to articulate such crises, and the ways in which that language necessarily combines elements of both the spiritual and the mercantile, is a central theme. Key elements of this development are marked by Queen Katherine Parr's invective about the mercantile corruption of spiritual treasure with material papal ‘tryfles'; Sir Thomas Smith's assertion of the spiritual immorality of material ‘trifles'; Thomas Harriot and John White's presentation of the mercantile and spiritual benefit of exporting trash and trifles to the New World; and in the staging of trash and trifles in a series of late sixteenth and early seventeenth century plays which, I argue, were in part designed to mount a defense against anti-theatrical allegations regarding the effeminate valuelessness of playing. This thesis illustrates how the deployment of the terms trash and trifles in early modern England can be productively used to trace the shaping of the Protestant English commonwealth as a destinct, secure and valuable entity in an unstable and increasingly global post-Reformation world.

Le scribe royal de la Tombe Boutéhamon est un personnage thébain de première importance dont les témoignages couvrent les dernières années de la XXe dynastie et les premières de la Troisième Période intermédiaire (de Ramsès XI à Smendès Ier). Fils du scribe de la Tombe Djéhoutymès, Boutéhamon est mentionné dans de nombreuses sources épigraphiques (lettres, graffiti et dipinti de la nécropole thébaine, ostraca, phylactère, étiquette de momie) et archéologiques (vestiges architecturaux à Médinet Habou, sarcophages dispersés, mention possible de son inhumation à Deir el-Medineh). L’examen de cette documentation permet, d’une part, de restituer la carrière de ce haut fonctionnaire dans son temps. D’autre part, elle sert à exprimer de nouveau la chronologie incertaine des règnes des pharaons concernés ainsi que la période dite de « la Renaissance »
The royal scribe of the Tomb Butehamun is an outstanding Theban character, evidence for whom spans the last years of the 20th dynasty and the first years of the Third Intermediate Period (from Rameses XI to Smendes I). Butehamun was the son of the scribe of the Tomb Djehutymes. He is mentioned in numerous epigraphic (letters, graffiti and dipinti from the Theban necropolis, ostraca, phylactery, mummy label) and archaeological sources (architectural remains at Medinet Habu, dispersed coffins, a possible reference to his burial at Deir el-Medineh). Close examination of this body of documents allows reconstructing the career of this high ranking civil servant within his own time. Furthermore, it serves the reassessment of the uncertain chronology of the relevant pharaohs’ reigns and of the period known as “the Renaissance”

Le sujet de cette thèse est le mur comme élément du “décor’’, tel que l’âge classique l’entend. Pour les architectes et les théoriciens du XVIe et du XVIIe siècle, le mur contribue à la beauté de l’édifice. Différentes techniques de finition permettent de l’embellir : appareils en pierre de taille dressés et ravalés, bossages, briques polychromes, enduits qui unifient et enluminent les parements. Qu’il soit nu ou orné le mur n’est jamais neutre. Les architectes disposent sur le mur des motifs qui "enrichissent" les ordonnances, mais les surfaces décoratives qui qualifient les intervalles entre les principaux éléments du décor, ouvertures ou éléments de l’ordre, et les encadrements, qui montrent le mur comme un tableau, structurent les ordonnances, avec ou sans ordres. Ces ornements qui jouent un rôle aussi important sur le plan symbolique que syntaxique ont ainsi leur place dans le système classique des ornements dans lequel les ordres tiennent le premier rôle. Les ornements du mur peuvent prendre les caractères de l’ordre mais ont aussi leur propre rhétorique ; d’une part ils ont les qualités du mur même, d’autre part ils n’ont pas la même origine : les premiers ornements classiques imitent les inscriptions des monuments funéraires ou honorifiques de l’Antiquité. Une des particularités de la façade française est l’insistance sur les lignes verticales de la travée de fenêtres qui est en soi une composition ornementale. Les architectes coordonnent deux systèmes opposés : l’horizontalité qu’impose la superposition des ordres et la verticalité de la travée de fenêtres. Ils utilisent alors deux moyens : le renforcement des moulurations horizontales et l’ornement du mur. Cette thèse confirme certaines observations sur la façade française : l’effet a-tectonique des ornements, même si ceux-ci structurent la composition. Au principe classique de l’unité de l’organisme architectural dans lequel rien de peut être ajouté ou retranché, les architectes français apportent leur réponse : tous les éléments sont des ornements ainsi que le mur lui-même, qui se montre ou se voile de légers ornements
The subject of this thesis is the wall as element of the "decor", such as the classic age understands it. For the architects and the theorists of the XVIth and of the XVIIth century, the wall contributes to the beauty of the building. Various techniques of finish allow to embellish it: dressed stone, perfectly raised, bossages, bricks, coat which unify and illuminate facings. Naked or decorated, the wall is never neutral. The architects put on the wall motives which "enrich" the composition, but the ornamental surfaces which qualify the intervals between the main elements of the decor, openings or elements of the order, and the frames which show the wall as a picture structure the composition, with or without orders. These ornaments which play a role as important on the symbolic plan as on syntactic one have their place in the classic system of the ornaments in which the orders hold the leading part. The ornaments of the wall can take the characters of the order but also have their own rhetoric; on one hand they have the qualities of the wall, on the other hand they don’t have the same origin: the first classic ornaments imitate the inscriptions of funeral or honorary monuments of the Antiquity. One of the peculiarities of the French facades is the insistence on the vertical lines of the bay of windows which is in itself a decorative composition. The architects coordinate two opposite systems: the horizontality which imposes the superimposition of the orders and the verticality of the bay of windows. They use then two means: the intensification of the horizontal moulding and the ornament of the wall. This thesis confirms certain observations on the French facade: the a-tectonic effect of the ornaments, even if this they structure the composition. To the classic principle of unity of the architectural body in which nothing can be added or substracted, the French architects bring their answer: all the elements are ornaments as well as the wall itself, which shows or hides with light ornaments

Bien que La Fontaine ait explicitement placé ses Contes dans la lignée de grands recueils de narrations plaisantes, comme le Décaméron, les Cent Nouvelles Nouvelles ou l’Heptaméron, cette filiation assumée masque deux énigmes. La première concerne la transmission de ces modèles prestigieux jusqu’au poète ; ceux-ci ont en effet connu une diffusion européenne par le biais de compilations anonymes mal connues, agissant comme autant de filtres qu’il faut mieux évaluer. La seconde est celle de l’influence, sous-estimée, de cette production récréative multiforme sur l’autre versant de l’œuvre de La Fontaine, rédigé parallèlement aux Contes : celui des Fables. Il est donc nécessaire de confronter ces deux œuvres du poète, abordées de manière solidaire, à un corpus d’une centaine de recueils de narrations brèves à visée divertissante, écrits entre le XVe et le XVIIe siècle, pour cerner ce que les Contes et les Fables doivent précisément à cette tradition plaisante. L’enquête, fondée sur des investigations archéologiques minutieuses, conduit à mesurer, dans les textes lafontainiens, les reprises (directes ou médiatisées) de canevas facétieux, les modalités d’adaptation stylistique de cet héritage ancien, et les nouveaux mécanismes de différenciation générique entre vis comica et vis gnomica. La relation entretenue par La Fontaine avec ce patrimoine pluriséculaire, associé à une Renaissance gaillarde, permet, plus largement, de mieux comprendre les rapports ambivalents de l’âge classique avec un passé perçu comme plus rieur. Sont ainsi posés les fondements d’une esthétique de l’influence, articulant les recherches génétiques, les micro-analyses littéraires et l’histoire des représentations
Although La Fontaine claimed that his Tales were deliberately imitating some famous collections of amusing stories, such as The Decameron or French Cent Nouvelles Nouvelles and Heptaméron, two questions remain unresolved. The first one deals with how those prestigious models were passed on to the poet; little-known, anonymous compilations that both spread those narratives throughout Europe and influenced the way they were read, are to be taken into consideration in this process. The second one is about the undervalued influence of these protean entertaining texts on the other part of La Fontaine’s works, written at the same time as his Tales: the Fables. Those two works, tackled as a coherent whole, must therefore be collated to a corpus of about one hundred books collecting short, funny narratives, mainly written between the XVth and the XVIIth century – in order to define the precise debt of the Tales and Fables to this merry literary tradition. Thorough archeological investigations are the basis of this survey that determines, within La Fontaine’s texts, how the poet rewrote some jokes he knew directly or indirectly ; which stylistic devices he invented to adapt this ancient legacy ; how he renewed the way the didactic genres are differentiated from the comic ones. The view La Fontaine had of this long-aged heritage, seen as the product of a saucy Renaissance, entails a broader and better understanding of the ambiguous relations between the classic era and a past supposed to have been more cheerful. This lays the foundations of an aesthetics of influence, which links together genetic research, close-reading of literary texts and history of cultural representations

La thèse étudie le dernier poème écrit par l’humaniste Giovanni Pontano (1429-1503) au tournant du XVIe siècle, le De hortis Hesperidum, une géorgique sur les jardins d’agrumes. Plusieurs chapitres de description de l’œuvre puis une étude historique et pluridisciplinaire s’attachent à jeter de la lumière sur ce testament méconnu de l'humanisme napolitain. Le poème est tout d’abord considéré au regard des diverses lectures qui en furent faites depuis son origine jusqu’à nos jours et, en particulier, de son influence sur la littérature de l’âge classique en Europe. Puis on mène un examen de la versification du poème, de l’histoire du texte et dans l’étude de ses différents témoins, on établit les principes de l’édition qui figure en fin d’ouvrage. Comme le De hortis Hesperidum est le premier texte moderne à suivre la leçon de Virgile en matière de poème didactique, l’étude s’emploie ensuite à dévoiler les ficelles de la recréation du genre géorgique à l’aube de l’époque moderne, en y examinant les formes de narration, le rôle des digressions dans le texte, la présentation du dédicataire et du dédicant. Mais le De hortis Hesperidum est aussi un poème scientifique d’un intérêt précoce pour les agrumes dont il établit les variétés et dont il décrit précisément la culture, avec un tropisme certain pour les jardins d’apparat dont il présage la vogue au XVIe siècle à Naples comme dans toute l’Italie : on y découvre les prémices du jardin maniériste. Ce poème est enfin la peinture d’une vie académique et aristocratique élevée en un idéal que le poète cherche à préserver du tumulte des guerres d’Italie. En complément de l’étude, cette thèse présente la première traduction française intégrale du texte ainsi qu’une nouvelle édition à l’orthographe restituée d’après l’unique manuscrit connu
The present thesis studies the last poem written by the humanist Giovanni Pontano (1429-1503) in the latefifteenth century/beginning of the sixteenth century : De hortis Hesperidum, a georgic on citrus gardens.Some descriptive chapters, followed by a more analytical and multidisciplinary study, cast light on thisoverlooked testament of Napolitan humanism. The poem is at first considered through its various readingsover time and in particular through its influence on the literature of European classical age. Then, theversification and the textual history of the poem are assessed and the principles of the current edition areestablished, thanks to a careful examination of its testimonies. Since De hortis Hesperidum is the first moderntext to imitate Vergil’s way of composing didactic poetry, the study deciphers the recreation of the georgicgenre at the begining of the modern period, by considering narrations patterns, digression’s role, the way ofpresenting the dedicatee or the poet himself. De hortis Hesperidum is also a scientific poem that demonstratesan early interest for citrus trees, by establishing their varieties and describing their culture, with an obviousattraction for ornemental gardens that foreteils their popularity in sixteenth century Naples and Italy,foreshadowing the beginnings of manierist gardens. Finally the poem pictures the aristocratical life of thePontanian academy. It gives the aspect of an ideal time, kept safe from the commotion of the Italian wars,thanks to the poet. In addition to this study, the thesis countains the first complete French translation of thetext and a new edition in which spelling has been corrected on the only known manuscript of the poem

The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.” In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance. In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”

This thesis examines the representations of friendship in letters, collaborations, and paratexts from the Renaissance and the Romantic era to uncover the affection behind the performances taught in classical manuals of friendship. The pairs of Shakespeare-Fletcher and Middleton-Rowley from the Renaissance are compared with Wordsworth-Coleridge and Keats-Brown from the Romantic era to show that the representations did not change even when the myth of the solitary genius began to develop. The representations of friendship based on the ideal of the one true friend allow men to express their affection for other men without being homoerotic or even homosocial. The textual evidence of friendship does not always prove that two people were each other’s “one true friend,” but the signs of friendship signify affectionate friendship for readers who desire such a true friendship for themselves.

La tesi esplora l'evoluzione del genere romanzo all'interno della letteratura indiano-americana del Novecento, in particolare nei decenni precedenti il cosiddetto Rinascimento Nativo Americano, la cui fortuna critica ha finito per oscurare l'emergere di una tradizione romanzesca in lingua inglese da parte degli scrittori nativi precedenti. Autori come Mourning Dove, D'Arcy McNickle, John Joseph Mathews, John Milton Oskison hanno saputo utilizzare la forma del romanzo per raccontare l'esperienza indiana in un periodo che mise più volte a repentaglio l'integrità e l'identità delle comunità indiane attraverso le politiche di assimilazione prima (dalla fine dell'Ottocento agli anni Venti) e di terminazione poi (anni Cinquanta), con la breve parentesi del New Deal indiano degli anni Trenta. Seppur utilizzando prevalentemente i modi espressivi del realismo e naturalismo (anche nella particolare declinazione del "modernismo etnico"), il romanzo si dimostrò un genere abbastanza flessibile da accogliere elementi della cultura indiana, quali ad esempio la tradizione orale o la figura del trickster. In tal modo, il genere si prestò a veicolare istanze critiche nei confronti delle rappresentazioni dell'indiano nella tradizione letteraria anglo-americana, o anche semplicemente a dar voce alle energie creative degli scrittori e delle loro comunità d'origine, troppo spesso condannate al silenzio e all'oblio dopo la completata sottomissione politico-militare del secolo precedente. In alcuni casi, autori di questa generazione seppero articolare punti di vista coerenti a supporto dell'auto-determinazione e sovranità indiana, anticipando così un aspetto centrale della politica letteraria della generazione successiva di romanzieri indiani quali N. Scott Momaday, Leslie M. Silko, James Welch, Gerald Vizenor.
The dissertation explores the development of the novel genre in 20th-century American Indian literature, particularly in the decades prior to the Native American Renaissance--whose critical fortune ended up obscuring the emergence of a novelistic tradition by earlier native writers in English. Authors like Mourning Dove, D'Arcy McNickle, John Joseph Mathews, John Milton Oskison, employed the novel form to tell about the Indian experience during a period in which the integrity and identity of native communities were repeatedly undermined, first through a number of assimilationist policies (from the turn of the century to the 1920s) and then through the termination legislation of the 1950s, despite the parenthesis of the Indian New Deal in the 1930s. Though mainly featuring the modes of realism and naturalism (also in the particular version of "ethnic modernism"), the novel proved to be a flexible genre that could accomodate elements of Indian culture, such as oral storytelling or the trickster figure. In this way, the genre could vehicle criticism against the representations of the Indian in the Anglo-American tradition, or simply give voice to the creative energies of the writers and their communities, which had been invariably silenced and forgotten after the completed political and military takeover of the previous century. In some cases, authors from this early generation managed to articulate viewpoints that were consistent with the ideas of Indian sovereignty and self-determination, thereby anticipating a crucial aspect of the literary politics expressed by the subsequent generation of Indian novelists, such as N. Scott Momaday, Leslie M. Silko, James Welch, Gerald Vizenor.

A Família, o tema “Família” é por si só um tema difícil de se tratar nos dias que correm, não apenas para os adultos, mas sobretudo para as crianças e jovens. É extremamente complicado trabalhar este assunto quando temos tantas realidades familiares diferentes à nossa volta. Precisamos constantemente de ponderar muito bem as palavras que utilizamos, pois podemos fazer os discentes recordarem experiências menos positivas no que toca ao ambiente familiar ou à falta do mesmo. A escolha do tema “Família Comunidade de Amor” na Prática de Ensino Supervisionada, surgiu, para mim, como um desafio. Desafio porquê? Porque ao longo deste percurso, enquanto filho, pai, neto e professor de EMRC, tenho constatado uma mudança na realidade das vivências familiares, na forma como estas são vistas, sentidas e tratadas na sociedade. Deste modo pensamos em analisar o tema da “Família Comunidade de Amor”, partindo dos filmes/contos das histórias das Princesas da Disney que todos conhecemos e que ainda hoje fazem sonhar pequenos e graúdos. Perceber se podemos aprender com a realidade familiar das Princesas da Disney, bem como estas são apresentadas, se são diferentes da realidade atual ou se, de alguma forma, seguem o mesmo pensamento da Família cristã veiculado nos documentos do Magistério da Igreja, as Exortações Apostólicas “Familiaris Consortio” e “Amoris Laetitia” Seguiremos neste trabalho a ordem cronológica da realização dos filmes das Princesas da Disney. Como poderá um livro/filme ajudar alguém? A realidade familiar destas Princesas é muito diferente das famílias cristãs? Para que servem estas histórias clássicas? Na verdade, a realidade mistura-se com a ficção e há uma razão para todos conhecermos estas histórias baseadas em contos, adaptadas posteriormente em desenhos animados. Estes contos são uma forma de, por vezes, lidarmos com o nosso mundo, ainda que nem sempre este faça sentido!
The Family, the theme "Family" is in itself a difficult topic to deal with these days, not only for adults, but especially for children and young people. It is extremely complicated to work on this issue when we have so many different family realities around us. We constantly need to think very carefully about the words we use, because we can make the students remember less positive experiences with regard to the family environment or the lack of family members. The choice of the theme "Family Community of Love" in the practice of supervised teaching, emerged for me as a challenge. Why a challenge? Because throughout this journey, as a son, father, grandson and EMRC teacher, I have seen a change in the reality of family experiences, in the way they are seen, felt and treated in society. In this way, we thought of analysing the theme of the "Family Community of Love", starting from the films/fairy tales of the Disney Princesses that we all know and that still today make us dream small and big. To understand if we can learn from the family reality of the Disney Princesses, as well as how they are presented, if they are different from the current reality or if, in some way, they follow the same thought of the Christian Family conveyed in the documents of the Magisterium of the Church, the Apostolic Exhortations "Familiaris Consortio" and "Amoris Laetitia". In this work we will follow the chronological order of the making of the films of the Princesses of Disney. How can a book/film help someone? Is the family reality of these Princesses very different from the Christian families? What are these classic stories for? In fact, reality mixes with fiction and there is a reason for all of us to know these fairy tales based on tales, adapted later into cartoons. These tales are a way to sometimes deal with our world, a world that doesn't always make sense!

Student Number : 0517117G - MA research report - School of International Relations - Faculty of Humanities
This study has analysed the experience and legitimacy of South Africa’s Foreign Policy in resolving African conflicts, using comparative study of Burundi and Lesotho. The main findings of the study are as follows: First, since 1994 South Africa’s foreign policy has evolved and directed at ensuring peace and stability in African continent. During Mandela era, the policy was dominated by human rights. When Mbeki took over in 1999 the policy was reconfigured and moved towards peace and economic prosperity in African continent to achieve African Renaissance. Second it has been argued that the interventions in Lesotho and Burundi were legitimate and successful despite the controversies in particular Lesotho. Last, the experience and lessons learnt in Lesotho helped to shape South Africa’s foreign policy when mediating in Burundi conflict which had led to a notable success.

The Study of Theology plays a crucial role in the construction of a sound theology in this post liberation era of Southern Africa. This exercise is conformed to the academic learning and creates an environment where theology can dialogue with other disciplines. It helps in the critical reflection on the issue of God and human beings as the object of theology in African context. The study of theology and the doing of theology are methods which bring praxis and theory together. The doing of theology is the daily work of a pastor in a congregation. It is an exercise that put theological theories into practice. This is a methodology that guides the process of developing a contextual theology in Southern Africa. It is a process of taking theology from classroom to the congregations the community. The study of theology and the doing theology are soul mates. They work hand in hand to address contemporary situations. Human beings should know their physical organic environment. They are the object of theology. People experience God from natural science. Liberation theologies e.g. Africanist, Black and Women/Feminist theologies should use new approaches in order to meet the post liberation error challenges. The wholesome approach is another alternative to be used by these theologies. The approach is based on the interconnectedness of God, human beings and physical organic universe (Theanthropocosmic principle). The principle of Theanthropocosmic helps to direct theology in Southern Africa to be contextual and universal. Some new contextual theologies are born because of the theanthropocosmic approaches to modern challenges. The modern society is build under principles of democracy, good governance, peace and tranquility. The major role of theology is to ensure that the society enjoys those principles. Theology is directed to a group and individuals. The social, political and economical challenges should be approached as a group. The wholesome approach is an appropriate method to address challenges imposed by globalization ideologies. The increase rate of poverty in Southern Africa brings up other social illness in communities e.g. corruptions, crime, diseases. There is a need to engage theology in economic globalization. The concept of Botho calls everyone in the community to participate in the fight against these social illnesses in the society. Theology is obliged to restore economic justice. The Church is encouraged to participate in the cultural liberation and renewal. She is compelled to do mission work in this paradigms of cultural changes. African renaissance is an urgent thing to be implemented order to overcome challenges imposed by globalization in Southern Africa.
Philosophy, Practical and Systematic Theology
D. Th. (Systematic Theology)

„Ars delectat semper“ – Kunst erfreut immer! Ein insgeheimes Credo von Henrik Karge wurde zum Anlass genommen, ihm mitsamt dieser Devise zu seinem 2018 gefeierten 60. Geburtstag eine Publikation zu widmen mit Texten seiner Schülerinnen und Schüler sowie Mitarbeiterinnen und Mitarbeiter. Alle Autorinnen und Autoren des Bandes standen während ihrer Laufbahn in Verbindung mit dem Jubilar – als Studierende, als Promovierende oder Habilitierende oder als wissenschaftliche Angestellte –, ihre Texte nehmen Bezugspunkte auf und zeigen, wie das Saatgut sich in Erntegut verwandelt hat.:Vorwort 6 ARCHITEKTUR Silvia Lorenz - Knochengespräche 7 Ronny Horst - Das „Kreuz der Lumpen“ und ein offener Steinkasten auf dem Dach der Kathedrale von Santiago de Compostela 8 Juliane Pech - Das Bauhüttenbuch des Villard D’Honnecourt 13 Stefan Bürger - La Seu Vella Lleida – Kreuzgang oder Investruine? Beobachtungen an den westlichen Klausurteilen 16 Marı́a Aranda Alonso - Die Kathedrale von Jaen 21 Stefan Hertzig - Das Japanische Palais und der Escorial 24 Kristina Friedrichs - „Altes und Neues verknüpft, so dass das eine aus dem anderen organisch erwächst und alles als Naturnothwendigkeit erscheint“. Sempers Antikensäle im Japanischen Palais in Dresden‐Neustadt 28 Julia Walter - Das erste Dresdener Hoftheater von Gottfried Semper 32 Peter Heinrich Jahn - Semper meets Pöppelmann, oder: Herrschaftsinszenierung unter dem Deckmantel der Kunstpatronage. Der Mittelrisalit der Dresdner Gemäldegalerie am Zwinger 34 Bianca Hambusch - Die Casa Calise in Buenos Aires 39 Ralf Gottschlich - Turmbilder – Architektur‐Hoch‐Druck 42 KUNSTGEWERBE Silvia Lorenz - Echolot 45 Eileen Lemmle - Das Reliquiar in Dreiecksform aus Bergkristall: ein Stück inszenierte Quedlinburger Geschichte 46 Ljubow Schmidt - Eine russische Medaille der Petrinischen Epoche und ihr Geheimnis 49 Katrin Schlechte - „Olympische Farben“ – Ein Blatt Stoffproben zur italienischen Oper „L’Olimpiade“ (Dresden, 1756) 53 BILDKÜNSTE Silvia Lorenz - Ohne Titel (rot) 57 Katrin Zimmermann - Höfische Eleganz. Velázquez̕ Bildnis einer Dame 58 Silke Herz - Das Bildnis einer Hofmohrin mit gelber Haube, rotem Kleid und Perlenkette 63 Susanne Müller‐Bechtel - Stolz und gelehrt Luis Meléndez in seinem Selbstbildnis mit Aktstudie 68 Uta Kaiser - Ein Porträt des Athanasius Graf Raczyński von Wilhelm von Kaulbach 71 Christian Klose - Von Ägina nach Dresden – die Gipsabgüsse der Giebelfiguren des Aphaiatempels im „Königlich Sächsischen Mengs’ischen Museum der Gypsabgüsse“ 75 Arnika Groenewald‐Schmidt - Das etwas andere Italien Ein Scirocco‐Tag an der Küste nahe Rom von Nino Costa 78 Anne Schaich - Zu schön für Protestanten: Rudolf Yelin des Älteren „Gebet im Garten Gethsemane“ in der Stadtkirche Tuttlingen 81 Janina Majerczyk - Oskar Zwintschers Ansicht von Meißen 84 Claudia Schönjahn - „La Paresse“ – Thema mit Variationen 87 Katja Schumann - Geburtstagsblumen – in Farbe! Eine frühe Farbfotografie von Nicola Perscheid 89 Elisabeth Ansel - Ein irischer 3. Mai? Jack B. Yeats’ Funeral of Harry Boland (1922) im Kontext der Stilkonstruktion einer irischen Moderne 91 Kati Renner - Ein wiederentdecktes Schlüsselwerk von Otto Hettner: Das Porträt seiner Frau Jeanne mit Hut (um 1919) 94 Karin Müller‐Kelwing - Poesie der Formen und Farben – Vom genius loci des Künstlerateliers Zwei Werke von Joachim Heuer und Matthias Lüttig 97 Katharina Henkel - Kleiner, heimlicher Herrscher Stephan Balkenhol’s Babyking 100 Silvia Lorenz - Knochengespräche, Echolot, Ohne Titel (rot) 102