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  1. (1 other version)Christian activism and the fallists: What about reconciliation?Selena Headley & Sandiswa L. Kobe - 2017 - HTS Theological Studies 73 (3).
    This article aims to understand what role Steve Biko and the Black Consciousness Movement, and the Soweto Uprising, played in Christian activism between the early 1970s and late 1980s. The question is: did the Black Consciousness Movement and the Soweto Uprising influence Christian activists to engage differently with notions such as reconciliation during the struggle against apartheid? The article revisits the actions and thinking of Christian activists before 1994 to understand some of their views on reconciliation, but most importantly, to (...)
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  • Preaching as art (imaging the unseen) and art as homiletics (verbalising the unseen): Towards the aesthetics of iconic thinking and poetic communication in homiletics.Daniel Louw - 2016 - HTS Theological Studies 72 (2):14.
    The article investigates the hypothesis that preaching implies more than merely verbalising, proclaiming and rhetoric reasoning. Preaching is fundamentally the art of poetic seeing; an aesthetic event on an ontic and spiritual level; that is, it provides vocabulary and images in order to help people to discover meaning in life (preaching as the art of foolishness). In this regard, preaching should provide God-images that open up the dimension of aesthetics and provide vistas of the ‘unseen’. The iconic dimension of preaching (...)
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  • Faith communities, social exclusion, homelessness and disability: Transforming the margins in the City of Tshwane.Thinandavha D. Mashau & Leomile Mangoedi - 2015 - HTS Theological Studies 71 (3).
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  • The statue debate: Ancestors and ‘mnemonic energy’ in Paul and now.Zorodzai Dube - 2015 - HTS Theological Studies 71 (3):5.
    Why do people in South Africa fight over statues – even to the extent of tying themselves to a mere bust? Using insights, especially from Jan Assmann, the study develops the argument that material culture (such as images and statues) provides the social energy that drives the manner in which history is told, that is, historiography; they provide the ‘silent objects’ with the power to control the public discourse and collective identity. Statues encapsulate all we need to know, inversely, concerning (...)
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