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Dissertations / Theses on the topic 'Art and Commodification'

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Published: 20 February 2023

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1

Pannier, Jasmin. "(Ad)dressing Afghanistan The Commodification of the Ethnic 'Type' Genre." Thesis, University of California, Irvine, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10288755.

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The relationship between photographer and subject in nineteenth-century photographs of Afghanistan operates as a component of identity construction. To date, this interaction is theorized in terms of power between the photographer and the colonial apparatus and labels the image as orientalist, colonializing, and ethnographic. I propose an additional perspective that places consumer interests in costume at the forefront of image construction. While Western photographers have left us with a perception of nineteenth-century Afghanistan as an intersection between British occupied India and Russia, the social economic impetus of these images require further analysis. An examination of British cultural and photographic practices reveals the role clothes play in the creation of the ethnic `type.? My research addresses these principal themes: the continuities between photographic and pre-photographic visualities; the relationship between European cultural attitudes, the creation of costume books, and reception of commercial photography; how visual information was repurposed and influenced the development of anthropology as a discipline. The importance of studying costume and costume books in the nineteenth century is instrumental to understanding Europe?s transition to a culture focused on classification and commodification. Costume books not only allowed for the creation of a consumable `type? in photography, and permit us to examine the actual mechanics of commodification.

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Iverson, Alexander Sabastian. "Artistic creativity and commodification, a sociological study of pictorial art practices in a provincial art world." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23808.pdf.

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3

Parker, Andrew. "Consuming subjectivity in Warhol and Koons, mass appeal and commodification in art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ48583.pdf.

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4

Halg, Bieri Anja Kerstin. "Walking in Late Capitalism - Dialectic of Aestheticization and Commodification." Diss., Virginia Tech, 2015. http://hdl.handle.net/10919/86145.

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Walking has become a trend in the USA. In recent years, the desire to walk has brought forth specific urban design for walkable places as well as art forms that focus on walking. Whence this trend? This dissertation studies the socio-economic and cultural context that brought forth the aestheticized forms of walking such as walking in designed walkable places and walking as art. The theoretical framework to study this genealogy is based in social anthropology, critical theory, theatre studies and the practice of audio-walks. A "dialectic of aestheticization and commodification" runs through modernity that generates aestheticized forms of walking today. While walking is initially a form of aesthetic struggle against the rational principles of modernity and the forces of capitalism, this struggle is co-opted by the logic of capital in a continuous interlacing of the processes of aestheticization and commodification. The social and spatial consequences of capitalism together with the process of aestheticization of society produce new spatial forms of capitalism, new commodified forms of social interaction, and new forms of walking. What became of the yearning for agency through walking? With "walkable urbanism", capital returns to the city center and creates new markets for a budding walkable life-style which is fed through conspicuous consumption and the commodified "walkable body". With walking as art, the struggle for more physical, intellectual and political agency through walking goes on. While fighting with the self-referential loop of postmodern performing art, art walking opens up doors to new paths for contemporary art that lead out of post-dramatic art, beyond the phenomenology of embodied experience, and out of the manipulating products of the culture industry in order to create art that offers room for imagination -- the source of social change.
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Hilpert, Zachary Michael. "Ruins Reframed: The Commodification of American Urban Disaster, 1861-1906." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539720327.

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This dissertation explores images of urban disaster and related events produced from the Civil War to the dawn of the 20th century, seeking to understand the role such visual media played in the formation of American identity and racial perceptions. Images of disasters that appeared throughout this period demonstrate a desire on the part of a largely white, native-born consumer class to share in a collective grieving process, one that initially recalled the comforts found in the communal suffering of the Civil War, but habitually eschewed the most tragic elements in favor of an optimistic, nationalistic narrative free of lasting trauma. Out of this desire for mutual grieving and recovery emerged a market for tokens of palatable tragedy in the final decades of the nineteenth century. This market was fed by a growing industry of disaster commodification that co-opted urban destruction in the service of an ultimately white supremacist formulation of American identity.;These images gave consumers the ability to experience disaster and loss remotely, in more immediate and vivid ways than news reports or letters. Yet a line of acceptability was drawn in the process of commodifying these disasters, and resulted in a wealth of imagery that tells a far different -- and far more hopeful -- story of each disaster than the death tolls and oft ignored tales of costly human error could ever have crafted. The images instead create a fantasy narrative of disasters and aftermaths firmly under human control, and a racist, ultranationalistic view of the world in which white Americans are challenged by adversity, but always persevere to construct a new and better world -- often in spite of the efforts of the racialized monsters in their midst.
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Boyd, Craniv Ambolia. "Ndebele Mural Art and the Commodification of Ethnic Style during the Age of Apartheid and Beyond." Thesis, Freie Universitaet Berlin (Germany), 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10609294.

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The women of the Ndebele, an ethnic minority living in the rural North of South Africa, decorate their homes in colorful geometric paintings. This thesis retraces how Ndebele mural art was "discovered" by white South African modernist artists at the beginning of the twentieth century. By examining their paintings and photographs, it shows how their specialist interest contributed to Ndebele villages becoming popular tourist destinations during the apartheid era.

This thesis furthermore demonstrates how the format of the glossy coffee-table book facilitated global exposure and appreciation of the Ndebele "style," and eventually led to its commodification as an ethnic brand. Finally, it evidences that despite this appropriation, the designs of Ndebele women are part of a rich cultural heritage that continues to fascinate artists and designers worldwide.

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7

Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.

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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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Conradie, Annemi. "Travelling snapshots of the Rainbow Nation : the commodification and performance of 'authentic' cultural identities in contemporary South African postcards." Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4251.

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9

Bernard, Mary Grace Cathryn. "Non-Western Art and the Musée du Quai Branly: The Challenge of Authenticity." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/honors_theses/53.

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This thesis discusses the recent construction and anthropological collaboration of the Paris museum: Musée du quai Branly (MQB), an art museum dedicated to showcasing art collections specific to aboriginal and indigenous cultures in the Americas, Africa, Asia and Oceania. The opening of MQB in June 2006 raised a plethora of controversial questions concerning the museum’s methods of curatorial display of the art it has made its primary focus. One of the major issues discussed examines the Quai Branly’s authentic, or inauthentic, representation of certain artworks displayed throughout the museum. Thus, the essay raises the questions: does a non-Western object remain authentic once it is exhibited in a Western society’s art museum? To answer this question, the essay explores the various explanations of art and authenticity in order to reach an understandable conclusion of what constitutes an authentic display of non-Western objects in a Western art museum.
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10

A, Aljundi Rachelle. "Konst på internet idag : En retorikanalys av konstverksamma organisationers självpresentationer." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85830.

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This is a qualitative study about Art transformation and commodification in the digital age. The study applies a rhetoric analysis with the aim to understand how art sellers, gallery owners and entrepreneurs take part in this transformation process through their websites’ presentation texts ”about us”. The analysis is related to communication theories but it is also inspired by other theories such as Gramsci’s hegemony theory and Bourdieu’s cultural critical theory. The study shows that in an environment of ”Global Communication”, activities that are related to the visual art on the net are strongly influenced by the commodification. Marketers and business managers have a big advantage of this phase of change in Art activities on the net. As senders in a one-way communication process, they use their rhetorical skills in their presentation texts to build identities or to enhance their business, depending on the positions of power they have in the market. They invest in art and artists, in order to expand their businesses and to capture a wider audience of recipients on World Wide Web to get more money and power. The study recommends further research about the Art commodification, preferably from the receiver’s and the artists’ sides to reveal more aspects of the effects of this transformation process in Art and its values.
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11

Viljoen, Vida Alexandra. "Socio-spatialities of visual art in Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96804.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses. The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town.
AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is. Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.
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Jacobson, Malcolm. "Getting paid writing graffiti : How graffiti artists produce value within marketing." Thesis, Stockholms universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-114878.

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In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti.  Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture.   The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.
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13

Hall, Timothy W. "Surface, substance and the status quo pop cultural influences on architectural design /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085069145.

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Kusina, Jeanne Marie. "Seduction, Coercion, and an Exploration of Embodied Freedom." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1403637510.

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15

Robinson, Glendal Paul. "A Mythic Perspective of Commodification on the World Wide Web." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4489/.

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Capitalism's success, according to Karl Marx, is based on continued development of new markets and products. As globalization shrinks the world marketplace, corporations are forced to seek both new customers and products to sell. Commodification is the process of transforming objects, ideas and even people into merchandise. The recent growth of the World Wide Web has caught the attention of the corporate world, and they are attempting to convert a free-share-based medium into a profit-based outlet. To be successful, they must change Web users' perception about the nature of the Web itself. This study asks the question: Is there mythic evidence of commodification on the World Wide Web? It examines how the World Wide Web is presented to readers of three national publications-Wired, Newsweek, and Business Week-from 1993 to 2000. It uses Barthes' two-tiered model of myths to examine the descriptors used to modify and describe the World Wide Web. The descriptors were clustered into 11 general categories, including connectivity, social, being, scene, consumption, revolution, tool, value, biology, arena, and other. Wired articles did not demonstrate a trend in categorical change from 1993 to 2000; the category of choice shifted back and forth between Revolution, Connectivity, Scene, and Being. Newsweek articles demonstrated an obvious directional shift. Connectivity is the dominant myth from 1994 to 1998, when the revolution category dominates. Similarly, Business Week follows the prevailing myth of connectivity from 1994 to 1997. From 1998 on, the competition-related categories of revolution and arena lead all categories. The study finds evidence of commodification on the World Wide Web, based on the trend in categories in Newsweek and Business Week that move from a foundational myth that presents a perception of cooperation in 1994 to one of competition in 1998 and later. The study recommends further in-depth research of the target publications, a review of articles in less-developed countries, and content analysis and ethnography online.
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Kohlmeyer, Collin. "Women in Wrestling Arenas: How Globalization, Socially Produced Spaces, and Commodification Impact their Portrayal and Empowerment Post Women's Revolution." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703284/.

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The Women's Revolution in 2015 has led to a drastic shift in the ways women are portrayed in professional wrestling. The Women's Revolution came as a result of the social unrest over the lack of time women were receiving on the televised shows. Where women's storylines had centered on their sexuality, they are now presented as equal to their male counterparts after the Women's Revolution. Through an exploration of concepts in globalization, commodification, and socially produced spaces, this research seeks to understand and contextualize the Women's Revolution, the degree to which the portrayed women's equality has been achieved, and the resulting impacts of the female superstars overall. I argue that that this "equality" has been achieved through inscribing the traditionally masculine qualities of wrestling to women, has resulted in an unequal distribution of opportunities to particular female superstars rather than equality for all women on the shows, and that phallocentric objectification of the female superstars still occurs in certain aspects of professional wrestling.
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Mariola, Matthew J. "Are Markets the Solution to Water Pollution? A Sociological Investigation of Water Quality Trading." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1250015222.

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Hoyt, Andrew. "Seeds of Disempowerment: Bt cotton and Accumulation by Dispossession in the States of Maharashtra, Telangana, and Andhra Pradesh in India." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157545/.

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In 1991, India adopted neoliberalism, a system of political economic practices that promotes private property and free trade, as its political and economic system to promote development in their country. India's neoliberal reform has created issues surrounding human development, resource accumulation, and power struggles. Eleven years later, in 2002, Bt cotton was introduced to the Indian agricultural sector. This research examines how the genetically modified organism Bt cotton is being used to commodify nature in the context of agriculture under neoliberalism. The research focuses on the dispossession of the rural farmers through the commodification of agriculture using Bt cotton. Dispossession of the rural farmers happen through the implications that arise from the commodification of nature. Through Marxist theory of primitive accumulation, this research analyzes accumulation by dispossession and how it neglects the working class and its struggle in rural India. Through this examination, the research will argue alternatives to the dispossession of the working class and the commodification of nature through Bt cotton. Dispossession, in this research, is examined both through working class, but also through the dispossession of biodiversity. Through the loss of biodiversity, the rural farmers are becoming dispossessed from a more sustainable environment. Along with these goals, the research will also incorporate themes of food security through changing landscape of agriculture due to the incorporation of Bt cotton. This research argues the contradictions that are presented through the commodification of agriculture under neoliberalism and provide a contribution to social justice literature, and our understanding of the relationship between technology and the commodification of nature.
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Stratica, Mihail Eliana. "I Don’t: The Commodification of the Bride in Montreal Art from the 1970s." Thesis, 2014. http://spectrum.library.concordia.ca/978475/1/StraticaMihail_MA_S2014.pdf.

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This thesis investigates some of the specific local articulations of the international Women’s Liberation Movement created by artists in Montreal at the beginning of the 1970s. I highlight the prevalence of the commodification of women through marriage as a main focal point for this investigation. My case studies are Mauve’s performances, manifesto and installation, entitled La femme et la ville (1972), and Francine Larivée’s environment-event La chambre nuptiale (1976). The first section of the thesis explores Mireille Dansereau’s documentary J’me marie, j’me marie pas (1973) as an introduction to the social and political contexts in which Mauve’s and Larivée’s works were created. In the second section, I discuss the development of feminism in Montreal, and the history of the institution of the family. The third section examines Mauve’s and Larivée’s works, and their exploration of the bride in relation to commodities, in the context of an increasingly consumerist society. I focus my discussion on commercial mannequins and the white wedding dress, two elements that are at the centre of both La femme et la ville and La chambre nuptiale. Additionally, the thesis casts a critical glance at the ambivalence that characterizes sexually empowered women in the media as both objects of male desire and independent, emancipated individuals. The fourth section deals with the impact of pop art, its Quebec counterpart, ti-pop, and with the cultural democracy model. I conclude my thesis by showing that the commodification of the bride and marriage is a topic that is still relevant today, perhaps even more than it was in the 1970s.
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Biondi, Patrizia. "ART AS AN AGENT OF RESISTANCE AGAINST CONSUMERISM AND MASS-PRODUCTION." Thesis, 2019. http://hdl.handle.net/2123/20094.

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"Money as muse: The origin and development of the modern art market in Victorian England. A process of commodification." Tulane University, 2001.

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The aim of this dissertation is to present a first statistical study of the economics of the modern art market in nineteenth-century Britain. During the reign of Queen Victoria, the arts in England experienced an unprecedented boom, and the period witnessed the emergence of modern Europe's first art market as it functions today. Through the influence of the newly emerged breed of professional picture dealers, many painters achieved celebrity status, and their works commanded unheard-of prices not equaled until the last third of the twentieth century. The period also witnessed the introduction of the first successfully produced art mass product in the form of mass marketed engravings after 'sensation' paintings This study proposes that, in addition to the conventional sociological factors, the Victorian art boom was a consequence of a process of commodification which, starting at the beginning of the eighteenth century, began to transform the English arts environment towards the gradual establishment of Europe's first art market in the modern sense This model of commodification and its use are introduced in a brief case study of the Dutch art environment of the sixteenth and seventeenth centuries, relying heavily on recent scholarly investigations into the economics of that region's art market. With the partial collapse of the Dutch economy towards the end of the seventeenth century, the economic center of the arts environment began to shift to England, the focus of this research. Through the application of economic models, the study illustrates how commodification occurring within the different art market components, effected specific changes which enhanced the commodity character of paintings and facilitated their exchange. It is argued that, ultimately, this commodification and its agents must be considered among the formative factors responsible for the characteristic appearance of much of English eighteenth and nineteenth-century painting. In this context, moreover, the investigation also aims to illustrate the crucial role played by middlemen in the new, market-oriented, art environment The research relies heavily on the use of statistical and micro-econometric tools with a database which consists of over forty thousand individual auction sales of paintings from around 1720 to 1910 and which was created specifically for this study. Hitherto, quantifying investigations of this type have not been undertaken in art historical research. It is one of the purposes of this study to introduce such methodology and demonstrate its merits. In addition to revealing numerous micro-aspects of the Victorian arts environment, the employment of econometric models also provides insight into macro-developments of the art market which affect our visual culture to this day
acase@tulane.edu
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22

Mothoagae, Itumeleng Daniel. "New Testament as normative : the morality of cohabitation with specific reference to 1 Corinthians 7." Diss., 2013. http://hdl.handle.net/10500/13839.

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‘Cohabitation’ has become another form of ‘marriage’. It appears to be challenging what is regarded by many as a traditional marriage practice. As a trend cohabitation has found resistance from those who cling to traditional marriage practices such as Christian marriage and African marriage. It has raised moral concerns, especially among the churches. The New Testament has been used to address moral issues, and consequently, there is a tendency to regard the New Testament as an authority on such issues. The first letter of Paul to the Corinthians, chapter seven, one text among many, in both the Hebrew Scriptures and the New Testament, has been used authoritatively to address issues surrounding marriage, divorce, marriage annulments, celibacy and sexual conduct. Richard Hays sees the New Testament as being ‘normative’ in dealing with such ethical issues. In this dissertation I argue that when dealing with issues of ethics the New Testament is insufficient to address contemporary moral issues. On its own the New Testament cannot be taken as normative as other sources offer influential views that must be taken into account including the role of conscience as well as how Paul links a theology of the body with his moral theology.
Biblical and Ancient Studies
M. Th. (New Testament)
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