Academic literature on the topic 'Duncan Sheik'

Theological discourse in Nusantara is always associated with two varieties of Ash‘arīsm and Māturīdīsm. Nevertheless, Ash‘arīsm became the dominant theological discourse for Muslim people of Nusantara at least since the seventeenth century—or more—which brought by ‘Ulamā’s. There are some obscurity concerning the history of Māturīdīsm about the carriers and teachings developed. Thus it is oſten assumed that the theological discourse that developed in Nusantara since Islam entered and developed just an Ash‘arīsm and ignored other theology [Māturīdīsm]. This study would prove that Māturīdīsm developed along with the development of Ash‘arīsm through the global networks of the Nusantara ‘Ulamā around theological discourse in the Muslim world.
 This study attempts to provide the justification of Māturīdīsm that developed in Nusantara as well as provide a new perspective about method of theology for Muslim people of Nusantara. The focus of this study is to explore the intellectual treasures of ulama’s works in Nusantara who lived in the period of the seventeentah until nineteenth centuries. This study concludes that theological discourse in Nusantara is a continuous form of global theological discourse that developed in the Islamic world, where the emerging theological discourse always associated on two varieties of Ash‘arīsm and Māturīdīsm which later became known as Sunnīsm. In this context, the discourse of Māturīdīsm developed in Nusantara is seen as a method of thinking that is in tune with the tradition of Sunnīsm which emphasizes the elements of moderation and balance in theology.
 Keywords: Theology, Sunnī, Ash‘arīsm, Māturīdīsm, ‘Ulama, Nusantara
 Reference:
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Learning from the past prepares one for being able to cope with the future. History is made up of strings of relationships. This article follows a historical line from colonialism, through apartheid to post-colonialism in order to illustrate inter-religious relations in South-Africa and how each context determines these relations. Social cohesion is enhanced by a post-colonial theology of religions based on the current context. By describing the relationship between Christians and Muslims during the 17th–18th centuries in the Cape Colony, lessons can be deduced to guide inter-religious relations in a post-colonial era in South Africa. One of the most prominent Muslim leaders during the 17th century in the Cape Colony was Sheik Yusuf al-Makassari. His influence determined the future face of Islam in the Cape Colony and here, during the 18th century, ethics started playing a crucial role in determining the relationship between Christians and Muslims. The ethical guidance of the Imams formed the Muslim communities whilst ethical decline was apparent amongst the Christian colonists during the same period. The place of ethics as determinative of future inter-religious dialogue is emphasised. Denial and exclusion characterised relationships between Christians and Muslims. According to a post-colonial understanding of inter-religious contact the equality and dignity of non-Christian religions are to be acknowledged. In the postcolonial and postapartheid struggle for equality, also of religions, prof Graham Duncan, to whom this article is dedicated, contributed to the process of acknowledging the plurality of the religious reality in South Africa.

This document, A TD’s Awakening: A Technical Direction Thesis on Spring Awakening, is a detailed description of the technical direction process for Southern Illinois University Department of Theater’s Fall 2017 production of Spring Awakening: A New Musical. Chapter One dives into script analysis and includes a scene breakdown and technical requirements for the production as well as a discussion of the goals I wished to accomplish with this project. Chapter Two details the development of the design for the production and examines the monetary and time budgets for the scenic units. Chapter 3 is a detailed account of the production process, including any challenges that arose and how they were resolved. Chapter 4 reflects on the goals mentioned in the first chapter and what aspects of the production I would have done differently. Also included in this document are appendices that include the build schedule, the budget sheets, scenic designer’s drafting, construction and assembly drawings, and production photos.