This thesis argues that Heidegger’s thought offers crucial insights into the structural challenges that modernity poses to being an ethical and religious person. I argue that these difficulties come down to an instrumentalist conception of truth, a denial or repression of finitude as the condition of meaningfulness, and a philosophical anthropology that is both too subjectivistic and too objectivistic. Yet while Heidegger was good on the diagnosis, he was reluctant to give more than digressive and opaque prescriptions to these problems. My thesis seeks to respond to this lacuna by putting Heidegger’s critical observations in the service of articulating a positive religious ethics. To that end, it seeks to locate—as well as redefine from an ontological perspective—the human dispositions and practices that expose truth in a non-instrumental light, that show finitude as a positive condition of meaningfulness, and that reveal the essence of the human being in non-subjectivist and non- objectivist terms. I argue that these include listening and gratitude—dispositions and practices I claim should form the backbone of any religious ethics, and yet which I also claim should not be limited to those who believe in a personal, theistic God. My thesis contributes to the fields of modern theology and Heidegger Studies in four ways. First, it shows that Heidegger’s critics (such as Levinas and Adorno) are wrong to oppose ontology to ethics. Second, it shows that Heidegger’s critics (such as Marion and Jonas) are wrong to oppose ontology to theology. Third, it shows that Heidegger’s own ambivalence about the ethical and theological relevance of his thought allows for the development of a deeply ethical and theological posture. And fourth, it offers a unique, post-Heideggerian interpretation of gratitude, one in which it is understood as a structure of Dasein that is both “always already” and “not yet” operative.

Integrated writing tasks that combine reading, listening, and writing have become increasingly popular in assessing academic writing. These tasks are seen to offer more authenticity, improve fairness, and provide positive washback effects of the test on learning and teaching of English around the globe. However, the integrated nature of these tasks can pose some issues, such as construct-related validity and verbatim source use. Given that the inferences made from test scores depend upon the construct of the measure, it is important to have a working knowledge of how strategies are used on integrated writing tests as part of the process of construct validation. This study investigates the relationship between second language writers’ strategy use and performance on an integrated reading-listening-writing test using structural equation modeling and qualitative approaches. Data were collected from 161 non-native English-speaking students. The students first took an integrated reading-listening-writing test and followed by a strategy inventory on how they thought while completing the test. Twenty students, ten in the high-performance group and ten in the low-performance group, participated in a retrospective interview. Exploratory factor analysis (EFA) was used to identify the clusters of items based on three hypothetical factors: Rhetorical, Self-Regulatory, and Test-Wiseness Strategy Use. Confirmatory factor analysis (CFA) was then utilized to test the hypothetical relations between observed and latent variables. Subsequently, structural equation modeling (SEM) was used to model the relationship between students’ self-reported strategy use and their test performance. The data collected from retrospective interviews, an open-ended questionnaire, and planning sheets were analyzed to triangulate quantitative results and provide supplementary information in interpreting the quantitative data. The study illuminates the nature of integrated writing strategy use, the nature of integrated writing performance, and the relationship between strategy use and performance on an integrated reading-listening-writing test. The results of the study have implications for second language writing assessment and instruction as well as theory in second language academic writing. / text

本論文旨在探討作筆記(note-taking)是否能幫助英語為外語的國中生增進會話或短文的聽力能力。根據本研究生的經驗及本實驗對象的個人英語聽力學習狀況的問卷調查結果，學生對英語聽力測驗中的對話或短文題型最易受挫。因此本研究嘗試引進學習策略中的作筆記方式以幫助學生改善對這種題型的聽力能力。 　　本論文所要探討的問題包含(1)受試者認為最難的聽力測驗題型是什麼？(2)國中生是否只重聽同樣內容及老師的測後解釋就能增進對話或短文測驗的英語聽力能力呢？(3)做筆記的學習者是否比未做筆記者進步？(4)作筆記策略適用程度高的學習者或程度低的學習者？(5)受試者對本實驗的意見:最有用和最無用的聽力測驗指導方式為何？受試者在此項實驗中改善最多的為那三樣？ 　　本實驗期約四個月，包含國三學生兩個班70個學生。一班為實驗班，另一班為對照班。為了進一步的比較，每一班再分為高、低分群。實驗班考聽力測驗時要作筆記，對照班則無此要求。所有的教材全取自康軒出版社，詹麗馨，李欣蓉編著的 “國中英語聽力測驗”第五冊。 　　由統計分析及問卷調查得到下列結論：（1）國中生認為最困難的聽力測驗題型為聽完短文或對話後選出最適當的答案; (2)在實驗後，對照班及實驗班均進步並達顯著水準。由此可見若老師提供學習者重聽同樣的內容及測後講解聽力內容讓學生有更正的機會，學習者仍可以改善聽力能力；（3）雖然實驗班也進步並達顯著水準，但和對照班比較結果，不論是全班或高低分群，均未有顯著差異。可見做筆記的學習者並沒有比未做筆記者進步。這意謂著並非每種學習策略適合每個人，而且也沒有保證成功的學習策略。因此，老師應介紹各種學習策略以供學習者選擇有利個人學習的策略；（4）在實驗班中，低分群進步分數達顯著水準且和高分群的進步分數達顯著差異。顯然，作筆記策略嘉惠低分群但可能導致高分群無法專心聽；(5) 問卷調查結果發現大多數受試者認為老師試後講解聽力內容幫助最大;知道不同的口音助益最小。此外，依受試者意見顯示，作 筆記可使學生不分心，養成記重點字的習慣並且容易記得內容。 　　由以上研究，建議老師聽力測驗多播放幾次，並在測後講解內容及指導學生作筆記的方式。不過，作筆記較適合低分群而非高分群。因此，老師可以不要求高分群作筆記，避免影響他們的專心度。此外，本研究發現學習者很難去預測即將聽到的句子或內容。 關鍵字；聽力訓練，作筆記策略，國中生 / This study aims to explore if note-taking could assist EFL junior high school students to improve their listening comprehension in the test style of “selecting anoptimal choice after listening to a dialogue or a short passage.” According to the researcher’s experience and the personal profile questionnaires of students, studentsfeel frustrated easily when they have a listening test on a dialogue or a short passage. Thus, the researcher tries to help them improve their listening comprehension in the test style by teaching them how to take notes. The research questions of this study included: (1) What is the most difficultlistening test style? (2) Could junior high school students improve their listening ability in understanding a dialogue or a short passage bylistening to the same content several times and through the teacher’s teaching instruction? (3) Did junior high school students who were asked to take notes perform better than those who were not? (4) Does note-taking benefit only high proficiency subjects or only low proficiency subjects? (5) How did the subjects feel about the experiment? What are the most useful and useless ways in a listening activity? What are the first three improved aspects the subjects felt after the experiment? The duration of this experiment was four months. Seventy of the third junior high school students from two classes were involved in the study. One class was assigned as an experiment class and the other as a control class. For further comparison, each class was subdivided into high and low proficiency groups. The experiment class was asked to take notes while listening but the control class was not.All the materials were adopted from “English Listening Comprehension for Junior High School”(Li-shin Jan, Shin-rung Li, 2001, Kan-shiuan Publisher). The statistical analyses and the questionnaires showed the following conclusions: (1) The most difficult listening test style was selecting an optimal choice after listening to a dialogue or a passage.(2) The classes made significant progress after the experiment. The result indicated that learners improved their listening ability when a teacher provided the students with sufficient practice by letting them listen to the same content several times and explained the meanings of the sentences after a listening test; (3) Although making significant progress, the experiment class, compared with the control class, did not improve significantly. The two different proficiency groups did not make significant progress, either. This could imply that not every learning strategy fits every learner. Also, no learning strategy assures success. Therefore, a teacher had better introduce different kinds of learning strategies for learners to choose an optimal learning strategy on their own; (4) In the experiment class, low proficiency learners made more progress than high proficiency ones at a significant level. Apparently, note-taking benefited low proficiency learners but may hinder high proficiency learners from concentrating on listening. (5) The subjects chose “teacher’s explanation of the content after a listening test” as the most useful way to improve their listening ability. However, they thought “knowing the different accents” as the least useful way. In addition, as seen in the result of the feedback questionnaire, note-taking helped learners listen without distraction, acquire a habit of writing down key words and remember the content easily. The research suggested that a teacher should let students listen to the same content several times on the tape, explain the meanings of the sentences after a listening test, and instruct learners how to take notes. However, note-taking was good for low proficiency learners, but not for high proficiency ones. Thus, a teacher might not need to ask high achievers to take notes, which might block them to concentrate on listening. In addition, it seems not easy for learners to predict the coming message. Key words: listening training, “note-taking strategy”, junior high school students

雖然聽力在語言學習中佔重要的地位，研究學者對學習者的聽力信念的了解仍十分有限。因此本研究主要是探討五專學生對英語聽力的信念和學習策略，並探討聽力信念和學習策略二者之間的關係，另外程度不同的學生是否抱持不同的聽力信念及使用不同的策略，也是本研究探討的重點。 本研究採用量性研究方法，研究對象為北部某五專406位五專學生。研究工具為英語聽力學習者背景問卷、英語聽力學習信念問卷、聽力學習策略問卷和英語聽力測驗。 本研究的主要發現如下：學生均肯定聽力在語言學習過程扮演的角色，它可以幫助學生學習其它的英文能力。學生使用聽力學習策略約為中等程度，在不同的策略類型當中，學生最常使用認知策略，其次為後設認知策略。聽力信念和學習策略二者之間關係密切。而程度較好的學生在聽力信念方面，有較高的聽力學習效能，並認同口語的特色可以幫助了解英文。在學習策略方面，程度較好的學生會使用較多的學習策略，並視任務的不同而彈性使用適當的策略。 本論文並提出英聽教學上之應用建議。本研究結果可以幫助教師了解學生的聽力信念及學習困擾，幫助老師教導學生正確的學習信念及有效的學習策略，讓學生的英語聽力學習更有成效，進而改善英語聽力。 / Despite the importance of studying listening in foreign language learning, we still have very limited understanding of learners’ listening beliefs, and a more comprehensive system of listening beliefs is still not in sight. Hence, this study investigated junior college students’ listening beliefs, their listening strategy use, the relationship between their listening beliefs and strategies and the possible effects of English listening proficiency on junior college students’ listening beliefs and listening strategy use. This study mainly employed a quantitative approach to understanding junior college students’ beliefs about English listening comprehension, their strategy use and the relationship between listening beliefs and strategies. The participants were 406 students from one junior college in northern Taiwan. The instruments of the study were the Learner Profile Questionnaire (LPQ), the Belief About English Listening Comprehension Questionnaire (BELCQ), and English Listening Strategy Questionnaire (ELSQ) and the listening comprehension test. The results of the study suggested that: (1) most learners endorsed the belief that listening plays an important role in their English learning process and may facilitate the development of other language skills, (2) learners showed a medium level use of listening strategies and used a wide variety of strategies including cognitive and metacognitive strategies, (3) learners’ listening beliefs were associated with their use of listening strategies, (4) compared with ineffective learners, effective learners tended to report positive beliefs about listening comprehension, and (5) effective learners used a wider variety of strategies than ineffective listeners. Results of this study regarding junior college students’ listening beliefs and listening strategy use may provide rich implications for English education in Taiwan. It is hoped that through this study, more attention will be drawn to listening instruction in junior college students. Understanding students’ beliefs about listening may help English teachers become more aware of students’ frustrations and difficulties in listening to English. Moreover, it might enable EFL teachers to help students develop effective learning strategies and ultimately improve students’ English listening abilities.

I detta självständiga arbete utforskas och beskrivs utifrån ett designteoretiskt perspektiv, en instuderingsprocess av Rhapsodie för soloklarinett skriven av Giacomo Miluccio. Studien baseras på självobservationer som pågått under ca 6 månader och insamlad data utgörs av loggboksskrivande och videoinspelningar. Analysresultaten visar hur lärandet sker med hjälp av olika semiotiska resurser och i form av två transformationscykler där den första kännetecknas av En strävan efter mimesis, och den andra av Vägen till ett eget uttryck. Som en övergång mellan dessa två cykler förekommer ett tillfälle där representation sker i form av en Masterclass. Avslutningsvis diskuteras mitt resultat i relation till litteratur som både utgår från det designteoretiska perspektivet och från annan tidigare forskning inom området lärande. / In this independent work my rehearsal process of Rhapsody for solo clarinet written by Giacomo Miluccio is explored and described from a design theory perspective. The study is based on self-observations that lasted for about 6 months and collected data consists of logbook writing and video recordings. The result of the analysis show how the learning is done with the help of various semiotic resources, and in the form of two transformation cycles, where the first is characterized by a Desire for mimesis, and the other by The way to my own expression. As a bridge between these two cycles will be an occasion where the representation takes the form of a Masterclass. Finally, I discuss my results in relation to literature based on the design theoretical perspective and other previous research in the field of learning.

Communication between the patient and healthcare professional is pivotal in enabling effective self-care management to occur (Street et al., 2009) which in turn leads to improved health outcomes (Kravitz et al., 1993). However, there is little published data exploring the most effective tools for evaluating whether these communication skills occur and what particular attributes enhance the process (Goodchild, Skinner & Parkin, 2005; Heisler et al., 2003; Parkin & Skinner, 2003). This study aims to identify patient-centred communication skills occurring in consultations and to explore their link with a tool-recording agreement on reported decisions made. Quantitative analysis was conducted on 86 dietetic consultations across four outpatient diabetes services. Audio recordings from 20 of these were qualitatively analysed. Greater agreement on reported decisions correlated significantly with level of empathy demonstrated (t = .283, p = .0005). In consultations featuring agreement, dietitians expressed more empathy (p = .02), used more active listening skills, asked significantly more exploratory questions on self-care practices (U = 18.5, p = .007), provided significantly more supportive/collaborative information-giving exchanges (U = 11, p = .003) and were more likely to set an agreed agenda at the start of consultations. In contrast, consultations featuring disagreement had low levels of empathy, fewer active-listening skills and exploratory questions, significantly greater numbers of persuasive information-giving exchanges (U = 17, p = .007) and more recommending exchanges. Generally, agendas were not set. In conclusion, recording patient/healthcare professional agreement on reported decisions made during a consultation is a simple tool that can indicate the presence of patient-centred communication skills. Active-listening skills allow expressions of empathy that facilitate patient involvement and interactive dialogue. The measure of agreement should be used frequently as a marker of effective dietetic consultations and to provide further data on the relationship between patient-centred communication and implementation of behaviour change for improved health outcomes.

The intent of this project is to develop an auditory training program for kindergarten children which will strengthen auditory perception. The program will identify the essential auditory skills, establish objectives, construct evaluative measures and outline activities that will develop basic auditory perception skills.

The problem of this study was to measure the impact of a read-aloud approach combined with direct teaching methodology on student achievement/attitudes and school expenditures. The purpose of this study was twofold. First, the study was to determine the relative impact of three treatments on student reading and listening skills, vocabulary development, and attitude towards reading. The first treatment was read-aloud based on specific recommended texts combined with direct teaching methodology. The second treatment was read-aloud based on specific recommended texts. The third treatment, the control, was simply a read-aloud-based program. The second purpose of the study was to compare the relative cost and effort required by the three treatments. The 226 subjects in this study were selected from the population of third—grade students from three metropolitan early childhood centers. The subjects were pretested and posttested with the Iowa Tests of Basic Skills (ITBS), a criterion-referenced vocabulary test and the Estes Attitudinal Scale. Analyses of covariance and after F-test multiple comparisons were used to compare the relative impact of the three treatments on a preselected set of criterion variables.

Ce mémoire s'intéresse à l'inscription du son dans la mise en scène Inferno de Romeo Castellucci. Il s'agit de cerner en quoi la dimension sonore de cette œuvre s'émancipe de l'utilisation traditionnelle du son au théâtre et comment son intégration aux actions scéniques en vient à créer un nouveau type de dramaturgie. Ne visant plus l'illustration d'un récit, cette œuvre met de l'avant la matérialité des divers médiums constituant l'action. Nous verrons comment le son dans cette mise en scène s’autonomise. Il ne se veut plus mimétique; il ne vise pas à nous faire entendre quelque chose d’absent. Comme il s'apprécie pour ses qualités propres, le son parvient à « interagir » avec les autres éléments scéniques d’une manière inédite. La dynamique des présences visibles et audibles devient ainsi le foyer de tensions dramaturgiques. Ceci nous conduira à nous interroger sur la question de l'écoute et de ses processus pour tenter de voir comment la perception sonore influence la réception intégrale de ce spectacle. Les notions d'acousmatisme, de flou causal et de déréalisation de la perception temporelle nous permettront d'envisager l'apparition d'une dramatisation de l'écoute. / This study examines the inscription of sound in Romeo Castellucci’s mise en scène of Inferno. It aims to define how the sound environment of this work goes beyond the traditional use of sound in theatre, and how its integration to the stage action creates a new type of dramaturgy. No more intended as the representation of a narrative, this work emphasizes and reinforces the materiality of any medium constituting the action. We will analyze how the sound in this performance becomes an element on its own. Sound is not mimetic anymore: it does not aim to be the echo of something absent. The sound being able to affirm and render its own expressive qualities, it can “interact” with other scenic elements in an innovative manner. The interactions of both visible and audible components give rise to dramaturgical tensions, conducting us to investigate the question of listening and its modalities in a theatrical context. We will then try to understand how audition redefines the reception of the performance.

La notion de « scène » étant, comme le montre Esa Kirkkopelto dans son livre Le théâtre de l’expérience – Contributions à la théorie de scène, un concept-limite qui deviendrait distinguable de nos jours à cause de ou grâce à un certain effacement du théâtre, nous voilà étrangement confrontée à l’un de ses pans qui est celui du son et de la musique. Car si la scène semble aussi et surtout à voir avec le théâtre en ce qui concerne son côté optique, quel serait son rapport au sonore, et avec celui-ci, à la voix et à la musique, mais aussi au temps et à l’espace ? Cette recherche tâche de poursuivre ce questionnement en une étude kaléidoscopique qui sollicite, d’un côté, une partie de la philosophie de Deleuze et Guattari (notamment dans Mille plateaux) et ce qu’a pu formuler Sartre dans son livre L’imaginaire, et, de l’autre, l’enquête de certaines œuvres artistiques choisies de Beckett et de Feldman, mais aussi, de façon très ciblée, de Rilke et de Jaccottet. Dans ce parcours à maintes résonances, le projet était et est une première mise à l’épreuve de la notion de scénophonie vers laquelle la présente étude se dirige, mais qui en même temps lui a permis de se mettre en route ainsi que de poursuivre. Il s’agit d’une contribution aux recherches et aux sciences de la scène. / The notion of « scene » being, as has been shown by Esa Kirkkopelto in his book Le théâtre de l’expérience – Contributions à la théorie de scène, a concept-limite (a limit-concept) which becomes distinguishable nowadays because of or thanks to a certain seclusion of theatre, puts us in front of one of its threads which is the one of sound and of music. Because the scene, if it seems to also and mainly deal with theatre as for being concerned by its optical side, what about its relation to and with sound, and thus to and with voice and music, but also time and space ? This thesis project intends to follow up this problem in a kaleidoscopic study which, on one side, mobilizes some of the philosophy of Deleuze and Guattari (especially as to be found in Mille plateaux) as well as what Sartre has been able to formulate in his book L’imaginaire, and, on the other side, the investigation of some chosen artistic oeuvres by Beckett and Feldman, but also two texts of Rilke and Jaccottet. On this line of multiple resonances, the project put and puts to prove of value the notion of scénophonie (scenophony) towards which it runs, but which at the same time has allowed it to come into existence and to pursue. It is a contribution to the research and science of the scene.