published_or_final_version / Criminology / Master / Master of Social Sciences

<p>Ungernrevolten 1956 var en kort intensiv revolt som varade i tolv dagar där ungerska frihetskämpar revolterade emot det kommunistiska styret i landet En relativt lugn demonstration startad av ungerska studenter växte snabbt och ledde snart till en väpnad revolt emot den ungerskkommunistiska regimen. Några dagar av reformer mot ett liberalare ungerskt statsskick avbröts abrupt av de ryska trupperna som efter tolv dagar slog ned revolten och återtog makten i landet igen. Denna studie syftar att genom fem svenska dagstidningar med olika politiska tendens undersöka Ungernrevolten 1956 och hur den behandlades i de olika dagstidningarnas ledarartiklar. Ledarartiklarna analyseras med hjälp av Vedungs (1971) modell som används för att kartlägga politiska debatter. Resultatet visar att det finns klara skillnader mellan de olika tidningarna hur de presenterar revolten, man kan även se vissa samband till deras politiska inriktning.</p>

Ungernrevolten 1956 var en kort intensiv revolt som varade i tolv dagar där ungerska frihetskämpar revolterade emot det kommunistiska styret i landet En relativt lugn demonstration startad av ungerska studenter växte snabbt och ledde snart till en väpnad revolt emot den ungerskkommunistiska regimen. Några dagar av reformer mot ett liberalare ungerskt statsskick avbröts abrupt av de ryska trupperna som efter tolv dagar slog ned revolten och återtog makten i landet igen. Denna studie syftar att genom fem svenska dagstidningar med olika politiska tendens undersöka Ungernrevolten 1956 och hur den behandlades i de olika dagstidningarnas ledarartiklar. Ledarartiklarna analyseras med hjälp av Vedungs (1971) modell som används för att kartlägga politiska debatter. Resultatet visar att det finns klara skillnader mellan de olika tidningarna hur de presenterar revolten, man kan även se vissa samband till deras politiska inriktning.

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The comment has been made that Bertolt Brecht was an apostle of a reaction against individualism. This comment was made in light of Brecht's works.Seemingly a paradox arises when one considers Brecht's life and personality, because the characteristics of individualism are quite evident here. What then is the source of this apparent paradox?The main contributing factor seems to be the general confusion of the two terms individualism and individuality. The two are synonyms in English but are anonyms in a discussion of German cultural and political development. Because Brecht is a German, these terms should be applied to him as they are defined in German thought. When this is successfully accomplished, it becomes apparent that there is no conflict between Brecht's life and his works. Brecht merely described the system of individuality and its effects; he did not preach it. Therefore, it is highly incorrect to say that he worked against the system of individualism; he should more correctly be called an apostle of individualism.

Erich Kleiber (1890-1956), Austrian conductor and later Argentine citizen motu Qropio, had visited Argentina with great success in 1926 and 1927. The Kleibers then immigrated in 1937 due to political reasons.Erich Kleiber: The Argentine Experience (1926-1949) is comprised of the following chapters which are sequentially organized to describe:I. What Kleiber did in Europe, This includes a short biography and other relevant data,II. What Kleiber found in Argentina-that is, what the musical life in Buenos Aires was prior to and at the time of his arrival, Many drastic changes had been occurring in Argentina in terms of new compositional and interpretive trends, What was almost exclusively French and Italian had begun to open its doors to the German. Artists of the caliber of Erich Kleiber and Fritz Busch contributed to the flourishing of such new expressionistic orientation. A brief description of Kleiber's habitat, the Teatro Colon, is included.III. Who Kleiber was, Erich Kleiber the man, the pedagogue and the conductor are described in this chapter. An overall emphasis is placed on the maestro's goals in music and his ways to achieve such tasks. One-of the most striking aspects of his teaching is his imperative need to arrive at the truth in music through studious and honest research, This chapter is also intended to show how two conductors, Toscanini and Kleiber, can be so close in terms of equal goals, but so far apart concerning the didactics of conducting, that is, ways to achieve such goals.IV. How Kleiber was seen through the eyes of those who knew him. The fourth chapter of this dissertation summarizes the views of individuals who have had direct contact with the maestro. This writer has interviewed the majority of these people who have spoken, in behalf of, or, as sometimes occurred, against certain aspects of Kleiber's views.Two appendixes contribute to this thesis with vital information such as unpublished letters and a synopsis of Kleiber's concerts at the Teatro Colon.

This creative project has explored the principles of play production found in the theoretical works of Bertolt Brecht with the purpose of arriving at a specific production practice for the stage works of Brecht. That production practice was then tested in a production of Brecht's The Good Women of Setguan staged and directed by the researcher.Some of the research areas covered in the project are settings, lights, projections, live television, and sound. Acting and directing problems are reviewed with special attention given to problems which are unique to Brecht productions.Also included in the project are drawings and lighting plots for three settings considered for the play, an annotated production book with technical cues and blocking instructions, and a selection of photographs from the production.

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