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La catástrofe ha sido un elemento central en el teatro clásico, núcleo de la producción de las emociones trágicas y estrategia conclusiva dentro de la estructura dramática. Sin embargo, en escrituras contemporáneas, parece haber quedado liberada de justificaciones derivadas del encadenamiento causal de los hechos de la trama, así como de sus dimensiones morales o políticas. En el teatro de Rafael Spregelburd, es un recurso para romper la causalidad, permitir la irrupción del azar y ensayar una dramaturgia no lineal. Precisamente, la inserción de elementos inesperados en el desarrollo del drama obliga al espectador a (re)preguntarse por la relación entre los hechos y a replantear sus interpretaciones de la realidad, pero, sobre todo, a indagar en el sentido de estos órdenes más complejos que parecen resistirse a ser nombrados por medio del lenguaje. De esa manera, la obra Todo (2011), por medio del juego de causalidades complejas y de estrategias tomadas de la parodia, revela cómo, con el devenir del tiempo, las ideas de Estado, arte y religión, discursos creados para interpretar la experiencia y organizar la sociedad, han entrado en crisis y se han vaciado de contenido.

This trans-disciplinary and [trans-modal] dissertation practices the work of inclusive design that students of music (do or do not) encounter as part of their music education. Using inclusive design practices focused on the domains of the written word, the auditory-aural artifact, and the artistic-visual artifact, this work reflects upon three schools of pedagogy and philosophy within the broader academy, primarily not found in the musical academy. The schools of humanism, liberation, and transformation are considered as objects-subjects of reflection utilizing four authors (James Cone, Paolo Freire, Jack Mezirow, and Bertrand Russell); this work is rooted in the practice of critical reflection as understood through the lens of the author Stephen Brookfield. The authors’ assets were collected through analog and digital booksellers and analog and digital library available databases; the author consumed accessibility and accommodative digital programs to aid the researcher. Three themes emerged as follows: one, humanity has largely been excluded from the study of music education, resulting in an intensely human invention often resulting in inhumane practices and theories; two, transformation is a fundamental component of musical education, in that it studies humans transforming both words and music, as well as subsequent performances being transformations of what was to what can be (again); and, three, liberation is the implicit goal at the center of musical education, in that being a music educator is an attempt to liberate the musicianship innate to the human existence from the oppression the body has consumed. Each of these themes written as separate chapters closes with a pedagogy-philosophy of the chapter’s theme. The dissertation concludes with a reflection on music education in light of the pedagogies and philosophies examined. Keywords: Music, ethnography, reflection, philosophy, pedagogy, Humanity, liberation, transformation

This thesis examines how the concept of an auteur (author of a film) has developed within contemporary Hollywood and popular culture. Building on concepts from Timothy Corrigan, this thesis adapts the ideas of the author and the commercial auteur to examine how director Christopher Nolan's name, and film work, has become branded as "realist" by the Hollywood film industry and by Nolan's consistent self-promotion. Through recurring signatures of "realism," such as, cinematic realism (immersive filmic techniques), technical realism (practical effects and actual locations), subjective realism (spectator access to a character's point of view), psychological realism (relatable motivations) and scientific realism (factual science), Nolan's work has become a recognizable and commoditized brand. Like many modern-day auteurs, Nolan himself has been used as a commodity to generate interest to his working methods and to appeal audiences to his studio films. Analyzing each of Christopher Nolan's films along with the industrial and cultural factors surrounding them, a method for understanding contemporary auteurism in Hollywood is presented. Through a consideration of extra-textual components, including promotional featurette's and journalistic interviews with Nolan, as well as his film crew, this thesis will explore how Nolan might be considered a template for a future of auteur branding.

Québec : L'Unité de microscopie, Le Service de l'audiovisuel, Section photographie, Université Laval, 1978. 1 bobine; 16 mm.

Syftet med denna uppsats har gått ut på att reda ut hur Svaneholms Bruk överlevde lågkonjunkturen på 70-talet, hur ledningen resonerade och vilka åtgärder de vidtog. Under denna tid då de främst producerade träfiberskivor rådde osäkerhet på deras marknad samtidigt som lågkonjunkturens och den otillfredsställande svenska krishanteringens konsekvenser fortfarande hade effekt. Genom att kvalitativt kolla igenom protokoll förda av företaget tillsammans med en bok författad av en före detta chef för företaget har ledningens resoneranden, vilka åtgärders som vidtogs och hur företaget i slutändan överlevde kommit fram i uppsatsen. För det mesta genom åren var det en överkapacitet på deras icke förädlade träfiberskivor som rådde, alltså att marknaden producerade fler skivor än vad som efterfrågades. Låg efterfrågan ledde till lageruppbyggnad och låga inkomster. Ledningen upprepade gång på gång deras oro för detta. I slutändan, precis i linje med vad tidigare forskning sade, var det en kvalitetskontroll och en vidareförädling av deras träfiberskivor som ledde till företagets framgång. Efterfrågan på dessa produkter var inte bara högre, utan staten kom även att visa intresse för företagets förmåga att producera just dessa. Därför kunde företaget få in gott med kredit till investering för att vidare utvidga deras kapacitet för dessa produkter. Någon större nedskärning på kapacitet eller på anställda rådde inte, till skillnad från andra bruk. I övrigt hjälpte även devalveringen som staten gjorde av svenska kronan 1977, då en stor del av brukets marknad var exportmarknad.

By examining the art exhibition Finsk bild (Finnish picture) that was held at Liljevalchs art gallery in Stockholm 1977-78, the aim of the essay is to investigate and highlight the discrepancy between the intention of the exhibition and how it was perceived by the critics. In the aftermath of the exhibition there were discussions about why the critics were so harsh, and also the way the critics described the art and artists in terms of the national has been questioned in recent years. The method that is being used is Mieke Bals semiotic exhibition analysis model, where the art exhibition is analyzed through the narratives that are constructed in the discourse of the practice of the exhibition. The results show that the framing of the exhibition was done according to a model of a national culture exchange, within far going traditions in the Nordic countries. Therefore, the art exhibited was received as “classic Finnish art”, but the art itself was of modern international character. The framing of the exhibition placed the art in the category of artefacts, which were starting to be an outdated way of perceiving art in the 1970´s. / Uppsatsen undersöker och synliggör konflikten mellan intentionen och mottagandet av konstutställningen Finsk bild som visades på Liljevalchs 1977–1978. Mottagandet av den här utställningen har uppmärksammats i efterhand, men någon djupare vetenskaplig analys har inte gjorts. Metoden som använts till undersökningen är en utställningsanalys enligt Mieke Bals semiotiska modell, där utställningspraktiken undersöks genom diskurser som var förhärskande på det finska och svenska konstfältet. Resultatet visar att en representationsutställning som Finsk bild, var diskursivt inramad i nationella termer av finskhet, vilket därmed ställde förväntningar på konsten som visades. Konsten som visades var dock inte ”nationell finsk konst” i klassisk mening, utan konst som till sitt uttryck följde en allmän konstutveckling i spåren av västerländsk modernitet. Traditionell politisk praktik av konstutbyte hade satt ramarna för utställningen, men konstbegreppet och konsttolkningen hade delvis ersatts av nya. Konst som bärare av det nationella, förutsätter att konstverk ses som artefakter snarare än konstverk.

The intervention in Libya is the best example to date to judge the implementation of the Responsibility to Protect. In 2011, public demonstrations started in Libya seeking political and economic reforms in the country. In return, the Libyan President Maummar Al-Qaddafi threatened mass atrocities in Libya. This allowed the UNSC to sanction the use of force against Qaddafi’s regime in order to protect civilians. First, under resolution 1970 (2011), the UNSC referred the case to the International Criminal Court and applied sanctions. Second, via resolution 1973 (2011), the application of force was approved for the express purpose of “protecting civilians.” This thesis assess whether the military intervention in Libya in 2011 was R2P case. This question is answered by an analysis based upon the UNSC’s Resolutions, Council’s proceedings, and other official documents. / May 2016

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Thesis (DTh)--Stellenbosch University, 2002 / ENGLISH ABSTRACT: This dissertation examines the relationship of ontology and soteriology - the classic problem of nature and grace. Paul Tillich and Arnold van Ruler have been chosen as the best representatives of the classical tradition of the reformation. It is seen that although there is a significant formal difference between the theologies of these two theologians, there is a material identity. The combination of these two perspectives, Tillich's philosophical theology with Van Ruler's more traditional Calvinistic theology, helps to shed more light on the subject. The first subject to be considered is the ontological background for understanding reality as a whole. This is discussed as the trinitarian-predestinarian-eschatological framework of ontology. Everything finds its possibility in the trinitarian being of God, its reality in the eternal decrees and its purpose in the eschatological will of God. Creation has become (morally, not ontologically) separated from God in the fall and therefore salvation is needed. Christology is a function of soteriology and is to be understood in terms of substitution. This salvation, gained in Christ, is expressed in us by the outpoured Holy Spirit according to the eschatological will of God. Pneumatology is to be related to, and distinguished from christology. We are not replaced by the Spirit, but taken into a relationship with God. This is to be understood in terms of the struggle of the Spirit with the flesh. The presence of the Spirit is kerygmatic, paradoxical, anticipatory and miraculous. There is an ambiguous and fragmentary realization of salvation in the Spirit. Proto logically and eschatologically there is an identity between culture (i.e. creation and history) and the kingdom of God. But in time and space there is a duality (not a dualism). This finds expression in the duality of church and state. The state is the kernel of culture and the church is the representative of the kingdom. The state is essentially the servant of God, and insofar as it orders life it is serving God. But it is separated from God and needs the church to call it back to its proper function. Where there is the duality of church and state in a nation, there is a theocratic situation. This leads to the Bible. That is a state where the Word is proclaimed and the state, because of its essential relationship to God, can understand this proclamation. In a theocracy there is a partial union of creation and salvation. Theocracy is a Spiritual reality. It is kerygmatic and paradoxical. It is not an ideal or an ethical system imposed on life. It has a conservative character as it stands in opposition to the demonic. As the document of God's struggle with the religious nationalism oflsrael, the Old Testament provides the paradigm for a theocracy. In this sense a christianized state is an incidental repetition - mutatis mutandis - of the nation ofIsrael. Eschatologically, the particularity of salvation is completely done away with. The incarnation and the outpouring are undone. Then there is only the triune God and the naked existence of creation. / AFRIKAANSE OPSOMMING: In hierdie proefskrif word ondersoek ingestel na die relasie tussen ontologie en soteriologie (respektiewelik: natuur en genade) met behulp van Paul Tillich en Arnold van Ruler as verteenwoordigers van die klassieke Reformatoriese tradisie. Dit blyk dat ten spyte van fonnele verskille tussen die teologiee van hierdie twee teolce, daar materieel groot ooreenstemming bestaan. 'n Kombinasie van Tillich se filosofiese teologie met Van Ruler se meer tradisioneel Calvinistiese benadering, werk verhelderend ten opsigte van die betrokke problematiek. Eers word die ontologiese agtergrond van die werklikheid as sodanig ondersoek. Dit word bestempel as die trinitaries-predestiaans-eskatologiese raamwerk van die ontologie. Die moontlikheid van alle bestaan rus in die trinitariese wese, die werklikheid daarvan in die ewige raad, en die doel daarvan in die eskatologiese wil van God. Die skepping het as gevolg van die val (moreel, nie ontologies nie) verwyder geraak van God en gevolglik is redding noodsaaklik. Christologie is 'n funksie van soteriologie en moet verstaan word in terme van plaasbekleding. Hierdie heil wat Christus bewerk het, kom tot gestalte in ons deur die uitstorting van die Heilige Gees in ooreenstemming met die eskatologiese wil van God. Pneumatologie staan in relasie tot christologie, maar moet terselfdertyd onderskei word van laasgenoemde. Ons word nie deur die Gees vervang nie, maar opgeneem in 'n verhouding met God. Dit moet verstaan word in terme van die stryd van die Gees teen die vlees. Die teenwoordigheid van die Gees is kerugmaties, paradoksaal, antisiperend en wonderbaar. Daar is 'n dubbelsinnige en fragmentariese realisering van die heil in die Gees. Hoewel protologies en eskatologies 'n identiteit bestaan tussen kultuur (d w s skepping en geskiedenis) en die koninkryk van God, vorm dit binne ruimte en tyd 'n dualiteit (nie dualisme nie). Dit kom tot uitdrukking in die dualiteit van kerk en staat. Die staat is die kern van die kultuur en die kerk die verteenwoordiger van die koninkryk. In wese is die staat die dienskneg van God en in soverre dit die lewe orden, staan dit in diens van God. Dit is egter vervreem van God en het die kerk nodig om dit terug te roep tot sy eintlike funksie. Waar daar 'n dualiteit bestaan van kerk en staat in 'n nasie, vind ons 'n teokratiese situasie. Dit is 'n staat met die Bybel, waar die Woord verkondig word en die staat a g v sy wesenlike verbouding tot God, die verkondiging kan verstaan. 'n Teokrasie is 'n Geestelike realiteit waarin daar reeds 'n gedeeltelike vereniging van skepping en heil plaasvind. Dit is kerugmaties en paradoksaal. Dit is nie 'n ideaal of 'n etiese sisteem wat die lewe opgele word nie. Dit het 'n konserverende karakter wat staan in opposisie tot die demoniese. Synde die dokument van God se worsteling met die religieuse nasionalisme van Israel, bied die Ou Testament die paradigma vir 'n teokrasie. In hierdie sin is die gekerstende staat 'n insidentele herhaling - mutatis mutandis - van Israel as nasie. Eskatologies verdwyn die besonderheid van die verlossing. Die inkamasie en die uitstorting van die Gees word ongedaan gemaak. Dan is daar aileen maar die drie-enige God en die naakte eksistensie.