<p>The main aim of this essay is to examine how the Swedish comprehensive teachers reflect on and work with the Biblical stories and texts in their teaching. The research questions are; how are the Swedish teachers working with the Biblical stories and texts; what sort of stories do they choose and why; what kinds of emphasis do they put on the stories and texts and how do they perceive them. We have performed a qualitative study and the results show that Biblical stories and texts receive limited attention in the classrooms. The study shows that this is due to a number of factors such as lack of time, ignorance, and lack of knowledge regarding the issues. It also shows that the Swedish teachers rely on the teachers of religious studies to bring up the subject and that they are afraid they might offend some of their students. Paradoxically, the essay also shows that all teachers believe the study of Biblical stories and texts play an important role in improving the students understanding of literature in general.</p> / <p>Syftet med vår studie är att undersöka hur svensklärarna i gymnasieskolorna tänker kring- och arbetar med de bibliska berättelserna och texterna i undervisningen, för att vi sedan ska kunna få en bild av hur det ser ut i dagsläget. Våra frågeställningar är, hur arbetar svensklärarna med de bibliska berättelserna och texterna, vad för sorts berättelser tar de upp, varför just dessa, hur stor plats i svenskundervisningen får de bibliska berättelserna, samt hur lärarna ser på dessa berättelser och texters relevans i undervisningen. Vi har gjort en kvalitativ undersökning, där resultatet visar att dessa berättelser och texter får en mycket liten plats i klassrummen. Det har framkommit att detta delvis beror på tidsbrist, ointresse och att de inte har tillräckligt med kunskap om de bibliska berättelserna överlag. Lärarna förlitar sig även på att religionsläraren ska beröra ämnet, samt visades en rädsla hos alla de tillfrågade lärarna att de var rädda för att kränka någon elev. Det framkom även att samtliga lärare har en paradoxal inställning till de bibliska berättelserna och texternas relevans i svenskundervisningen, då de trots allt ansåg att dessa var av stort värde för elevernas förståelse av litteratur.</p>

This project is conserned with biblical stories narrated in mental home Bohnice which is a part of therapy of drug addicts. The main goal of my project is to target the ethical contribution of this unconventional method.

The main aim of this essay is to examine how the Swedish comprehensive teachers reflect on and work with the Biblical stories and texts in their teaching. The research questions are; how are the Swedish teachers working with the Biblical stories and texts; what sort of stories do they choose and why; what kinds of emphasis do they put on the stories and texts and how do they perceive them. We have performed a qualitative study and the results show that Biblical stories and texts receive limited attention in the classrooms. The study shows that this is due to a number of factors such as lack of time, ignorance, and lack of knowledge regarding the issues. It also shows that the Swedish teachers rely on the teachers of religious studies to bring up the subject and that they are afraid they might offend some of their students. Paradoxically, the essay also shows that all teachers believe the study of Biblical stories and texts play an important role in improving the students understanding of literature in general. / Syftet med vår studie är att undersöka hur svensklärarna i gymnasieskolorna tänker kring- och arbetar med de bibliska berättelserna och texterna i undervisningen, för att vi sedan ska kunna få en bild av hur det ser ut i dagsläget. Våra frågeställningar är, hur arbetar svensklärarna med de bibliska berättelserna och texterna, vad för sorts berättelser tar de upp, varför just dessa, hur stor plats i svenskundervisningen får de bibliska berättelserna, samt hur lärarna ser på dessa berättelser och texters relevans i undervisningen. Vi har gjort en kvalitativ undersökning, där resultatet visar att dessa berättelser och texter får en mycket liten plats i klassrummen. Det har framkommit att detta delvis beror på tidsbrist, ointresse och att de inte har tillräckligt med kunskap om de bibliska berättelserna överlag. Lärarna förlitar sig även på att religionsläraren ska beröra ämnet, samt visades en rädsla hos alla de tillfrågade lärarna att de var rädda för att kränka någon elev. Det framkom även att samtliga lärare har en paradoxal inställning till de bibliska berättelserna och texternas relevans i svenskundervisningen, då de trots allt ansåg att dessa var av stort värde för elevernas förståelse av litteratur.

O objetivo desta pesquisa de Mestrado é dissertar sobre o olhar judaico que, por suposição, permeia as obras de três fotógrafos contemporâneos e avaliar se há tendências que apontem para a judeidade das fotografias. Os artistas estudados são o israelense Adi Nes e as brasileiras de origem húngara Cláudia Andujar e Madalena Schwartz, que, respectivamente, produziram as séries Histórias Bíblicas (2003-2006), Marcados (1981-1983) e Crisálidas (1973-1976) publicadas em 2007, 2009 e 2012. Adi Nes (1966-), ao encenar em estúdio situações contemporâneas de miséria em Tel Aviv com atores representando personagens bíblicos (Noé, Abraão, Isaque, Jacó, Elias, José, Rute, Caim, Abel e Davi), reatualizou as histórias da Bíblia Hebraica, como faz o Midrash (livro ou trecho de comentários rabínicos), e, talmudicamente, conectou significantes aparentemente díspares que sugerem muitos significados. Cláudia Andujar (1931-) relacionou a situação indígena à história judaica, ao retratar os índios Yanomami com uma placa numerada no pescoço (para identificar qual fora vacinado), o que remete aos números tatuados na pele dos prisioneiros que ingressavam nos campos de extermínio durante a Shoá, o que, em contrapartida, reforça a ameaça à sobrevivência dos índios quando os brancos invadem as suas terras. Madalena Schwartz (1921-1993) fotografou travestis e transformistas do teatro underground realizado pelo Dzi Croquettes, grupo que, ao transitar entre os gêneros masculino e feminino, cultivavam identidades híbridas, fragmentadas e vivenciavam uma condição de exílio compartilhada pela artista, devido aos seus deslocamentos transculturais, ao fazer o percurso migratório Budapeste-Buenos Aires-São Paulo. / The aim of this research is to discourse about the Jewish eye that, by assumption, permeates the work of three contemporary photographers and evaluate if there are tendencies that point to the Jewishness of photographies. The studied artists are the Israeli Adi Nes and the Brazilians of Hungarian origin Cláudia Andujar e Madalena Schwartz, that, respectively, produced the series Biblical Stories (2003-2006), Marcados [Marked] (1981-1983) and Crisálidas [Chrysalides] (1973-1976) published in 2007, 2009 and 2012. Adi Nes (1966-), by staging in studio contemporary situations of misery in Tel Aviv with actors representing biblical characters (Noah, Abraham, Isaac, Jacob, Elijah, Joseph, Ruth, Cain, Abel and David), re-updated the stories of Hebrew Bible, as does Midrash (book or excerpt of rabbinic commentaries) and, talmudically, connected signifiers apparently different that suggest a lot of meanings. Cláudia Andujar (1931-) correlated the indigenous situation to Jewish history, by depicting the Indians Yanomami with a numbered plaque in neck (to identify who was vaccinated), what links to the numbers tattooed in the skin of prisoners that enter in death camps during Shoah, what, in return, reinforces the threat to survival of Indians when white people invade their lands. Madalena Schwartz (1921-1993) photographed travestites and crossdressers of underground theatre done by Dzi Croquettes, group that, by transiting between masculine and feminine genders, cultivated hibrid, fragmented identities and experienced an exilic condition shared by the artist, due to her transcultural moves, by doing the migratory route Budapest-Buenos Aires-São Paulo.

O objetivo desta pesquisa de Mestrado é dissertar sobre o olhar judaico que, por suposição, permeia as obras de três fotógrafos contemporâneos e avaliar se há tendências que apontem para a judeidade das fotografias. Os artistas estudados são o israelense Adi Nes e as brasileiras de origem húngara Cláudia Andujar e Madalena Schwartz, que, respectivamente, produziram as séries Histórias Bíblicas (2003-2006), Marcados (1981-1983) e Crisálidas (1973-1976) publicadas em 2007, 2009 e 2012. Adi Nes (1966-), ao encenar em estúdio situações contemporâneas de miséria em Tel Aviv com atores representando personagens bíblicos (Noé, Abraão, Isaque, Jacó, Elias, José, Rute, Caim, Abel e Davi), reatualizou as histórias da Bíblia Hebraica, como faz o Midrash (livro ou trecho de comentários rabínicos), e, talmudicamente, conectou significantes aparentemente díspares que sugerem muitos significados. Cláudia Andujar (1931-) relacionou a situação indígena à história judaica, ao retratar os índios Yanomami com uma placa numerada no pescoço (para identificar qual fora vacinado), o que remete aos números tatuados na pele dos prisioneiros que ingressavam nos campos de extermínio durante a Shoá, o que, em contrapartida, reforça a ameaça à sobrevivência dos índios quando os brancos invadem as suas terras. Madalena Schwartz (1921-1993) fotografou travestis e transformistas do teatro underground realizado pelo Dzi Croquettes, grupo que, ao transitar entre os gêneros masculino e feminino, cultivavam identidades híbridas, fragmentadas e vivenciavam uma condição de exílio compartilhada pela artista, devido aos seus deslocamentos transculturais, ao fazer o percurso migratório Budapeste-Buenos Aires-São Paulo. / The aim of this research is to discourse about the Jewish eye that, by assumption, permeates the work of three contemporary photographers and evaluate if there are tendencies that point to the Jewishness of photographies. The studied artists are the Israeli Adi Nes and the Brazilians of Hungarian origin Cláudia Andujar e Madalena Schwartz, that, respectively, produced the series Biblical Stories (2003-2006), Marcados [Marked] (1981-1983) and Crisálidas [Chrysalides] (1973-1976) published in 2007, 2009 and 2012. Adi Nes (1966-), by staging in studio contemporary situations of misery in Tel Aviv with actors representing biblical characters (Noah, Abraham, Isaac, Jacob, Elijah, Joseph, Ruth, Cain, Abel and David), re-updated the stories of Hebrew Bible, as does Midrash (book or excerpt of rabbinic commentaries) and, talmudically, connected signifiers apparently different that suggest a lot of meanings. Cláudia Andujar (1931-) correlated the indigenous situation to Jewish history, by depicting the Indians Yanomami with a numbered plaque in neck (to identify who was vaccinated), what links to the numbers tattooed in the skin of prisoners that enter in death camps during Shoah, what, in return, reinforces the threat to survival of Indians when white people invade their lands. Madalena Schwartz (1921-1993) photographed travestites and crossdressers of underground theatre done by Dzi Croquettes, group that, by transiting between masculine and feminine genders, cultivated hibrid, fragmented identities and experienced an exilic condition shared by the artist, due to her transcultural moves, by doing the migratory route Budapest-Buenos Aires-São Paulo.

The aim of this work is to describe hagiotherapy as a suitable psychoterapic method for work with psychological difficulties of workers in helping professions. The first chapter is dedicated to the hagiotherapy description, its development, selected philosophical solutions, its procedure and targeted groups in which the hagiotherapy is applied. The second chapter is dedicated to psychical difficulties of workers in helping professions and is focused on the following phenomena: helper syndrome, power in helping professions, burnout syndrome. The third chapter reveals the authorś assumptions, the reasons why she considers the hagiotherapy a suitable supporting means for workers in helping professions. In the fourth chapter an illustrative investigation is presented which is supposed to answer the question: What impact did the hagiotherapy have in the life of worker in helping professions? This question was answered by the participants of the illustrative investigation, who are workers in helping professions and completed hagiotherapy trainings. For the analysis of their answers in the illustrative investigation the elements of grounded theory were used.