Thesis (M.A.)--Memorial University of Newfoundland, 2004. / Bibliography: leaves 103-107.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (doctoral)--Universität, Freiburg/CH, 2007. / Includes bibliographical references (p. 200-211).

Diss.--Graz Universität, 1994. / Bibliogr. p. 321-346. Index.

In this study I have focused my research on learning more about how pupils in grade three experience the requirement to present and convey their thoughts and opinions out loud in the classroom. The purpose was also to find out more about working methods that support pupils whom are perceived as shy and silent in their progress to become confident speakers. By allowing pupils in grade three to reply to surveys and by interviewing a teacher, I received answers to my questions. The result of the survey showed that a large proportion of pupils experience the joy of talking out loud in the classroom and a smaller proportion of experiencing anxiety symtomps. The results also showed that the pupils wanted to gain more knowledge of how to become a safer speaker, but pointed out at the same time that they did not know what work method that would help them. The teacher also pointed out that she lacked the knowledge on the subject. She has not been educated about rhetoric during the teacher education courses she had studied. Thus, we can see that there is a requierment from the pupils but lack of knowledge within teaching staff. / I denna undersökning har jag sökt vidare kunskaper om hur elever i årskurs 3 upplever kravet av att presentera och framföra sina tankar och åsikter högt i klassrummet. Syftet var även att söka lärdomar kring arbetsmetoder som stöttar elever som utav omgivningen uppfattas som blyga och tystlåtna i sin utveckling till att bli säkra talare. Genom att låta elever i årskurs 3 genomföra enkäter samt intervjua en aktiv lärare fick jag svar på mina frågeställningar. Resultatet av undersökningen visade att en stor andel av elever upplever det lustfyllt att tala högt i klassrummet och en mindre andel upplever ångestliknande symtom som kan uppkomma. Resultatet visade även att eleverna önskade få mer kunskaper i hur man ska agera för att bli en säkrare talare men påpekade samtidigt att de inte vet vilken arbetsmetod som skulle hjälpa dem. Även läraren påpekade att hon saknade kunskaper i ämnet då hon inte fått utbildning om retorik på de lärarutbildningar hon gått. Vi kan alltså se att det finns ett behov från eleverna men kunskapsbrister hos lärare.

Cette enquête est partie du constat de la déshérence du nom de guerre lors des bombardements de l’OTAN contre la Serbie pour s’affirmer lors des guerres contre l’Afghanistan (2001) et l’Irak (2003). En effet, depuis la Serbie, des locutions telles que « maintien de l’ordre international », « militarisation de l’Empire », « guerre comme ordre permanent » se proposent comme les termes analytiques de ce que, ici, on persiste à appeler guerre. Ces locutions sont néanmoins à la base de thèses contradictoires : celle de la démultiplication de la guerre (tout est guerre), et celle de son abolition pour le terrorisme ou les violences civiles. Ces deux thèses présentent un point commun : l’impossibilité de singulariser la guerre pour elle-même et une entente sur la fin de son assignation étatique. Notre réponse aux thèses de la déshérence est de deux ordres. Le premier réside dans la décision de maintenir le nom de guerre, convaincue que l’élucidation du contemporain politique et guerrier passe par sa nomination et sa qualification. Ce maintien constitue la condition d’une enquête nous permettant de connaître, selon les occurrences, ce que le mot de guerre recouvre. Pour ce faire, c’est le second aspect de notre réponse, nous avions besoin d’un dispositif d’enquête : ce sera la démarche en termes de modes politiques de guerre nous permettant de qualifier différentes occurrences de pensées de la guerre en regard des conceptions singulières de la politique qui s’y déploient. Nous avons mis en œuvre cette démarche pour les pensées de Clausewitz, de Carl Schmitt, de Mao Zedong et de l’Administration Bush (2001-2003). / The present investigation...

Carl Czerny (1791–1857) lived at the turn of the nineteenth century, when the piano underwent significant development as an instrument, and subsequently generated a huge repertoire. While Czerny is mostly remembered for his piano exercises and etudes, his writings about music as well as his works in serious style reveal a man with a sophisticated awareness of the importance of piano technique, entwined with profound musical ideas and an understanding of music that make him a forerunner of the romantic style. This study focuses on Czerny’s Opus 500 Complete Theoretical and Practical Piano Forte School (1839), and its Supplement (1845). Through analysis of the tutorial’s content it attempts to prove the deep connection between piano technique and expressive playing in Czerny’s teaching. The first five chapters of this work compare elements of expressive playing, such as articulation, dynamics and tempo, as presented in different tutorials written before Czerny’s opus 500, clearly relevant to Czerny. The remaining chapters of this study discuss the pedagogical path that Czerny suggests to master those same aspects, especially through scales and scale-based exercises, and through constant attention to improving the listening skills of the student. The purpose of this work is to reassess Czerny as a key figure of modern piano technique, as a teacher and pedagogue able to introduce pianists to mechanical training while honing the essential skills to perform any piece of music in any style expressively.

This study investigates whether or nor not the imagery of Catherine of Siena can be interpreted from a Jungian perspective. It takes a lead from other studies, notably one on Teresa of Avila and Jung. Reading of medieval literature suggests that medievals applied the use of symbols and imagery in ways that are at times baffling to people of our time. Carl Jung was no stranger to imagery and symbol. In our current age with its renewed emphasis on the insights of spirituality, and to some extent its disenchantment with aspects of traditional psychology, there is room for a dialogue between the two disciplines of mysticism and psychology across a six-hundred year divide. The use of imagery, as a window to the soul, in the Christian tradition is examined. Catherine of Siena is situated within her own medieval context, one of upheaval in the church, but also an age of mysticism and spiritual/religious phenomena strange to our own time. Catherine is introduced against the background of her world and against the backdrop of the Dominican tradition. A discussion of some of her major imagery demonstrates her aim of union with God. An understanding of conscious aspects and of unconscious aspects of the self is shown as key to Jung ' s view of the psyche. Elucidation of some archetypes and a discussion of Jung's dream analysis demonstrates how Jung believed the unconscious becomes conscious, and how individuation becomes a possibility. Key Catherinian images are examined from a Jungian perspective. Catherine has relevance for the twenty first century, and we are invited to be challenged by the mysteries and truths to which her images point us.

The central aim of this study was to interpret the psychology of C.G . Jung in the light of existential phenomenology, thereby to lay the foundations for an integrated phenomenological analytical psychology. It was recognised that although Jung introduced a poetic understanding of psychological life he tended to adhere theoretically to a Cartesian and natural scientific epistemology and ontology, in which the knower is separated from the known, and psychological life is encapsulated inside the human subject. Thus the main task, which defined generally the study's scope and limitations, was to undercut the lingering Cartesianism in Jung's thought, thereby to recover the world in which one lives as intrinsically and authentically psychological, and one's psychological life as irreducibly world-related. The ontological guidelines for this endeavour were taken primarily from Heidegger and Merleau-Ponty, but it was consistently argued that this hermeneutic movement towards an existential understanding is given within Jung's work itself. Thus: Jung's method is primarily hermeneutic-phenomenological; the psyche is not "mind" or an inner realm more or less linked to the body, but is the embodied life-world, and Jung's descriptions of it - of its autonomy, spatiality and bodiliness, for instance - achieve ontological clarity when it is articulated as Dasein; the self as the totality of the psyche is interpretated in terms of Dasein, and individuation involves differentiation, personalisation and appropriation within existence itself; the complexes, archetypally grounded, are the vital densities of incarnate life, ambiguously conscious and unconscious, known and lived; the archetypes are the fundamental necessities of psychological life, autonomous imaginal structures within which both body and world are founded. Imaginal autonomy is revealed ontically as the metaphorical reality of things, but since imaginal autonomy has no ground thought about psychological life is ultimately poetic. Where relevant, recent theoretical developments in analytical psychology were discussed, particularly the Developmental and Archetypal movements. A clinical study was presented to illustrate some of the main themes of the thesis. In conclusion, the main themes of an integrated phenomenological analytical psychology were outlined, and the central contributions of analytical psychology and existential phenomenology were highlighted.

Carl Nielsen was the greatest Denmark´s composer who lived from 1865 to 1931. The thesis mentions the development of Nielsen´s composition style beginning with his early music and ending with his mature years of composing. All works are compared comprehensively. In his early years, there is a domination of the elements typical for romantic lyricism, but later on, his composition technique becomes influenced by the progressive styles of the 20th century. The thesis is focused on the composer´s late music, because most of his flute works were written during his mature years. The compositions analysed in detail are following: orchestral work Pan and Syrinx, op.49, a piece for flute solo from the incidental music Aladdin, op.34, three pieces from the incidental music Moderen, op.41, Wind Quintet, op.43, Concerto for Flute and Orchestra, six symphonies and Rhapsody Overture: An Imaginary Trip to the Faroe Islands . On one hand, the analysis of each work is accentuated, but on the other hand, the historical events and facts from Nielsen´s life which affected his compositions are pointed out.