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This thesis will examine some of the basic principles of Classical and Marxian Political Economy. At the center of the project is an examination of two distinct but related subjects: 1) value and 2) internal critique. I begin with a broad overview of the methodological and theoretical principles integral to the study of Marxian political economy and highlight its link to the content of Marx's work. I demonstrate the riven-ness of the concept of value throughout the thesis and show that this riven-ness is integral to rather than accidental to the concept of value itself. In essence, I propose that in order to fully grasp how Marx is taken up by political economists, feminists, ecologists, and critical race scholars in order to understand exploitation and oppression, it is necessary to return to the basic premises of political economy as the foundation of many of these theories. / Master of Arts / Value is a concept which carries with it many different meanings and connotations. It is central to our everyday language and to various fields of study. This thesis aims to examine value and its role as a fundamental concept in the history of economics. To do this, I map out how value emerges as a crucial category in the work of economic theorists. By carefully following these theorists, I seek to uncover what they call attention to and what remains hidden within their work. Another crucial part of this thesis is how to investigate, how to read, and how to think. While the content of the thesis is focused around "value" and what constitutes value, a larger project consumes it. I propose that in order to get to the substance of value, how we think directly affects what we think.

Hensikten med oppgaven er å få innsikt i hvordan ulike gymnasielærere i hørelærefaget anser og jobber med teoretiske og praktiske moment i sin undervisning. I relasjon til dette fokuserer oppgaven vider på læreres syn på forholdet mellom hørelære og instrumentalspill og sang. Tidligere forskning knyttet til dette emnet, har vist at det er ulikheter mellom hørelærepedagogers hensikt med sin undervisning, og hva som utføres praktisk i undervisningen. Med dette som utgangspunkt, har jeg som hensikt å få en innsikt i hvordan ulike lærere jobber med disse aspektene i egen hørelæreundervisning, samt hvilke tanker de har om dette i relasjon til generell undervisning i faget. Oppgaven har sitt teoretiske utgangspunkt i et multimodalt perspektiv, som innebærer at mennesker tilegner seg kunnskap gjennom flere former for tegn og modaliteter. Videre har oppgaven også et didaktisk-pedagogisk perspektiv, med fokus på pedagogiske og didaktiske metoder i ulike læreres hørelæreundervisning. Undersøkelsen har blitt gjennomført i form av observasjoner og kvalitative intervjuer av ulike lærere og deres undervisning. Resultatene viser at samtlige informanter anser det som viktig å ha balanse og sammenheng mellom teoretisk og praktisk arbeid i hørelæreundervisningen. Videre anser samtlige informanter forholdet mellom hørelære og instrumentalspill og sang som svært viktig. Inkludering av elevenes hovedinstrument i undervisningen trekkes fram som en gunstig metode for å tydeliggjøre dette. Benyttelsen av slikt arbeid er dog ulik i de respektive informantenes undervisning, da det krever forutsetninger som ikke ligger til rette hos et flertall av lærerne. / The purpose of this study is to gain insight into how different teachers in ear training consider and work with theoretical and practical elements, in their teaching in Swedish and Norwegian high schools. Furthermore, the study also focuses on how the teachers consider the relationship between ear training and instrumental playing and singing. Prior research on this topic shows that there are differences among ear training teachers, between the purpose of their teaching, and what is done practically. With this in mind, my aim is to gain an insight in how different teachers work with these aspects in their own teaching. I also wish to get more knowledge of how they view these aspects in relation to the general teaching of ear training. The study has its theoretical basis in a multimodal perspective, which means that people  acquire knowledge through multiple forms of signs and modalities. Furthermore, the study also has a didactic-pedagogical perspective, focusing on the pedagogical and didactic methods of different teachers in the subject of ear training.   The survey has been conducted in the form of qualitative interviews with various teachers, as well as observations of their teaching. The results indicate that all the informants consider it important to have balance and coherence between theoretical and practical work in ear training. Furthermore, all informants consider the relationship between ear training and instrumental music and singing as very important. Inclusion of the students own instruments in ear training lessons, is emphasized as a beneficial method for working with this aspect. The degree to which this method is utilized, is however expressed as different among the informants. Working so, however, requires certain conditions, that are sometimes missing.

This thesis examines the role of spatial representation in Old English poetry. Focusing on the presentation of setting and spatial relationships in narrative poetry, it argues that sensibility towards the creative potential of spatial representation within a conventional tradition constitutes a significant element of Old English poetic technique. It emphasizes the importance of intertextual reading practices which recognize the dialectics of text and tradition underlying spatial representation in individual examples. Chapter one introduces the subject, outlining the relevant critical contexts in which the thesis stands and describing the methodology that is followed in the subsequent chapters. It also describes the connection between the representation of space and critical assumptions regarding vernacular poetic composition. Chapter two focuses on poetic accounts of the angelic rebellion. The presentation of this event as a territorial and spatial conflict establishes a contrast between vertical and horizontal spatial relationships which relates to concerns prevalent throughout the Anglo-Saxon period over conflicting models for power relationships. The prominence of vertical spatial relationships in these accounts serves to legitimize hierarchical power structures. Chapter three considers territorial conflict in Old English battle poetry. Similarities in the use of setting and the construction of a sense of place in these texts suggest the influence of established poetic conventions. However, poetic artistry is evident in the ways in which spatial representation contributes to the wider thematic and artistic concerns of these texts. Chapter four examines poetic representations of the prison. Whilst such representations do partially reflect conceptualizations of the prison current in Anglo-Saxon England, they also demonstrate a deeper interest in the valence of enclosed space. The chapter extends the intertextual approach of the thesis to consider the possibility of direct borrowing between poems. Chapter five clarifies the argument of the thesis regarding the relationship between spatial representation and poetic technique and identifies some directions for further work.

Une traduction française des "Thèses sur le besoin" de Theodor W. Adorno accompagne la thèse (annexe). / La présente thèse analyse et contraste les positions de G.W.F. Hegel et de T. W. Adorno sur la nature de la pensée rationnelle et le sens de la pratique philosophique. Notre démarche consiste en une interprétation critique d’une idée que partagent Hegel et Adorno mais qu’ils développent différemment, selon laquelle la pensée rationnelle obéit à un certain besoin (Bedürfnis) qui lui est à la fois spécifique et universel. Hegel a parlé d’un « besoin de la philosophie ». L’expression est ambiguë : elle vise à décrire la nature générale de la pensée rationnelle mais aussi à exprimer la pertinence historique de la raison, c’est-à-dire sa capacité à assouvir des besoins concrets. Je démontre dans les cinq premiers chapitres que Hegel tente de réconcilier ces deux besoins en soutenant que l’identification par le concept est précisément ce qui permet d’appaiser la souffrance concrète que génère la division de l’histoire avec elle-même. La solution est en effet trouvée dans l’idée du savoir absolu, une posture de la pensée rationnelle tout aussi fondée dans la nature de la pensée elle-même que dans les aspirations de son autre, c’est-à-dire de l’histoire. Le savoir absolu est le point où chez Hegel coïncident la nature de la raison en général et la nécessité d’exprimer les besoins universels de l’histoire. Les chapitres six à neuf situent ensuite le déplacement épistémologique que propose la dialectique négative d’Adorno par rapport à cette conclusion de Hegel. Nous prenons soin de montrer qu’Adorno ne la juge pas fausse mais unilatérale. Il conçoit qu’exprimer et assouvir les souffrances historiques revient au concept mais il soutient en même temps que celui-ci échoue à cette tâche tant qu’on ne nuance pas la portée et la signification de sa « compulsion à identifier ». Nous démontrons que si cette dernière est d’après Adorno à la fois inévitable et fautive, c’est parce que le besoin qui motive la pensée rationnelle n’est pas d’abord la nécessité de concevoir l’unité dans la division mais celui de réaliser les conditions de la survie et du bonheur de l’organisme vivant qui soutient la pensée. Or pour Adorno, la société capitaliste bloque les pratiques émancipatrices qui s’attachent à combler ce besoin matériel parce qu’elle absolutise le principe d’identité. Nous soutenons que, dans ce contexte, l’approche adornienne de la philosophie comme relevant de l’essai (Essay) et développant des concepts discontinus orientés vers le non-identique n’est pas moins, mais plus rationnelle que la posture hégélienne qui considère la philosophie comme une science absolue. / This thesis analyzes and contrasts G. W. F. Hegel’s and T. W. Adorno’s positions on the nature of rationality and the task of philosophy. Its central aim is to offer a critical interpretation of a thought shared but interpreted differently by both thinkers, namely, that philosophy proceeds from a certain need (Bedürfnis) that is both specific and universal. Hegel spoke of a « need of philosophy ». The expression is ambiguous: it is meant to describe the general nature of rational thinking, but also to express how reason or philosophy can justify their historical relevance and satisfy concrete needs. I argue in chapters one to five that Hegel tries to reconcile these two needs, in order to show why identifying with concepts is the key to appeasing the concrete suffering caused by history’s own division within itself. The answer is given in absolute knowledge, grounded and justified in respect of thought itself as well as thought’s other, i.e., history. Absolute knowledge is point of equilibrium between reason in general and reason as the adequate expression of history’s universal needs. Chapters six to nine then interpret Adorno’s negative dialectics as a critical reworking of this dialectical problem of framing normativity in historical terms. Adorno agrees with Hegel that the most relevant and satisfying expression of historical suffering is conceptual, yet he also contends that the « compulsion to identity » as such fails to satisfy the need that motivates philosophical thinking. I argue that this is because striving for survival and happiness is not reducible to thought’s obsession with identity. For Adorno, happiness and “right life” are blocked in contemporary society because capitalism hypostasizes the identity principle inherent in conceptual thinking. In this context, I argue that Adorno’s view of philosophy as essay (Essay) is more, not less, rational than Hegel’s understanding of philosophy as an absolute science.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

The aesthetic autonomy of dance is a blank spot in the history of aesthetics. In this study, dance is used as an umbrella for both visual art performance, live art and choreography. Different from these other notions, dance appears in early historical writings and enables a coherent reading of the history of this specific artform, where the embodiment of the artwork is central.        Starting from Immanuel Kant’s Critique of Judgement, in which this study unravels why dance has been given such a limited attention in the history of aesthetics. Departing from this ignorance of the artform and the lack of theories of aesthetic autonomy when it comes to dance ever since, the study proposes that the aesthetic autonomy of dance could be understood through the notion of parergon. The word is initially found in the Critique of Judgement, where Kant uses parergon to describe the infrastructural framework upon which both the piece of art and the judgment relies. With the help of Jacques Derrida’s reading of the Critique of Judgement through parergon, the notion is understood with a double meaning: as both the frame ot the artwork and the work behind the piece of art. Derrida doesn’t either mention ”dance” in his rewriting of Kant’s work, why this essay applies the parergon upon the only art form where the working body embodies the work of art: dance. For dance, the work behind the piece and the piece itself, is the same. Through this understanding of parergon, the aesthetic autonomy of dance is can be understood as the frame at work.       With references from a western history of arts and aesthetics, the study works through literature on dance from the 16th century until today. This enables a timeline from the inauguration of the first royal ballet academies, to the enlightenment, through modernity up until postmodernity, is read. Such a consistent reading of the history of dance is still rare, but the main reason for the study is not to sketch a new history, but rather to, through its history, establish an understanding of the aesthetic autonomy of dance.       Through examples from philosophy, literature, art history, dance history and art criticism, the development of dance as an autonomous artwork is contextualized. Arriving at the 20th and the 21st century, three specific artworks are analysed through available documentations, writings and conversations. Through the three notions hetero-affection, immanent critique and indexical dialectics, the aesthetic autonomy of dance is written through an understanding of its dialectical negation as its positive matter; the frame (at work). This understanding is applied to the three modern and post-modern examples of dance, where the frame at work is autonomously unworked and re-worked.