Bakgrunden till denna studie utgår från våra egna erfarenheter av att undervisningen i årskurs 1-3 ofta är styrd, och har en avsaknad av lekfulla och kreativa inslag, vilket även forskning visar. Graden av styrning innebär därmed ett problem. Stöd för lek och kreativitet i undervisningen för elevers lärande går att finna i skolans läroplan och litteraturen. Detta har lett till en undran över lärares syn på betydelsen av lek och kreativitet i undervisningen. Syftet med studien är att analysera en antal lärares uppfattningar av lekens och kreativitetens betydelse för elevers lärande i undervisningen. Studien har en fenomenografisk ansats med kvalitativa intervjuer för att samla data. Resultatet visar tre sätt att förstå betydelsen av lek och kreativitet för elevers lärande i undervisningen ur ett lärarperspektiv: som kunskapsbildande, motivationshöjande och konkurrerande. Vilket har sin utgångspunkt i läroplanen (Skolverket, 2011). I studien diskuteras funktionaliteter av lekfulla och kreativa inslag i undervisningen för elevers lärande utifrån flera aspekter. / The background to this study is based on our experiences, that teaching in grade 1-3 is governed by the teachers and that the playful and creative teaching is missing. This has led to a reflection regarding why teaching has to be controlled by the teacher, and what effects the absence of play and creativity has in the pupils learning process. The purpose with the study is to analyze teachers opinion and what they think, play and creativity’s is doing for the students learning in class, which is made through a phenomenographic qualitative study. Therefore, our method is made through phenomenographic research approach, with phenomenographic interviews. The result of the study shows that play and creativity is important and motivates pupils to learn. However, the teachers could also see some aspects that eliminated the possibility to teach through play and creativity. Which has its starting point in the curriculum (Skolverket, 2011). The study discusses the functionality of playful and creative elements of teaching, which are based on several aspects to pupils learning process.

The "encyclopedic imagination" describes an artist's conviction that a work of art must be expansive and inclusive to a point of total embodiment. The artist (or dramatized artist figure) implies that the work of art must give a total account not only of the subjective life of the artist but of the reality to which the representing self responds. The focus of this study is not on any work's encyclopedic achievement (for the artist's inclusive ideal always remains well outside the actual capacity of the work), but on the relationship of the ideal of aesthetic all-inclusiveness to a problematic ideal of encompassing selfhood for the representing personality. / Following an introduction that establishes modern and postmodern conceptions of the notion of aesthetic totality, this dissertation describes, in six Canadian works, the (untenable) radicalization of the self through the "encyclopedic" ideal. Chapter one considers Ernest Buckler's The Mountain and the Valley (1952) and notes that the protagonist's drive towards total representation is costly to his sense of authentic temporality. Chapter two identifies "total embodiment" as the governing poetic principle of P. K. Page's The Hidden Room (poems c.1942-1997), and suggests the relation of this ideal to Page's apparent creative crisis. Chapter three examines the ethics of all-inclusive representation in Leonard Cohen's Beautiful Losers (1966) and argues that the novel's vision of the world incorporated into a single body is a reflection of both the totalitarian politic of One Man and of apocalyptic-beatific "total identity." Chapter four looks at Margaret Atwood's Cat's Eye (1988) in terms of the trope of the "perverse museum" in Atwood's oeuvre. The novel's treatment of representation as exhibition figures identity as a matter of insatiable demonstration. Chapter five considers the "life-long" poems of Louis Dudek (Continuation c.1971-2001) and bpNichol (The Martyrology 1967-1988) as particularly marked cases of works that must continue until they have enfolded a coherent world-view into an all-encompassing subjectivity. / Each chapter stresses the counterintuitive quality of the "encyclopedic" ideal and demonstrates that a total yet coherent representation of the world seems inversely proportional to a coherent yet total representation of the self.

Moral questions surrounding businesses’ labour practices and the ethical management of working conditions in developing countries are gaining increasing attention. This dissertation is an exploratory investigation on moral imagination amongst managers and union stewards involved in the management of working conditions in the Kenyan tea industry. Semi-structured interviews were used to generate information from participants on their thoughts and experiences as they managed potentially morally-laden issues related to working conditions of lower-tier workers. Thematic analysis was used to examine the accounts participants shared, in order to uncover the deliberative processes participants engaged in as they strived to make sense of these issues. The use of a qualitative approach facilitated a comprehensive examination of the context in which these organizational stakeholders are embedded. The moral imagination framework allows for an examination of how individuals attend to contextual cues as they deliberate on situations of moral import in the work environment. Overall, the findings of this research show that there are diverse patterns of analysis of moral situations among organizational stakeholders. The findings provide empirical support for Bartlett’s (2003) argument that there are many, yet unexplored, intervening processes between problem perception and action when it comes to moral deliberation and decision-making. Among the managers in the study, they were found to include processes of attribution of agency for observed harm, analysis of individual, organizational and social consequences, reflection on conflicts of interest and values, as well as creative imagination in envisioning and enacting actions that could address perceived problems. Among the stewards, they included reflections on principles of justice and human rights, reflection on opportunities for self-development, as well as creative imagination. In addition, the findings suggest role-related differences in the nature of individuals’ moral deliberations. Managers often appealed to an ethics of care in their deliberations on their employees’ working conditions. Union stewards appealed to both an ethics of care and an ethics of justice.

Vakarų filosofijoje suvokimui, lyginant su vaizduote, tradiciškai buvo skiriamas išskirtinis dėmesys. Jau Antikos mąstytojai suvokimui kaip labiausiai prie tikrovės pažinimo priartėjančiam proto gebėjimui skyrė privilegijuotą statusą kitų proto formų atžvilgiu. Vaizduotė epizodiškai šmėstelėdavo tik filosofijos istorijos periferijoje, tačiau net ir tokiomis aplinkybėmis vaizduotė buvo suprantama ne tik kaip „netobulas“ suvokimas, bet ir kaip radikaliai skirtingas, unikalus sąmonės gebėjimas. Vis dėlto iki Edmundo Husserlio išsamus vaizduotės fenomeno tyrimas, atskleidžiant fundamentalų suvokimo ir vaizduotės santykį, nebuvo atliktas.Fenomenologinis sąmonės patirčių aprašymas „legalizuoja“ vaizduotę ir nuo šiol prasideda intensyvus jos persekiojimas: sekant vaizduotiškais pėdsakais, paaiškėja, kad vaizduotė yra apraizgiusi visus sąmonės išgyvenimus, pati išlikdama refleksijai nepasiekiamame sąmonės šešėlyje. Todėl, logiška, kad aiškiausiai vaizduotiški pėdsakai matomi ten, kur, regis, vaizduotės slėptuvės mažiausiai tikimasi – suvokimo lauke. Fenomenologiškai tiriant suvokimo ir vaizduotės aktus, paaiškėja, kad privilegijuotą suvokimo poziciją ir pretenziją į pažinimo tikrumą sugriauna vaizduotė, neutralizuodama visų išgyvenimų pretenzijas į tikrumą, todėl suvokimas tampa tik viena iš tikrumo galimybių, praktiškai niekuo nesiskiriančia nuo galimo vaizduotiškos tikrovės supratimo. Suvokimo ir vaizduotės santykis yra problemiškas: viena vertus, vaizduotė yra radikaliai skirtinga... [toliau žr. visą tekstą] / In the Western philosophy, the perception, in comparison with imagination, traditionally receives exceptional attention. Already antiquity thinkers attributed a privileged status to perception as the mind’s capability most closely approached to the cognition of reality with regard to other forms of the mind. Imagination episodically loomed just in the periphery of the history of philosophy, however, even in such circumstances imagination was understood not only as „imperfect“ perception, but also as radically different and unique capability of consciousness. However, until Edmund Husserl, no comprehensive research of the imagination phenomena while revealing the fundamental ratio of perception and imagination had not been performed.The phenomenological description of the experiences of consciousness „legalizes“ imagination and from now its active prosecution starts: tracing imaginative traces it becomes clear that imagination has tangled all experiences of consciousness while staying in the shadow of consciousness, unreachable for reflection. Therefore it is logical that imaginary traces are seen most clearly where the shelter of imagination is expected in the least degree – in the field of perception. Researching the acts of perception and imagination phenomenologically, it becomes clear that the privileged position of perception and the claim to the authenticity of cognition is demolished by imagination, neutralizing the claims of all experiences to the authenticity... [to full text]

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The goal of this dissertation is to study the use, function and possibilities of the classical concept of imagination in the "comedias" of Pedro Calderon de la Barca (1600--1681). To begin, I explore the possibilities and limitations of imagination at three different levels: literary and aesthetic theory, psychological and gnoseological theory, and lastly that of cosmology. / Thus, after tracing the presence of the concept of imagination in all of Calderon's "comedias," I study its use in the dramatic discourse of Pinciano and Bances Candamo. Likewise, I discuss the ambiguities of this concept that Calderon himself openly explored in several of his plays. Later, I focus on an analysis and interpretation of imagination in La vida es sueno (Life is a Dream), particularly as it concerns the relationships between mankind and the universe, as well as the imaginative and dramatic possibilities of dreaming. / My next step deals with the relationship between theories of drama and imagination. This concentrates on: the way in which the author plays and manipulates the audience's affections, the creation of marvellous dramatic effects, and the relationship between imagination and performance. After, I analyze the interaction between physical senses and imagination, as well as the public's perception influenced by sophisticated staging techniques. Lastly, I discuss three crucial concepts, those of taste, public opinion and disillusionment ("desengano"), that are for Calderon obvious limitations to the possibilities of imagination.

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

In the Western philosophy, the perception, in comparison with imagination, traditionally receives exceptional attention. Already antiquity thinkers attributed a privileged status to perception as the mind’s capability most closely approached to the cognition of reality with regard to other forms of the mind. Imagination episodically loomed just in the periphery of the history of philosophy, however, even in such circumstances imagination was understood not only as „imperfect“ perception, but also as radically different and unique capability of consciousness. However, until Edmund Husserl, no comprehensive research of the imagination phenomena while revealing the fundamental ratio of perception and imagination had not been performed.The phenomenological description of the experiences of consciousness „legalizes“ imagination and from now its active prosecution starts: tracing imaginative traces it becomes clear that imagination has tangled all experiences of consciousness while staying in the shadow of consciousness, unreachable for reflection. Therefore it is logical that imaginary traces are seen most clearly where the shelter of imagination is expected in the least degree – in the field of perception. Researching the acts of perception and imagination phenomenologically, it becomes clear that the privileged position of perception and the claim to the authenticity of cognition is demolished by imagination, neutralizing the claims of all experiences to the authenticity... [to full text] / Vakarų filosofijoje suvokimui, lyginant su vaizduote, tradiciškai buvo skiriamas išskirtinis dėmesys. Jau Antikos mąstytojai suvokimui kaip labiausiai prie tikrovės pažinimo priartėjančiam proto gebėjimui skyrė privilegijuotą statusą kitų proto formų atžvilgiu. Vaizduotė epizodiškai šmėstelėdavo tik filosofijos istorijos periferijoje, tačiau net ir tokiomis aplinkybėmis vaizduotė buvo suprantama ne tik kaip „netobulas“ suvokimas, bet ir kaip radikaliai skirtingas, unikalus sąmonės gebėjimas. Vis dėlto iki Edmundo Husserlio išsamus vaizduotės fenomeno tyrimas, atskleidžiant fundamentalų suvokimo ir vaizduotės santykį, nebuvo atliktas.Fenomenologinis sąmonės patirčių aprašymas „legalizuoja“ vaizduotę ir nuo šiol prasideda intensyvus jos persekiojimas: sekant vaizduotiškais pėdsakais, paaiškėja, kad vaizduotė yra apraizgiusi visus sąmonės išgyvenimus, pati išlikdama refleksijai nepasiekiamame sąmonės šešėlyje. Todėl, logiška, kad aiškiausiai vaizduotiški pėdsakai matomi ten, kur, regis, vaizduotės slėptuvės mažiausiai tikimasi – suvokimo lauke. Fenomenologiškai tiriant suvokimo ir vaizduotės aktus, paaiškėja, kad privilegijuotą suvokimo poziciją ir pretenziją į pažinimo tikrumą sugriauna vaizduotė, neutralizuodama visų išgyvenimų pretenzijas į tikrumą, todėl suvokimas tampa tik viena iš tikrumo galimybių, praktiškai niekuo nesiskiriančia nuo galimo vaizduotiškos tikrovės supratimo. Suvokimo ir vaizduotės santykis yra problemiškas: viena vertus, vaizduotė yra radikaliai... [toliau žr. visą tekstą]

This thesis examines Marianne Moore’s poetic project of creating hope within a modern context. Building on an initial discussion of Moore’s skeptical perspective, I go on to argue that Moore’s work fosters a desire both to believe in something unknowable and to maintain faith in a goodness that cannot be realized on earth. Moore posits a more demanding hope than one based on the search for truth and namelessness; she gives hope a meaning beyond the feeling that allows people to keep going. Moore’s hope requires a guarded vision of the future, a capacity for visualizing both the real and the imaginary, and, especially, careful observation. Actively manipulating the possibilities of language while recognizing their limitations, Moore transforms hope into an action, a pursuit of ethics and a focus on something other than the self.

The creation and manipulation of infinite images is central to Bruno's thought, but to the best of my knowledge, this has never been properly treated before. This project is a departure from much of the current scholarship on Bruno which has focused on his contribution to scientific thought, and downplayed or ignored the Hermetic and magical elements which pervade his work. Each chapter deals with different works of Bruno, and different aspects of his philosophy, and each is rooted in the larger project of uncovering the role, meaning, and application of images in Bruno's thought. / The general arc of the thesis is from the interior and personal to the cosmological and metaphysical. Chapter 1 begins with a study of the faculty of phantasy and the role of images on human cognition. This is Bruno's epistemology and anthropology as expressed in Imaginum. Chapter 2 covers the ethical and social applications of images, and how the control of images manipulates reality. This concept is represented in the reconstruction of the universe in The Expulsion of the Triumphant Beast. Chapter 3 deals with the physics---or mechanics---of his philosophy, with its roots in Hermetic magic as described in Vinculis and Magia, wherein images are used to create bonds. Chapter 4 addresses Bruno's cosmology, which adopts the Copernican model and reinterprets that model as a hieroglyph. It is the heuristic key in Ash Wednesday Supper, the image of which exists in the faculty of phantasy and becomes embedded on to the universe. The two become indistinguishable and work in union. Through the coincidence of opposites, matter becomes form and God becomes man. The image of the infinite cosmos becomes re-embedded in the single instance of an image in the faculty of Phantasy. / The conclusion will bring together these epistemological, ethical, mechanical, cosmological, and metaphysical strains of Bruno's philosophy into a statement on the Brunian reformation as he saw it, and on the contemporary relevance of his theory and application of images.