This essay explores Operation Cobra based on a social constructivist perspective, according to social constructivist Ian Hacking. To do this, I examined newspaper articles from that event. The purpose of this paper was to examine how the border between extortioners and terrorists was constructed during the Swedish 80's and to examine why the perpetrator was constructed as a extortion and not a terrorist. I also examined how a terrorist from the eighties differs from the present-day terrorist. My result shows that the limits of what the perpetrator is being constructed depends on the newspaper articles and how the journalists have described him. He was designed as a terrorist, extortionist, correct, pedant, and also a madman. Operation Cobra took place in Sweden in 1983-1985 and has been described as Sweden's biggest extortion event.

This dissertation examines the aesthetics of Adam Smith. It argues that, despite appearances to the contrary, Smith not only articulated ideas on the subject and was engaged in the aesthetic debates of his time, but that he in many ways innovates on and challenges received opinion—he thus differs significantly from some of his better known contemporaries, including Edmund Burke and David Hume. For this reason, he is not merely a major thinker who happened to dabble in aesthetics; on the contrary, he considered the subject, which appears in nearly all his works, important, and often interrogates its issues in a more studied way. My project thus makes a case for Smith as a significant thinker in the history of aesthetics, one who merits renewed attention. This study does so by investigating the major aesthetic issues of the day, which Smith in fact discusses. It begins by examining Smith’s remarks on taste—the aesthetic issue of the century—which occur largely in Theory of Moral Sentiments. Though seemingly tangential, his discussion of taste is significant as it argues against the predominant eighteenth-century current that maintained the existence of a standard. He also challenges theorists such as Hume who made aesthetic experience classless and, especially via sympathy, disinterested. The study next investigates Smith’s aesthetic normativity and what are for him valid aesthetic judgments, which can be reconciled with his remarks problematizing taste. Here too, Smith appears to argue against the predominant impulse that sought to ground valid aesthetic experience in the immediate; in doing so, Smith demystifies and democratizes aesthetic experience. Finally, the dissertation investigates tragedy, by far the literary genre that most interested Smith, and which also drew attention from better known theorists. The paradox of tragedy—why readers and spectators are attracted to painful representations—was an aesthetic issue that vexed many thinkers of the century, and although Smith appears to ignore the issue, we have in his moral theory a solution to the paradox, one that is unique and more satisfying than those of his contemporaries. The project concludes by examining Smith’s relation to neoclassical dramatic theory. Though superficially appearing complacent in uncritically adopting neoclassical doctrine, Smith, even here, is being original.

This thesis uses insight drawn from fieldwork among people developing a civic parade in Manchester over 2011-12 to analyse what happens in the translation of ideas into entities for display. It argues for creativity as an adaptive process, a responsive, dynamic activity manifested by parade makers, as they sought to realise the imagined event. It traces the roles that underpinned parade production and how people made sense and use of allocated responsibilities, while working within and through organisational boundaries. It situates the parade as an ‘art object’ (Gell 1998), constituted of assemblages at different scales (De Landa 2006), each embedded in a web of relationships to show how: a civic attempt to bring a public into being provides insight on the constituting organisational structures; the operational style of the arts organisation commissioned to produce the parade, led to imagining it into existence; and how two community groups responded to the parade parameters according to their own social dynamics. The thesis builds on ethnographic analyses of collaborative activities to consider how organisational shapes combine and how their constitutions substantially affect evolving entities. Situating creativity as an adaptive process separates creative activities from art practices by emphasising how supporting people to respond productively to changing circumstances encourages them to be creative. This thesis makes an original contribution to anthropology by showing through ethnography how creativity is a process, enacted through purposeful adaptation to circumstances in order to realise something tangible. It also encourages the development of a comparative framework for contemplating the extent to which different cultural contexts enable adaptive endeavours.

Research in word association studies found that children give predominantly syntagmatic responses (responses from different form classes from stimuli). English children were found to undergo a shift to paradigmatic (responses from the same form classes as stimuli) before age ten (referred to as S-P shift) which is the adult norm. On the other hand, Japanese children do not have S-P shift, and Japanese adults' responses are dominantly syntagmatic (Moran 1968). Leicester (1981) collected English word association responses from Japanese beginner and advanced learners of English as a second language and found S-P shift like increase of paradigmatic responses as English ability improves. This study purports to replicate Leicester's study among children. It is because the existence of the S-P shift in English of second-language learners whose first language does not have the shift would mean that second language learning parallels first language acquisition. Two main hypothesis were tested: 1. That Japanese children learning English as a second language will give dominantly syntagmatic responses in Japanese regardless of their grade level. 2. That Japanese children learning English as a second language of higher grade level will give more paradigmatic responses than those of lower grade level. Three subsidiary hypotheses were tested: 3. That Japanese children learning English as a second language will give different proportion of paradigmatic responses in Japanese and English. 4. That Japanese children learning English as a second language will give different pattern of responses in each language. 5. That Japanese children learning English as a second language will give fewer paradigmatic responses in English than monolingual English children of the same grade. Thirty students each of grades one, three, and five from two Japanese supplementary schools in Vancouver and Seattle were used as subjects. The subjects attend regular English classes at public schools, and therefore, their English ability was assumed to parallel their grade level. 27-item word association test was administered in English and Japanese. The ratio of paradigmatic responses was analyzed according to grade level. In agreement with literature, no grade difference was found among Japanese paradigmatic responses. In English, however, grade one subjects performed most paradigmatically, and thereby, no linear correspondence between English ability and English paradigmatic responses was found. Although English responses were close to the English norm, and Japanese responses to the Japanese norm, a significant number of Japanese responses were given in English association by grade five students. Significant difference in paradigmaticity was also found when two schools were compared as well as between two languages. Grade one students outperformed equivalent English monolingual children in English. It was speculated that young children develop L2 vocabulary systems independently and directly from the start resulting in higher rate of paradigmatic responses, whereas older children initially construct a one to one association between LI and L2, resulting in translation responses and low paradigmaticity in the case of English. School difference suggests that there are some other variables affecting word association. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

Research has shown that English-speaking adults tend to give response associates of the same grammatical and semantic class as the stimulus word on a word-association test, whereas children typically do not, instead responding syntactically (Thumb and Marbe, 1901; Esper, 1918; Deese, 1962; Fillenbaum and Jones, 1965; Entwisle, 1966). This pattern of responding seems to hold for many languages, including French, Italian, Spanish, Polish and German. This shift from syntactic responding to same form-class responding is often referred to as the syntagmatic-paradigmatic shift. Moran and Murakawa (1968) and Moran (1973) found that Japanese adults responding in Japanese to word-association stimuli respond syntactically, that is, they seem not to experience the S-P shift. Two main hypotheses were tested. 1. That Japanese adults beginning to learn English would give predominantly syntagmatic responses to nouns, verbs, and adjectives in English, and thus differ significantly from native-English speakers. 2. That advanced Japanese students of English would give fewer syntagmatic responses in English than the beginner group and more closely parallel native-English speakers. Two subsidiary hypotheses tested were: 3. That the absolute count of responses to stimuli would correlate with scores obtained on a test of language proficiency by the Japanese subjects. 4. That the primary responses of the Japanese advanced group would more closely resemble the native-English responses than would those of the Japanese beginners. A timed multiple-response free-word association test comprising eight nouns, eight verbs, and eight adjectives was administered to forty adult native-English university students and forty-seven Japanese ESL students. The Japanese students were also given the University of British Columbia Language Institute Placement test. On the basis of the results of this language test, the top fifteen scorers were assigned to the Japanese advanced group, while the bottom fifteen scorers were assigned to the Japanese beginner group. The scores correlated well with the language instructor's own tests of language ability. The word-association tests were scored by two independent markers, and mean paradigmatic response tables were compiled. Analyses of variance and Pearson's product moment correlations were performed on the appropriate data. Results partially supported the hypothesis that Japanese beginners would respond syntagmatically to nouns, adjectives and verbs. Because this group responded paradigmatically to nouns the conclusion reached was that they were paralleling native-English-speaker development. There was no statistically significant difference in paradigmatic responding between the native-English group and the Japanese advanced group, the conclusion being that the more fluent a foreign student becomes in English, the more paradigmatic responses will be given. The absolute count of responses correlated overall with scores on the language test, but in isolation the Japanese beginner group responses did not correlate with the language-test score. It was thought that the reason for the non-correlation was a sampling error. The total frequency of the three most frequent responses for nouns was identical between the Japanese groups, but for all form-classes the Japanese advanced group was much closer to the native-English group. This convergence of commonality is taken as evidence that idiodynamic sets are constrained by the language being used. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

[EN] It's important to know the political and social life to Giuseppe Terragni. He wanted to express the new artist and political order. He takes part in controversial design and in his public life. His work has been, until recently, a critical for his links with fascism the mussolini. His brother, the fascist mayor of Como, and Margherita Sargatti, Mussolini's lover, they make possible orders of Terragni. He was a high moral, sensitive artist and fascist. He was the most important on Italian modern architecture. The Terragni's life is connected to Como. The study - laboratory from The Terragni brothers in Via Independeza 23, is a place to meet and discuss for the group of artist and intellectual to Como, such as Mariano Radice, Marcello Nizzoli, Manlino Rho and Carlos Badiali. Also Pietro Lingeri, the best friend to Terragni. All of them will be on his professional life. First, the thesis investigates relations between theoretical principles and projects methods, delving in architecture, using the Casa del Fascio and the Danteum. He made architectonic analysis, centered initial objectives, without forgetting any other stimulus. This analysis made with planes and schemes, are graphics documents that help to understand the work to Giuseppe Terragni. The data obtained with the analysis, is sorted in comparative tables that explaining the matters sought. The Casa del Fascio and the Danteum identify with the policy of the fascist revolution, basing its link in abstraction. Research shows a direct relationship between architectural ideas of Terragni and theoretical principles of the Fascist revolution, without them, his work wouldn't exist. The thesis presents the direct relation between political activism and the resulting architecture. The formalist absence between the two buildings increases their representative role. Both projects belong to the world of meaning. These meanings are complex and multiple readings, are very prone to erroneous or contradictory interpretations, endorsing importance of the importance of the work of Terragni. Second, research, using the Novocomum and the Parvulario Sant'Elia, looks for proyectual genesis of the two, start with the first drawing, solutions to problems are compared and try to extract the ideas of both. It's pay close attention to the times when the architect pass from one idea to another and also to understand some of the reasons that cause these changes. This thesis shows that despite their differences, there is a resemblance between the Novocomum and the Parvulario Sant'Elia. Both were built. The Novocomum is the first built in the writings of Gruppo 7. The Parvulario is where Terragni built most elements of his vocabulary with very unique synthesis. Probably the two buildings are the least politically contextualized and the opposite happens in the Casa del Fascio and Danteum, which are a purely architectural analysis. / [ES] Es difícil aproximarse a la figura de Giuseppe Terragni sin tener en cuenta el marco político- social que lo envolvía. En su voluntad de expresar un nuevo orden artístico y político, intervino en las polémicas estéticas y en la vida pública con idéntica pasión. Su obra ha sido, hasta hace bien poco, fuente permanente de incomodidad crítica por sus vínculos, sentidos en profundidad, con el fascismo mussoliniano. Su hermano, el alcalde fascista de Como y Margherita Sarfatti, amante de Mussolini, marcan sus encargos profesionales. Hombre de elevada moral, artista sensible y ardiente fascista, es uno de los protagonistas más importantes de la arquitectura moderna italiana. La vida de Terragni está ligada a Como. El estudio- laboratorio de los hermanos Terragni en Vía Indipendenza 23, es un lugar de encuentro y discusión para el grupo de artistas e intelectuales de Como, entre los que se encuentran Mario Radice, Marcello Nizzoli, Manlio Rho y Carlos Badiali. También estará Pietro Lingeri, querido amigo y colega. Todos quedarán unidos a Terragni de una manera u otra a lo largo de toda su vida profesional. La tesis, en primer lugar, investiga en profundidad las relaciones entre principios teóricos y métodos proyectuales, ahondando en el papel de la arquitectura como representación, utilizando para ello la Casa del Fascio y el Danteum. Realiza análisis arquitectónicos de las mismas, centrados en los objetivos iniciales, pero sin obviar cualquier otro estimulo. Estos análisis, realizados mediante elaboraciones de planos y esquemas, constituyen documentos gráficos que aportan un mayor entendimiento de la obra de Giuseppe Terragni. Los datos obtenidos de dichos análisis, se ordenan en cuadros comparativos, que permiten poner de manifiesto aquellas cuestiones buscadas. La Casa del Fascio y el Danteum, identifican claramente la política de transparencia de la revolución fascista, basando su nexo de unión en la abstracción. La investigación demuestra la relación directa entre los conceptos arquitectónicos usados por Terragni y los principios teóricos que sustentaban su creencia en la revolución fascista y sin los cuales, su obra no existiría. La tesis no elude, en modo alguno, esta cuestión, sino más bien al contrario, plantea de la misma, uno de sus objetivos, poniendo luz e investigando la correlación, que en este caso es directa, entre la militancia política e ideológica y la arquitectura resultante. La inexistencia de formalismo alguno en ambos edificios aumenta su papel representativo, recorriendo ampliamente el trabajo esta cuestión, significándola como un elemento proyectual clave. Ambos proyectos pertenecen al mundo de los significados. Significados complejos y de lecturas múltiples, muy dados a interpretaciones erroneas o contradictorias, que subscriben la importancia de la obra de Terragni. En segundo lugar, la investigación, utilizando el Novocomun y el Parvulario Sant'Elia, busca las génesis proyectuales de ambos, partiendo del primer borrador, comparando soluciones a problemas específicos e intentando extraer las ideas en ellos contenidas. Se trata de poner especial atención en aquellos momentos en que el arquitecto pasa de una idea a otra y de entender y manifestar algunas de las razones que producen estos cambios. Esta tesis manifiesta que a pesar de sus diferencias, la proximidad entre el Novocomun y el Parvulario Sant'Elia, resultaevidente. Ambos son manifiestos construidos. El Novocomun es la primera síntesis construida de los escritos del Gruppo 7. Es en el Parvulario Sant'Elia, donde Terragni construye la mayoría de elementos que, constituyen el vocabulario fundamental del movimiento moderno, enriqueciéndolo con aportaciones personales muy singulares. Son, probablemente ambos, dos de los edificios menos contextualizados a nivel político y, por ello y, en contraposición con la Casa del Fascio y el Danteum, los que permiten un análisis más puramente arquitectónico / [CAT] És difícil aproximar-se a la figura de Giuseppe Terragni sense tindre en compte el marc politicosocial que ho embolicava. En la seua voluntat d'expressar un nou orde artístic i polític, va intervindre en les polèmiques estètiques i en la vida pública amb idèntica passió. La seua obra ha sigut, fins fa ben poc, font permanent d'incomoditat crítica pels seus vincles, sentits en profunditat, amb el feixisme mussoliniano. El seu germà, l'alcalde feixista de Como i Margherita Sarfatti, amant de Mussolini, marquen els seus encàrrecs professionals. Home de llevada moral, artista sensible i ardent feixista, és un dels protagonistes més importants de l'arquitectura moderna italiana. La vida de Terragni està lligada a Como. L'estudi-laboratori dels germans Terragni en Via Independenzia 23, és un lloc de trobada i discussió per al grup d'artistes i intel·lectuals de Como, entre els que es troba Mario Radice, Marcello Nizzoli, Manlio Rho i Carlos Badiali. També estarà Pietro Lingeri, benvolgut amic i col·lega. Tots quedaran units a Terragni d'una manera o una altra al llarg de tota la seua vida professional. La tesi, en primer lloc, investiga en primer lloc les relacions entre principis teòrics i mètodes projectuals, aprofundint en el paper de l'arquitectura com a representació, utilitzant per a això la Casa del Fascio i el Danteum. Realitza anàlisis arquitectòniques de les mateixes, centrats en els objectius inicials, però sense obviar qualsevol altre estímul. Estes anàlisis, realitzats per mitjà d'elaboracions de plans i esquemes, constituïxen documents gràfics que aporten un major enteniment de l'obra de Giuseppe Terragni. Les dades obtingudes de dit anàlisi, s'ordenen en quadros comparatius, que permeten posar de manifest aquelles qüestions buscades. Les Casa del Fascio i el Danteum, identifiquen clarament la política de transparència de la revolució feixista, basant el seu nexe d'unió en l'abstracció. La investigació, demostra la relació directa entre conceptes arquitectònics usats per Terragni i els principis teòrics que sustentaven la seua creença en la revolució feixista i sense els quals, la seua obra no existiría. La tesi no eludix, de cap manera, esta qüestió, sinó més aïna al contrari, planteja de la mateixa, un dels seus objectius, posant llum i investigant la correlació, que en aquest cas és directa, entre la militància política i ideològica i l'arquitectura resultant. La inexistència de cap formalisme en ambdós edificis augmenta el seu paper representatiu, recorrent àmpliament el treball esta qüestió, significant-la com un element clau. Ambdós projectes pertanyen al món dels significats. Significats complexos i lectures múltiples, molt donats a interpretacions errònies o contradictòries, que subscriuen la importància de l'obra de Terragni. En segon lloc, la investigació, utilitzant el Novocomun i el Parvulario Sant'Elia, busca les gènesis projectuals d'ambdós, partint el primer esborrany, comparant solucions a problemes específics i intentant extraure les idees en ells contingudes. Es tracta de posar especial atenció en aquells moments en què l'arquitecte passa d'una idea a una altra i d'entendre i manifestar algunes de les raons que produïxen estos canvis. Esta tesi manifesta que a pesar de les seues diferències, la proximitat entre el Novocomun i el Parvulario Sant'Elia, resultaevident. Ambdós són manifestos construïts. El Novocomun és la primera síntesi construïda dels escrits del Gruppo 7. És el Parvulario Sant'Elia, on Terragni construïx la majoria d'elements que, constituïxen el vocabulari fonamental del moviment modern enriquint-ho amb aportacions molt singulars. Són, probablement ambdós, dos dels edificis menys contextualitzats a nivell polític i, per això i, en contraposició a la Casa del Fascio i al Danteum, la qual cosa permeten una anàlisi més purament arquitectònic. / Acosta Llera, FJ. (2015). Las ideas y los instrumentos específicos del proyecto arquitéctónico. Giuseppe Terragni frente a la ortodoxia del Movimiento Moderno [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/54119 / TESIS

Föreliggande uppsats handlar om den svenska postmodernismen under 1980-talets senare hälft. I undersökningen analyseras debattinlägg och kritik i svensk dagspress där postmodernismen diskuteras. Syftet med uppsatsen är att belysa hur termen postmodernism konstruerades och brukades i svensk dagspress i den allmänna kulturella diskussionen.                       I undersökningens första del visar jag på hur den mediala diskussionen rörande postmodernism fungerar som en slags konstruerande process där den massmediala bilden av postmodernismen skapas. Kulturella aspekter av begreppet synliggörs där moderniseringsprocesser och teknologiska framsteg blir viktiga för att förstå vilken roll postmodernismen fick i sin samtid. Jag visar hur postmodernismen diskuterades utifrån två skikt, det rörde sig inte enbart som en estetisk kategori utan även om en kulturell förändringsprocess. I den andra delen konkretiseras och kontextualiseras den första delen genom en analys rörande den postmoderna konstdebatten där de kulturella aspekterna av begreppet blir tydligare. Jag argumenterar för att de två skikten av postmodernismen är sammankopplade på en implicit grund, där de kulturella aspekterna av begreppet konstrueras i relation till de estetiska diskussionerna. Jag lanserar därför två begrepp för att åskådliggöra begreppets två skikt, den estetiska postmodernismen och den kulturella postmodernismen. Skikten fungerar som ett åskådliggörande verktyg för att visa på hur begreppets användning bör tolkas som något större än enbart en benämning för ett estetiskt uttryck.

Most research on teachers' ideas about assessment comes from studies conducted with general education teachers (e.g., primary, secondary, university). In contrast, there are only a few studies focused on teachers of art-related disciplines, specifically those who teach instrumental performance in music conservatories. The features of instrumental music education differ drastically from general education (e.g., one­to­one teaching, marked subjectivity in the judgment of the object of knowledge, etc.). The present Doctoral Dissertation is a descriptive research focused on the ideas on assessment held by instrumental performance teachers from elementary and professional music conservatories. More specifically, we present three studies in which we analyze these teachers' ideas about: 1) The functions and purposes of the assessment; 2) Assessment procedures; and 3) Grading (or rating) procedures. Participants were 18 teachers from three different instrumental specialties: piano, wind-wood and strings. Semi­structured interviews were conducted. Responses were analyzed using content analysis. The findings showed that: 1) Teachers' ideas about the functions and purposes of assessment reflect only partially what is established in the current music curriculum; thus, there is a gap between curriculum requirements and teachers' own interpretations; 2) Ideas pertaining to ongoing and final assessment differ substantially, and both tend to be superficial in the way teachers foster the specific learning outcomes that must be achieved by students; and 3) There is great heterogeneity among conservatory teachers' ideas about what criteria and procedures are used to grade students' performances. We conclude that the ideas of our participating teachers do not refer to the use of systematized and agreed upon assessment and grading procedures. We suggest the need to foster greater awareness among teachers on the importance of using quality assessment and grading procedures, which may provide with optimal levels of validity and reliability. Educational implications, limitations and lines for further research are discussed. / La mayor parte de la investigación sobre las ideas del profesorado acerca de la evaluación proviene de estudios realizados con profesores de educación general (p. ej., primaria, secundaria, universidad). En contraste, existen pocos trabajos realizados con profesores de enseñanzas artísticas, específicamente de interpretación musical en conservatorios, cuyos rasgos difieren marcadamente de las enseñanzas generales (p. ej., carácter individualizado, marcada subjetividad en el juicio del objeto de conocimiento, etc.). La presente Tesis Doctoral es una investigación descriptiva centrada en las ideas sobre la evaluación y la calificación de profesores de instrumento en conservatorios de música de enseñanzas elementales y profesionales. Más concretamente, se presentan tres estudios en los que se analizan las ideas de estos profesores sobre: 1) Las funciones y finalidades de la evaluación; 2) Los procedimientos de evaluación; y 3) Los procedimientos de calificación. Los datos se recogieron mediante una entrevista semi-estucturada a 18 profesores de tres especialidades instrumentales: piano, viento-madera y cuerda. Las entrevistas se analizaron mediante análisis de contenido. Los resultados muestran que: 1) Las ideas de los profesores acerca de las funciones y finalidades de la evaluación reflejan sólo parcialmente lo establecido en el currículo de música vigente, existiendo un lapso entre lo prescrito y su interpretación por parte del profesorado; 2) Las ideas relativas a los contextos de evaluación procesual y final difieren sustancialmente, y ambas tienden a ser superficiales respecto a la forma de evaluar y fomentar los aprendizajes específicos que los alumnos han de lograr; y 3) Existe gran heterogeneidad de ideas acerca de los criterios y procedimientos de calificación entre los profesores de conservatorio. Se concluye que las ideas de los profesores participantes no remiten al uso de procedimientos de evaluación y calificación sistematizados y consensuados. Se sugiere la necesidad de fomentar una mayor conciencia en el profesorado sobre la importancia del uso de procedimientos de evaluación y de calificación que ofrezcan unos niveles óptimos de validez y fiabilidad. Se discuten las implicaciones, limitaciones y futuras líneas de investigación. / La major part de la recerca sobre les idees del professorat al voltant de l'avaluació prové d'estudis realitzats amb professors d'educació general (p. ex., primària, secundària, universitat). En contrast, hi ha pocs treballs realitzats amb professors d'ensenyaments artístics, específicament d'interpretació musical en conservatoris, els trets dels quals difereixen marcadament dels ensenyaments generals (p. ex., caràcter individualitzat, marcada subjectivitat en el juí de l'objecte de coneixement, etc.). La present Tesi Doctoral és una recerca descriptiva centrada en les idees sobre l'avaluació i qualificació dels professors d'instrument en conservatoris de música d'ensenyaments elementals i professionals. Concretament, es presenten tres estudis en els quals s'analitzen les idees d'estos professors sobre: 1) Les funcions i finalitats de l'avaluació; 2) Els procediments d'avaluació; i 3) Els procediments de qualificació. Les dades s'arreplegaren mitjançant una entrevista semiestructurada a 18 professors de tres especialitats instrumentals: piano, vent-fusta i corda. Les entrevistes s'analitzaren mitjançant anàlisis de contingut. Els resultats mostren que: 1) Les idees dels professors sobre les funcions i finalitats de l'avaluació reflectixen només parcialment allò que establix el currículum de música vigent, i existix un lapse entre allò que es prescriu i la interpretació que en fa el professorat; 2) Les idees relatives als contextos d'avaluació processual i final diferixen substancialment, i ambdós tendixen a ser superficials pel que fa a la forma d'avaluar i fomentar els aprenentatges específics que els alumnes han d'assolir; i 3) Hi ha gran heterogeneïtat d'idees sobre els criteris i procediments de qualificació entre els professors de conservatori. Es conclou que les idees dels professors principiants no remeten a l'ús de procediments d'avaluació i qualificació sistematitzats i consensuats. Se suggerix la necessitat de fomentar una major consciència en el professorat pel que fa a la importància de l'ús de procediments d'avaluació i de qualificació que oferisquen uns nivells òptims de validesa i fiabilitat. Es discutixen les implicacions, limitacions i futures línies de recerca. / González Royo, A. (2017). "Ideas de los profesores de instrumento en conservatorio sobre la evaluación y la calificación" [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86156 / TESIS

No description available.

This thesis aims to study notions of the USA in Aftonbladet and Expressen, the two major Swedish evening papers, during the American presidential elections of 1984 and 1996. This thesis examines how the predominance of Ronald Reagan's neoliberalism in the 1980s, the US victory in the ColdWar and the success of Bill Clinton's New Democrats in the 1990s affected the notions of the USA expressed in the a forementioned Swedish newspapers. In 1984 the notions were widely different between the two newspapers. Aftonbladet (socialdemocratic) had a very negative view of the USA. American politics was described as fundamentally corrupt, while the American society was seen as violent and harsh. Globally the USA was a destabilizing force and was primarily to blame for the escalating tensions with the Soviet Union. Expressen (liberal) had a more positive notion of the USA. American politics was seen as modern but shallow and callous, the last trait made even worse by the politics of Reagan. USA had a tremendous potential to do good in the world, but lacked the progressive leadership needed to do so. By 1996 the notions of the USA were interchangeable between the two papers. Both papers described American politics as shallow, unsympathetic and pandering to the middle-class. Neither corruption nor violence were mentioned. Under the leadership of Bill Clinton the USA was seen as a guardian of peace in the world.