Reproduction de : Thèse de doctorat : Littérature comparée : Paris 8 : 2006. / Titre provenant de l'écran-titre. Bibliogr. p. 301-345. Index.

Family Suite for Jazz Orchestra is composed as an homage to the family members, friends, and musical mentors who have encouraged and influenced me, especially during my formative years. This Suite functions as a portrait based on musical sketches of fond memories and contains five movements in contrasting styles and tempos, orchestrated for an eighteen piece big band. Movement I, Family Sessions, is intended to capture feelings from the many joyous sessions that have been hosted at my parents’ house in Toronto, Canada. It features variations on a 12-bar minor blues and metric modulations that leads in and out of a 5/4 “Afro-Cuban” bridge. My uncle is a poet and author. He has always encouraged my musical endeavors and we have spent many hours listening to and talking about reggae and jazz music. Jah P is one of his nicknames, and Movement II is dedicated to him. This piece features a combination of reggae and jazz styles, and also draws inspiration from the music of Bob Marley. Justice of the Peace was written for my late grandfather who was a Justice of the Peace for the parish of Westmorland in Jamaica. I still remember some of the many lunch-time conversations that we would have at my grandparents’ house in Negril Beach. In Movement III, a ballad, I have tried to capture some of those images. Movement IV, Pops is an affectionate nickname for my father. When I was a teenager, he set up a DJ booth in the basement recreation room and would spin records of many various genres non-stop on the weekends. The main melody features some “pops” (dual meaning) or chord “shots,” coupled with a triplet line initially played by the trombone section. Movement V, Samba for Kay is written for my mother, who has always been my No. 1 fan, main inspiration, and most ardent musical supporter. We have spent many hours listening to the music of Brazilian composer Antonio Carlos Jobim. This piece progresses from the slower bossa-nova to an up-beat samba. / text

The following is an in-depth look into the artistic process of actor Kyle Christopher Schnack, as reflected through his three year graduate level education in acting at the University of Texas at Austin and his work in Suzan Zeder’s play “The Edge of Peace;” a joint production through The University of Texas at Austin and Seattle Children’s Theatre. / text

"Låtskrivande" handlar om mitt arbete som gick ut på att försöka hitta mitt egna musikaliska uttryck och att utveckla mitt låtskrivande samt mig som artist. Detta skulle sedan komma att resultera i konsert bestående till allra största del av eget material. Genom åren har jag breddat mig mycket musikaliskt men inte riktigt fokuserat på att helhjärtat gå in i vad jag som artist och låtskrivare vill förmedla och uttrycka. I mitt arbete skrev jag låtar och försökte göra detta på olika sätt och med olika hjälpmedel och metoder. / <p>Repertoar:</p><p>Game Changer (text &amp; musik - Josefine Wassler, Gabriel Mäder)</p><p>As One (text &amp; musik - Josefine Wassler)</p><p>Love Me Like You Do (text &amp; musik - Tove Lo, Ali Payami, Max Martin, Savan Kotecha, Ilyan)</p><p>Tears (text &amp; musik - Josefine Wassler, Gabriel Mäder)</p><p>Flytta På Dig (text &amp; musik - Josefine Wassler)</p><p></p><p>Musiker:</p><p>Josefine Wassler - sång</p><p>Jonathan Lundberg - trummor</p><p>Calle Stålenbring - gitarr</p><p>Tobias Rydberg - bas</p><p>Johannes Jareteg - keyboard</p><p>Liselotte Östblom - kör</p><p>Oskar Lindwall - kör</p>

Zugl.: Bonn, Univ., Diss.

Zugl.: Bonn, Univ., Diss.

Dr. James Barr is a prolific writer who has contributed significantly to theology and biblical studies for over four decades. Indeed, he is a writer and a Bible scholar who deserves a hearing. I became aware of Barr's works and influence on theological trends in the summer of 1991 while taking a graduate course in hermeneutics under Dr. Kenneth Shoemaker at Prairie Graduate School in Three Hills, Alberta, Canada. This study is on Barr and his view of biblical inspiration. The main body of this dissertation is composed of seven chapters: Chapter One (Introduction) locates Barr in the broad context of biblical studies, especially in the arena of ongoing issues concerning the difference between evangelical and liberal scholarship. Attention is given to the inquisitiveness of the human mind, the place of the Bible in Christianity, and the ongoing need to study the Bible with an open mind in order to enhance biblical studies. Barr is introduced within the context of his academic standing and contributions to theological studies. Chapter Two gives an overview of the history of the doctrine of biblical inspiration and the formation of the canon of Scripture. This chapter provides the important background for analysing and evaluating Barr’s view of biblical inspiration within a broader context. Various theological camps (evangelical and non-evangelical) are discussed showing their attempts to address the issue of biblical inspiration. The history of the evangelical development of biblical inspiration is also presented. Chapter Three attempts to help the reader to understand Barr’s view of biblical inspiration. It starts by exploring his hermeneutical conclusions on biblical inspiration, his interpretation of two key biblical texts used, conventionally, to support inspiration. The chapter also identifies and discusses specific assumptions Barr makes about the Scriptures. The chapter ends by presenting his preferred view of biblical inspiration. Chapter Four analyses and evaluates, exegetically, Barr’s interpretive conclusions on key biblical texts and his preferred view of biblical inspiration. The chapter also provides a detailed analysis of and treatment of the crucial texts Barr uses to formulate his conclusions on inspiration. Attention is given to the exegetical issues and understanding of specific texts vis-a-vis their relation to the doctrine of inspiration. Chapter Five critically evaluates Barr’s preferred four-point view of biblical inspiration, his hermeneutical principles, and their implications for the Scriptures. Chapter Six discusses the perennial issue of biblical authority as the point of departure for evangelical and liberal approaches to studying the Scriptures. This chapter shows clearly that our presuppositions about the Bible affect how we handle the Bible. Chapter Seven responds to the discoveries of this dissertation and assesses Barr’s contribution as being part of the contemporary theological trend to help us sharpen our tools. Thus, a four point view of biblical inspiration is suggested. Considering that theology is a human contrivance, the four views are offered within the context of trying to establish a view of biblical inspiration that is biblical in the light of recent theological and exegetical developments. Chapter Eight, the conclusion, summarizes this dissertation and offers some specific comments on the biblical doctrine of inspiration. Attention is given to the need to bring the reader into the world of the biblical text, if the voice of God in the written Scriptures is to be heard in our generation as well as in the generations to come. Barr’s constructive comments are considered and carefully integrated into these comments. The dissertation closes with a suggestion for further study on the topic of biblical inspiration. / Thesis (PhD)--University of Pretoria, 2004. / Dogmatics and Christian Ethics / unrestricted

Chapter 1 introduces the thesis, methodology, and outline of the dissertation. It also includes a brief historical survey of the doctrine of inerrancy and a study of the factors that led to the formation of the International Council on Biblical Inerrancy (hereafter, ICBI) and original writing of the Chicago Statement on Biblical Inerrancy (hereafter, CSBI). The final section of this chapter examines the initial usefulness of the CSBI among evangelicals. Chapter 2 traces the developments that occurred within evangelicalism with regard to the doctrine of inerrancy immediately after the formation of the ICBI and the writing of the CSBI. This study is followed by an examination of major contemporary developments concerning the doctrine of inerrancy. In this latter section, the works of several important evangelical scholars who have recently attempted to reframe the inerrancy debate are examined and assessed in order to demonstrate the resilience of the CSBI and note the areas that require reformulation. Chapter 3 begins a three-part reassessment and reformulation section in which the CSBI's nineteen articles of affirmation and denial are studied in their original context and in light of the contemporary challenges examined in chapter 2. Chapter 3 examines specifically Articles I-V. These articles deal chiefly with matters related to the doctrine of revelation. Chapter 3 offers several modifications to these existing articles as well as proposing two new articles. Chapter 4 is the second part of the reassessment and reformulation section. This section comprises and examination of Articles VI-XII. These articles deal primarily with matters related to the doctrines of inspiration and inerrancy. This chapter examines these articles in their original context, offers several modifications to the existing articles, and proposes the addition of two new articles. Chapter 5 is the final part of the reassessment and reformulation section. This section examines Articles XII-XIX. These articles deal mainly with miscellaneous issues related to the doctrine of inerrancy. Chapter 5 examines these articles in their original context, offers several modifications to these existing articles, and proposes the addition of two new articles. Chapter 6 is the concluding chapter in which I summarize my research and offer suggestions for future studies in this vital area. I recommend that a new group of evangelicals gather together to reconsider the CSBI as it currently stands and use the work provided in this dissertation to begin a conversation toward a revised statement.

Jag har länge skrivit låtar, så länge jag kan minnas. När jag var liten var det mer en del av leken, som vuxen blev det ett sätt att uttrycka sig. På musikhögskolan upplevde jag att jag tappade glädjen till låtskrivandet, det som varit anledningen till att jag sökte mig dit. Jag ville hitta lusten igen och samtidigt hitta verktyg som kunde hjälpa mig i liknande situationer i framtiden. Mitt examensarbete blev då att under våren 2020 skriva musik där musiken i sig inte var målet, utan jag försökte hitta tillbaka till glädjen och samtidigt undersöka hur jag kunde skapa så goda kreativa förutsättningar för mig själv som möjligt. Jag började undersöka hur andra låtskrivare gör, hur de går tillväga innan de sätter sig och skriver en låt. Har de kanske några tips på hur de kommer i ett bra kreativt flöde? Jag sökte upp böcker om kreativitet och låtskrivande och började läsa. Så småningom hade jag en del tips som jag kunde testa i min låtskrivarprocess. Den konstnärliga delen av arbetet resulterade senare i 8 låtar och den skriftliga delen i 10 strategier som kan tänkas främja kreativitet. Bland de 10 strategierna finns både rent praktiska tips såsom fysisk aktivitet och hur den fysiska platsen ser ut, men också mer själsliga såsom vilket mindset du befinner dig i och dina tankar om dig själv och ditt skapande.

I detta arbete har jag undersökt huruvida bilder kan fungera som inspirationskälla till mitt musikskapande. Utifrån fyra egenfotograferade bilder har fyra låtar skapats. Jag har börjat med att göra en enkel analys för att sätta igång tankeverksamheten och få idéerna att flöda. I arbetet går jag igenom hur processen från bild till musik ser ut, likheter och skillnader mellan låtarna och om det är en fungerande metod till inspiration för mig. Jag upplevde att bilderna gav mig idéer direkt vid första anblick, men detta betydde inte alltid att jag kom in i ett flyt direkt. Ibland fastnade jag och kunde då gå tillbaka till bilden för att hitta ny inspiration. Bilderna ledde i vissa fall till musik jag i vanliga fall inte skulle skapat. Jag tar med mig detta nya låtskrivarverktyg och det finns absolut en möjlighet att jag använder det i framtiden.