Global ETD Search

1	Polyfoni, konflikter och ämnesparadigm i två kurs-/ämnesplaner i svenska för gymnasieskolan Forsell Braf, Rose-Marie January 2011 (has links) No description available. styrdokument ämnesplan polyfoni
2	En gränsöverskridande resa i text och identitet : Magisk realism i Haruki Murakamis roman Kafka på stranden. / Transgressing boundaries of textual strategies and identity : Magical realism in Haruki Murakami’s novel Kafka on the Shore. NILSSON, Anna-Carin January 2012 (has links) Magisk realism utgör ett sofistikerat berättagrepp i den japanske författaren Haruki Murakamis roman Kafka på stranden. I det realistiska ramverket av japansk vardag inträffar magiska inslag i form av fiskregn eller ikiryou en sorts 'gengångare'. Den magiska realismen utgör en artikulation mellan en medveten och en omedveten värld eller tar läsaren med på en gränsöverskridande resa för att utforska stil eller genre i texten samt identitet hos Jaget och den Andre. magisk realism / identitet / polyfoni
3	Musikläggning och spelmekanik : Spelares uppfattning av dataspelsmekanik i förhållande till melodisk polyfoni i musikläggningens kompositioner / Music and game mechanics : Gamers’ perception of video game mechanics relative to the in-game use of melodic polyphony in musical compositions Gitliz-Schwab, Robin January 2015 (has links) Musikläggning inom film har länge betraktats som en stor konst och vetenskap, med etablerade teorier och otaliga läroböcker om just detta ämne. Musikläggning inom dataspel har inte existerat lika länge, men når idag en produktionsnivå likvärdig allt annat inom musikbranschen. Med spelmediets egna krav på musiker, främst tack vare interaktivitetsaspekten, behöver den spelmässiga musikläggarkonsten utvidgas för att skapa och bibehålla en alltjämt pågående utveckling och förståelse för hur mediets element påverkar varandra även här. Studien har därför ämnat undersöka om upplevelsen av spelmekanik kan påverkas i relation till polyfonisk stämföring i musikläggningen. Ett spelmoment med två olika musikläggningar har skapats, varav den ena använder sig av polyfonisk stämföring. En kvantitativ svarsenkät har upprättats i koppling till detta. Medan inga definitiva slutsatser har kunnat dras gentemot studiens problem uppskattas det ändå finnas material att bygga vidare på. spelmekanik polyfoni musikläggning nivådesign
4	Framgång eller fiasko? : en studie av hur konsultprojekt värderas i klientorganisationer Pemer, Frida January 2008 (has links) Hur vet man om ett konsultprojekt varit lyckat eller inte? Och hur kommer det sig att ett konsultprojekt kan beskrivas som lyckat och framgångsrikt av vissa, men som misslyckat och ett fiasko av andra? Detta har studerats i den här avhandlingen, som handlar om hur konsultprojekt utvärderas i klientorganisationerna. Eller snarare, om hur de inte utvärderas på något systematiskt sätt, samt vilka följder det kan få för såväl projektets utfall och mottagande i klientorganisationen som för de olika inblandade aktörerna. Som visas i avhandlingen så sker istället en informell utvärdering av konsultprojekten, i vilken aktörer i klientorganisationen för fram sina egna tolkningar och värderingar av dem. Dessa baserar sig då inte i första hand på projektens innehåll eller resultat, utan handlar mer om hur väl de passat in i organisationens normer för konsultprojekt, samt om vilka intressen aktörerna har att bevaka i dem. Den informella utvärderingen får därmed en kontextuell och politisk karaktär, vilket kan förklara hur ett konsultprojekt som visserligen genererat goda resultat och nått de uppsatta målen ändå kan få rykte om sig att vara ”helt meningslöst” och mötas av motstånd i organisationen. I avhandlingen studeras två stora svenska koncerner med avseende på hur de arbetar med och utvärderar konsultprojekt. För att fånga den informella utvärderingsprocessen och visa hur den är uppbyggd, har teorier om organisatoriskt meningsskapande kombinerats med ett narrativt anslag samt en diskurspsykologisk analysmetod. / Diss. Stockholm : Handelshögskolan, 2008 Konsultverksamhet Konsulter Klienter Projekt Utvärdering Inköp Meningsskapande Berättelse Diskurs Polyfoni Business studies Företagsekonomi
5	Röster, blickar och möten : Om berättande och etik i Sara Lidmans Tjärdalen / Voices, Faces and Dialogues : Narration and Ethics in Sara Lidman's Tjärdalen Olsson Modin, Britta January 2013 (has links) Sara Lidman’s first novel, Tjärdalen (The Tar Pit, 1953), addresses ethical issues in a remote village in the north of Sweden. This essay discusses the novel’s narrative technique and the ethical aspects implied by the narration and aesthetic design. The approach is based on Adam Zachary Newton’s narrative ethics, which links narrative theory and method with an ethical perspective. Mikhail Bakhtin’s literary theory and Gérhard Genette’s concept of focalization are starting points for the analysis. The ethical framework is drawn both from Bakhtin and from philosophers Martin Buber and Emmanuel Levinas. This means that responsibility is a more important concept than the collective and individual guilt that has been the focus of some interpretations of the novel. Furthermore, in the essay, the concept of dialogue is both a narrative technique and an ethical position, thus knitting together the different parts of the essay: how ideas, voices, faces and eyes meet and how the village interacts with the outside world. Tjärdalen’s design opens to a polyphonic analysis and the essay examines how the text’s ethical and intersubjective emphasis grows out of the composition – out of the arrangement of scenes and viewpoints. The dialogue between multiple voices continues in the representation of the characters’ inner life. Petrus’ character is constructed as open and questioning, inviting discussion, persuading and arguing rather than dictating. In the essay this way of life is defined as dialogic, as opposed to the monologic positions of characters like Blom and Albert. The essay finds, however, that the strong position of the narrator dilutes the polyphonic pattern. The examination of the narrator explores both her loyalties and the attitudes and worldviews that she rejects. Particular emphasis is placed on the analysis of Jonas’ character, as the plot starts and ends with his eyes. The symbolism of the eyes and of the face forms a parallel structure in the text, giving the ethical discussion a depth not achieved by rational dialogue and reflection. In the essay, this level is interpreted by Levinas’ ethics, where the face and the eyes represent a call to responsibility. At the end of Tjärdalen, the ethical questions are transferred to the wider society outside the village. The analysis explores two lines in this shift: One is how the spatial organisation of the narrative and the unchanging quality of the village life leads to a circular composition. The other is how the text brings social criticism back to its origin in interpersonal relationships: to meetings face to face and to the responsibility for the “other” that, according to Levinas, Buber and Bakhtin, is the basis of these encounters. Sara Lidman Tjärdalen narrativ etik polyfoni kronotop dialog Bachtin Buber Levinas Newton
6	Många röster små : En applicering av Michail Bachtins polyfonibegrepp på Moa Martinsons roman Kvinnor och äppelträd Jakobsson, Matilda January 2013 (has links) The aim of this essay is to investigate to which extent the novel Kvinnor och äppelträd by Moa Martinson can be classified as a polyphonic novel. The concept polyphony was established in literary theory by the Russian language theorist and literary critic Michail Bachtin in 1929, in his book Problems of Dostoevsky’s poetics. In order to understand and comprehend the concept of polyphony I have used an interpretation due to the literature scholar Robyn McCallum. She notes that the characters in a polyphonic novel function as focalizers. All fictional characters create their own basis of social, cultural and ideological opinions and values, from which they provide their particular perspective on the story. Therefore, when fictional characters and their socio-ideological viewpoints intersect, a rather complex structure of interaction, dialogues and intersubjectivity is created between them. Kvinnor och äppelträd is according to the most prominent scholar in the field, Ebba Witt-Brattström, a polyphonic novel. Her presumption is based upon the plurality of voices that is expressed in the novel, and the ambiguous interaction between them. However, to the best of my knowledge, no profound investigation of the novel’s polyphonic structure has yet been undertaken, and therefore this essay is dedicated to this task. For this purpose I have performed an analysis of the narratology in the novel, resulting in the overall conclusion that Kvinnor och äppelträd is indeed a polyphonic novel. Since the concept of polyphony also implies a modernistic feature, one can discuss the fact that Kvinnor och äppelträd has been classified as working class literature, and not modernistic literature. The final conclusion of the essay is that the complex polyphonic structure of the novel, and its controversial and pioneering content, have been underestimated and ignored. Regarding this aspect Moa Martinson should have been categorized under the Swedish literary modernism. Michail Bachtin polyphony narratology focalization dialogue Moa Martinson working class literature modernism Michael Bachtin polyfoni narratologi fokalisering dialog Moa Martinson arbetarlitteratur modernism
7	"Literature should reflect the basic principles of our existence" : A mediality analysis of Mo Yan´s Life and Death are Wearing Me Out Fältström, Anneliese January 2018 (has links) The aim of this study is to use an intermedial theory to analyse and contextualize embodiment and violence in the Chinese author Mo Yan’s Life and Death Are Wearing Me Out. I use Jørgen Bruhn’s mediality model, introduced in The Intermediality of Narrative Literature: Medialities Matter (2016), to analyse medial phenomena such as intra- and intermediality in the novel. Bruhn’s model mainly covers relations between several media and within a single medium. The focus of this study lies on the blending of different media within the novel. My hypothesis is that the depiction of embodied violence in the novel is a literary strategy, based on cognitive functions and Chinese oral traditions to communicate historical events, as well as through an intermedial depiction of those events, a way to avoid censorship. Of particular importance to this study are medial phenomena connected to visualization of memories, and intermediality as discipline a voice between media texts, to establish how a literary text through narrative techniques can create an illusion of cinematic blending. I see this as an illustration of the historical hierarchical struggle between art forms. This is a broader perspective on literary depiction in Mo Yan’s novel than generally can be found in interpretations originating in a Western discourse. The result of my study shows that medial phenomena such as inter- and intramediality are woven into a narrative theme of remembrance of historical political events. Such memories are communicated through depictions of embodied violence, as well as the impact of trauma on anonymous bodies reminiscent of cinematic techniques, heightened by the metafictive voice of Mo Yan within the novel. It is a perspective that is also accentuated through auditory and visual elements that recall the ability of audio-visual media techniques to create identification with exposed bodies through close-up depictions of body and violence. Hence, Mo Yan has constructed a grid of medial phenomena in the novel through which he is able to convey historical processes without risking censorship. Mo Yan Life and Death are Wearing Me Out Ximen Nao och hans sju liv inter- och intermedialitet medial projection formal imitation kroppslighet- och våldsmediering polyfoni postkolonial teori och intermedialitet Languages and Literature Språk och litteratur
8	Takt och Otakt Gahrton, Daniel January 2019 (has links) The theme of the song Lonely Woman by Ornette Coleman and the song It’s Halloween by The Shaggs has something in common when it comes to how the different instruments relate rhythmically to each other. I would call it a musical quality that could be described as a feeling of ungraspability. I had this quality in focus during a process of listening to music, writing music and playing music. To describe the cause of this quality I felt the need to define two concepts I named 1) rubato structures; rhythmic structures that aren’t based on, nor establish a steady pulse, and 2) tempo structures; rhythmic structures that are based on and establishes a steady pulse. Throughout the project I identified the cause of the quality, to be combinations of rubato structures and tempo structures, however my understanding developed during the project to a more specific definition which was layers of rubato structures and tempo structures. In the 6 compositions that this project resulted in, I created a number of musical situations with my group, which all had these elements. When listed, these situations rather systematically go through ways of combining structures in regards to different parameters. When listened to, at least for me, several of them give rise to the feeling of ungraspability I had in focus. My attempts to describe and analyze the many inspiring examples stretching from Charles Ives to Swedish contemporary vocal folk music, helped me to develope tools for making music of my own, rather than resulting in some objective truth, or a system for describing and analyzing music that would work objectively. One thing I would consider objectively true, however, is that there are a lot of different ways of creating rhythmic complexity, where some ways are very tedious and difficult for the musicians. With rhythmic layers of rather simple structures, containing rubato structures, I can create rhythmic complexity beyond the quantifiable, just by putting the human impulses in control. Takt in Swedish could mean many things, such as beat, meter, bar, measure. Otakt is often used as a negative word to describe a failed attempt to play in time, but is also linguistically the negation of takt (thus meaning no beat, no meter, no bar, no measure). Takt och (and) Otakt is therefor a play with words, since otakt relates to things in this study that is embraced rather than avoided. / <p>Bilaga: CD</p> rhythm rhythmic layers rubato tempo pulse contrast composition composing quintet ostinato loop structure polyphony autentic ungraspable impulse Ives Shaggs Ornette Coleman rhythmic analyzis composing tools rhythmic complexity organic rhythm composing for improvisors rytmik rytmiska lager rubato tempo puls kontrast komposition komponerande låtskrivande kvintett ostinato loop strukturer polyfoni autentisk ogreppbarhet impulser Ives Shaggs Coleman Ornette rytmisk analys kompositionsverktyg rytmisk komplexitet organisk rytmik komponera för improvisatörer Music Musik

Search results