<p><p> </p></p><p>This thesis is based upon the assumption that in Swedish school today it is a wide gap regarding the information flow when pupils are switching school. This was one of the reasons Skolverket published a report clearly stating that this is the case. The purpose of this thesis is to examine and describe how teachers are working in a teacher team at transitions to see and understand what their work may mean individually, in a group and to the school as an organisation. The questions at issue is to see how the teachers cooperate during transitions and how they notice students in need of extra support and students level of knowledge during transitions. The two last questions at issue is first to see how teachers approach parent’s expectations on the school and the teachers, secondly it is to examine what implications their work will have on the school. The examined group is a teacher team in an independent school working in grade seven. The school has the grades six to nine. The result was achieved through two qualitative interviews and six qualitative questionnaires in order to describe the informants experience as good as possible. The analysis is based upon two concepts: organisational learning and reflection as a collective process and how these concepts are dependant on the other. The main points of the analysis show how important the teacher team’s work is to both the individual and the organisation’s competence and learning development. It also shows how it helps the pupils to get a smooth transition even though the lack of information teachers has to deal with when the new pupils arrive.</p>

by R.M. Redheffer. / Bibliography: p. 20. / Army Signal Corps Contract no. W-36-039 sc-32037.

The introduction of digital media into the working practice of artists has produced challenges previously unknown to the field of art. This inquiry follows an atypical model of artist-driven research derived from disciplines such as social science and education. Here, an artwork functions as a model that is self-reflective, integrating methodologies in a form that benefits art and science. Using Naturalistic Inquiry, including semi-structured interviews of fifteen participants, the work illustrates a process of creation, analysis and evaluation that places the values of the artist on equal footing with the needs of science. Recently, artists have begun using video game engines as a tool to produce 3D navigable spaces. Using the hybrid video game/installation Playas: Homeland Mirage as a case study, this research examines the impact of technology on the artwork and identifies a number of key issues related to the function of critical reflection in this environment. Rules-of-play were a fundamental pre-requisite to the stimulation of critically reflective experience. The human interface with software and hardware was also a primary factor in reflective experience. Based on participant evaluation and observation, the interface was altered in response to its effect on critical reflection, illustrating how choices in this area impact aesthetic experience. Those with experience in visual art were more likely to engage the work in a critically reflective manner than seasoned video game players who tended to be more interested in scoring and winning. These findings and others inform our understanding of the stimulation of critical reflection in immersive environments and show how we can sensitively integrate technology with meaningful evaluative methods. By repurposing a video game in this manner, we learn about the nature of the video game and the nature of art. This research enables artists to gain a better understanding of the medium to more fully integrate technology within a meaningful practice. Conversely, other fields will benefit from a better understanding of the stimulation of meaning in immersive spaces and gain a comprehensive view of a work that strives to contribute to our culture on a deeper level than as simple entertainment. Ultimately, more fully understanding critical reflection in virtual environments will enable us to create enriched experiences that transcend space to create “real” or “virtual” place.

Arterial pulse pressure is critically important to a number of diseases such as isolated systolic hypertension, coronary artery disease and heart failure. Determining the cause of increased pulse pressure has been hampered for two reasons. First, pulse pressure results from contraction of the heart and the load formed by the complex arterial tree. Pressure pulses travel from the heart to the peripheral arteries. As they reach a bifurcation or change in arterial wall properties, some of the pulses get reflected and propagate retrograde towards the heart. Second, two different modeling approaches (0-D and 1-D) describe the arterial system. The Windkessel model ascribed changes in pulse pressure to changes in total arterial compliance (Ctot) and total arterial resistance, whereas the transmission model ascribed them to changes in the magnitude, timing and sites of reflection. Our investigation has addressed both these limitations by finding that a complex arterial system degenerates into a simple 2-element Windkessel model when wavelength of the propagated pulse increases. This theoretical development has yielded three practical results. First, isolated systolic hypertension can be viewed as a manifestation of a system that has degenerated into a Windkessel, and thus increased pulse pressure is due to decreased Ctot. Second, the well-discussed Augmentation Index does not truly describe augmentation of pulse pressure by pulse reflection. Third, the simple 2-element Windkessel can be used to characterize the interaction among heart, arterial system and axial-flow left ventricular assist device analytically. The fact that arterial systems degenerate into Windkessels explains why it becomes much easier to estimate total arterial compliance in hypertension?total arterial compliance is the dominant determinant of pulsatile pressure.

Portant sur luvre littéraire dE.T.A. Hoffmann (1776-1822), notamment sur les récits « Das Fräulein von Scuderi » et « Doge und Dogaresse » qui sont traités comme des paradigmes de luvre, le travail sest proposé comme objectif de mettre en évidence le fonctionnement intertextuel des ouvrages de cet auteur. En effet, bien quelle ait eu ses prédécesseurs en ce qui concerne lintertextualité chez Hoffmann, létude met au jour tout un réseau de références cachées (c.-à-d. non marquées) à dautres uvres qui, jusquà présent, sont passées inaperçues, entre autres : - des recours systématiques à dautres textes littéraires (en premier lieu aux uvres de Heinrich von Kleist et de Ludwig Tieck, et, à part cela, à des écrivains aussi divers que Boccace, Molière, M.G. Lewis ou Novalis) ; - des renvois précis et bien élaborés à la Bible et à la mythologie de lAntiquité ; - des citations de sources historiques ; - des recours à la peinture (entre autres Rubens, Canaletto, Hogarth, Goya, C.W. Kolbe) et à la sculpture (Michel-Ange), intégrant des éléments spécifiques de ces uvres en tant que composants narratifs au sein des récits ; - des références à lopéra (Mozart : « Don Giovanni » et « Die Entführung aus dem Serail » [« LEnlèvement au sérail »]) ou à la Commedia dellarte ; - des indices poétologiques (y compris des renvois aux poétiques dAristote ou de Boileau) inscrits dans luvre même tel un commentaire inhérent au texte ; - des références extratextuelles, c.-à-d. des allusions aux développements politiques et sociaux de lépoque scrupuleusement cachées, dépassant le domaine des artéfacts et qui, en quelque sorte, livrent des explications extérieures aux phénomènes textuels observés, tout en révélant des aspects dune critique sociale allusive et sous-entendue (le souverain, par exemple, y est nié en tant que centre positif dun État absolu et en tant que représentant de Dieu sur terre) sans jamais trouver, cependant, une issue de lambiguïté élémentaire qui pénètre luvre même jusquau fond de la sphère sociopolitique. La fonction principale de ces éléments consiste dans ce que cette étude décrit comme « lautoréflexion » de luvre même, c.-à-d. dans une réflexion de ses antécédents littéraires ou artistiques, de sa propre place dans lhistoire littéraire par le biais dune citation dautres uvres, celles-ci étant reflétées comme apparentées ou comme opposées. Ainsi, la thèse poursuit le chemin déjà indiqué par R. Homann (Munich 1986) qui, en partant des drames de Lessing et, surtout, de Kleist, avait démontré détonnants aspects dune autoréflexion de la littérature chez ces deux auteurs (et avait postulé le même caractère autoréflexif pour les successeurs dans le domaine de la littérature qualifiée par elle de littérature « esthétique ») parmi lesquels on peut également, daprès les résultats du présent travail, bel et bien ranger Hoffmann qui, dans sa propre uvre, livre dune manière bien précise la suite logique, conséquente et radicale du modèle établi par ses antécédents littéraires. Lidée centrale du concept de lautoréflexion de la littérature est que, après les résultats bouleversants des Lumières ainsi quen réaction contre lesthétique hégélienne du « beau » et en relation avec la proclamation de la « fin de lart », luvre « esthétique » (par opposition à luvre « naïve ») ne peut plus continuer à représenter simplement le monde, mais, en même temps, elle est dorénavant forcée à se représenter elle-même. Cest à cause de la disparition du narrateur omniscient qui était le garant dune histoire unifiée et à cause de la mise en question de la narrabilité dun monde qui est considéré comme étant devenu absurde que, dans les textes de certains auteurs, la littérature commence à parler delle-même. Par conséquent, les textes dHoffmann cette recherche sefforce bien de le démontrer sont lisibles à la fois comme des narrations dune histoire et, sur un deuxième plan « esthétique » ou « autoréflexif », comme des narrations de la narration, c.-à-d. comme des textes qui traitent implicitement de lacte décrire, qui contiennent leurs propres commentaires, qui comportent une sorte dhistoire littéraire inhérente. Cest ce plan autoréflexif que cette étude essaie de déchiffrer, et cest dans ce contexte que les récits dHoffmann témoignent dune modernité avant la lettre. Signes incontestables dune intrusion du « dehors » dans un intérieur dont on avait pensé quil était protégé et à labri des menaces de la multiplicité, symptômes dune contamination du « moi » par les puissances sous-jacentes de « lautre » devenues inévitables, les recours autoréflexifs à dautres uvres témoignent dune crise didentité fondamentale et bouleversante, dune identité déchirée de luvre dart ainsi que de sa propre mise en cause de son caractère unique. Au bout dune analyse de ces aspects à la fois, si lon veut, intertextuels et intermédiatiques à laquelle la thèse sest engagée, elle a, finalement, découvert un lien plus étroit et plus profond entre lautoréflexivité de luvre dune part et, dautre part, la disparition dune vérité absolue au milieu de ces uvres, c.-à-d. la « perte du centre » qui constitue le deuxième grand volet de létude. En effet, au cours des analyses, létude sest retrouvée face à des irrégularités troublantes dans les profondeurs incommensurables au-dessous de la surface saine des textes, à des ruptures narratives et à des contradictions immanentes qui sont cachées à lintérieur des récits et que la thèse sest, dès lors, efforcée de mettre en évidence. Cest aussi par ces fractures internes que les textes dHoffmann suivent les uvres de Kleist au-delà des sentiers battus de la narration traditionnelle ou « naïve », uvres qui sont, elles-mêmes, marquées de ruptures fondamentales. Cest par ces fractures internes, également, que les récits dHoffmann parlent de la disparition dun Dieu unifiant dans un univers brisé, dénué de sens, voire totalement absurde et, à cet égard, décidément « kafkaïen » bien avant la lettre, tandis que les références à « lautre » tournent autour dun centre vide, sans jamais pouvoir remplir la place laissée libre par la foi perdue. Et cest par ces fractures internes, finalement, que les textes témoignent dune négation des idées telles que les romantiques (parmi lesquels on a bien trop souvent rangé Hoffmann) les postulaient, ainsi que dune « décentralisation » du « moi » et du « monde » dans une uvre qui, à travers limage de la chute de lhomme, semble être tombée dans lobscurité, poussée loin au-delà des lumières dune clarté divine. Cette « perte du centre » décrite dans la thèse finit par révéler des correspondances surprenantes dans le domaine littéraire avec ce que H. Sedlmayr, dans son travail sur la peinture et les arts plastiques des 19e et 20e siècles (Salzbourg/Vienne 1948), a appelé la « perte du milieu », terme par lequel il désigne la disparition catastrophique et (à ses yeux) regrettable dun Dieu qui fut, un jour, au centre naturel de lart et du monde spirituel, mais qui, depuis lapparition de ce que Sedlmayr décrit comme un tournant historique autour de la Révolution Française, nest plus saisissable que par les signes de son absence. Mais bien que la thèse cherche à établir des liens entre les phénomènes textuels observés dune part et des événements ou changements historiques dautre part et notamment à trouver des explications à ces phénomènes dans ce quelle décrit comme la « révolution triple » (industrielle, métaphysique, sociopolitique) entrant en scène autour des années 1800 , elle aboutit, finalement, au diagnostic dune « crise de sens » plus vaste, plus complexe et plus profonde qui se manifeste dans les uvres dE.T.A. Hoffmann et qui paraît continuer de semparer de lhistoire de lhomme jusquà nos jours.

Die Arbeit geht aus von der Annahme, dass Literatur und Malerei, obgleich sie ihren Darstellungsformen entsprechend unterschiedliche Werkzeuge oder Strategien nutzen, ähnliche Potentiale der Gedächtnisreflexion für den Rezipienten bereitstellen. Selbst wenn die Strategien zur Erlangung eines Potentials der Reflexion von Gedächtnis also an die jeweilige Disziplin gebunden sind, so können doch die reflektierten Aspekte ähnliche sein. Ziel dieser Arbeit ist es, zu zeigen, dass in Theorie und Praxis solche Überschneidungen auffindbar sind. Dabei sollen Literatur und bildende Kunst (hier: Malerei) als zwei von vielen möglichen Erinnerungsmedien und ihre Funktionen innerhalb eines kollektiven Gedächtnisses als solche dargestellt werden. Speziell befasst sich die Arbeit dann mit der Funktion der Reflexion des kollektiven Erinnerns als Wirkungspotential, das im Rezeptionsprozess aktualisiert werden kann. Verschiedene Strategien der Gedächtnisreflexion werden unterschieden und in den drei Anwendungsbeispielen analysiert. Die Arbeit fasst zunächst einige von den Studien Jan und Aleida Assmanns ausgehende narratologische Konzepte zur Erinnerungskultur zusammen, darunter die Ansätze von Astrid Erll und Birgit Neumann. Es kristalliert sich eine Unterscheidung von Gedächtnisbildung und Gedächtnisreflexion heraus. Genauer in den Blick genommen wird Astrid Erlls Modell einer „Rhetorik des kollektiven Gedächtnisses.“ Auf drei Textebenen, der Handlungsebene, der Textstruktur und der sprachlichen Ebene können Potentiale der Gedächtnisreflexion beschrieben werden. Anhand dieser Unterteilungen werden im Anwendungsteil dann zwei literarische Prosatexte der gegenwärtigen Erinnerungsliteratur in den Blick genommen. Beide Texte, sowohl Grass' Im Krebsgang als auch Timms Halbschatten weisen vielfältige Strategien der Gedächtnisreflexion auf, die sich aber in ihrer Schwerpunktbildung voneinander unterscheiden. Zudem wird die Methodik auf den Gemäldezyklus 18. Oktober 1977 des Malers Gerhard Richter angewandt. / The thesis assumes that literature and painting provide similar potential for the reflection of memory to their audience, although they utilise different tools and strategies as appropriate for their modes of expression. Even if the strategies to create a potential for the reflection of memory are clearly dependent on the relevant discipline, the aspects reflected can be similar. It is the goal of this thesis to show that such overlap can be found in theory and practice. Literature and fine arts (here: painting) will be presented as two of numerous media of remembrance and their functions within a collective memory will be analysed. The thesis will focus on the function of the collective memory's reflection as a potential of the text which can stimulate a reaction in the process of reception. Different strategies for reflection of memory will be identified and analysed in three case studies. The thesis summaries several narratological concepts based on the cultural memory studies by Jan and Aleida Assman, including those of Astrid Erll and Birgit Neumann. The distinction between memory formation and reflection of memory is clarified. Astrid Erll's model of a “Rhetoric of the collective memory” is analysed in more detail, according to which potential for the reflection of memory can be described on three text levels: plot, structure and language. The case studies then apply an analysis based on the distinction between the three levels to two contemporary German examples of literature dealing with memory. Both texts, Grass's Im Krebsgang (English title: Crabwalk) and Timm's Halbschatten use a number of strategies for the reflection of memory, although the emphasis differs between the texts. The same methodology is applied to Gerhard Richter's painting cycle 18. Oktober 1977 (English title: October 18, 1977).

The aim of this essey is to examine how teachers´ work with individual development plans (IDP) can contribute to an intercultural leadership and inclusion. The interwied teacherss ay that IDP forces them to reflect critically on their thinking on aspects as learning methods, gender and ethnicity. It makes them listen to -and think - in new and more including ways to adapt to each pupils individual possibilities to achieve the curriculum standards within the common area. That requires lots of resources like extra teachers and new material. An active reflection can make ethnocentrism develop into intercultural competence. That is a listening, critical and diversified thinking prepared to deconstruct and create new ways of thinking in relation to different pupils and situations. It can deconstruct the cultural boundaries and dualistic categorising. An intercultural leadership needs a common culture -as a common truth- where all cultures can meet. That could be the curriculum of values wich aims for erasing prejudices and to create inclusion.

Deep troughs and ridges of the Arctic Basin are some of the least known features of the Earth's crust. Some of the ridges, eg. Chukchi and Nordwind, are connected directly to the continental shelves and are certainly submarine promontories of the latter. The character of the Lomonosov Ridge as a narrow slice of continental crust that separated from the Eurasian margin in the early Cenozoic (by opening of the Eurasian Basin), is not in doubt. Recent drilling (ACEX) and piston coring have confirmed this interpretation. However there are many other ridges and some of the troughs that are of uncertain origin. Seismic research in combination with potential field data over the East-Siberian margin, Podvodnikov and Makarov basins and the Mendeleev Ridge, presented here, provides a framework for understanding this enigmatic part of the Earth. The constrained models of the crust illustrate their structure. The crust beneath the East Siberian margin is up to 40 km thick; it thins to about 20 km towards to the Podvodnikov Basin. The models over the Arlis Gap, in the middle of the Podvodnikov Basin, and the Mendeleev Ridge have shown that the crust beneath both these features is anomalously thick (up to 28–32 km) and has a velocity structure that suggests the presence of highly attenuated continental crust. The crustal thickness over the Makarov Basin varies from 8 km to 15 km. Reflection profiles provide evidence of the character and thickness of the sedimentary cover (mostly Cenozoic and late Mesozoic), both on the ridges and beneath the troughs. Presented here is evidence that some of the ridges (eg. Marvin Spur) appear to be fragments of continental crust rifted off the Lomonosov Ridge (with a similar, unconformable Cenozoic cover); however, they gently plunge into and beneath troughs (eg. Makarov Basin). Reflection seismic data collected by the HOTRAX expedition in 2005 over the central part of the Lomonosov Ridge illustrate the sedimentary structure on the top of the Ridge and in an internal basin. The main sedimentary units can be interpreted by correlation with the ACEX results. The major fault separating the surrounding ridges from the internal basin appears to have a roll over anticline in the hanging wall, suggesting that the basin was created by a growth fault. The seismic lines provide evidence of gently folded basement beneath the Lomonosov Ridge with intra basement reflections are usually parallel to the upper surfaces; in combination with velocities (c. 4–5 km/s), these suggest the presence of old well-consolidated sediments.

This study contains how pre-school teachers talk about their mission as tutors and their assignments to educate student teachers in relation to the document that contains information concerning practice-based learning. The students are involved in communities of practice regarding pre-schools for children between one year and five years old. The pre-school teachers will share their daily work and pedagogical responsibility in the activities, meaning that the students are expected to show social engagement in interaction between children and adults. When teachers from the University visit the pre-school, the students are supposed to have a lesson or activity with the pupils in the practice class. And afterwards the students, the pre-school teachers and the teacher from University together have a developing discuss about the outcome objectives that the students are supposed to reach during the practice. The teachers from the University are also supposed to serve as a sounding board with whom to discuss ideas. A fundamental idea in the teacher-education in University of Skövde is that the students will be connected to an activity during a longer period. By following the same activity in the pre-school the students get an understanding and confidentiality with the profession. The teacher-education is based on "one foot in practice and one foot in theory". The empirical data is generated through interviews with pre-school teachers who work with children from one to five years old. We have chosen pre-schools in four different communities in the area of Skaraborg. The results of the study show that pre-school teachers are proud of their profession and they are interested in working with student teachers both pedagogical and as a colleague. A concept as collaboration, opportunities, responsibility, and motivation and to believe in future is often expressed by the pre-school teachers when they talk about their work as tutors for the teacher-students. Pre-school teacher’s memories of their own time as teacher-students are very important for their behavior as tutors and the document of practice-based learning, has because of that, not been used as it was meant to be from the University of Skövde, neither by the pre-school teachers nor by students. The result from this study shows that pre-school teacher’s memories, from their own education, are very important in their missions as tutors.

This thesis is based upon the assumption that in Swedish school today it is a wide gap regarding the information flow when pupils are switching school. This was one of the reasons Skolverket published a report clearly stating that this is the case. The purpose of this thesis is to examine and describe how teachers are working in a teacher team at transitions to see and understand what their work may mean individually, in a group and to the school as an organisation. The questions at issue is to see how the teachers cooperate during transitions and how they notice students in need of extra support and students level of knowledge during transitions. The two last questions at issue is first to see how teachers approach parent’s expectations on the school and the teachers, secondly it is to examine what implications their work will have on the school. The examined group is a teacher team in an independent school working in grade seven. The school has the grades six to nine. The result was achieved through two qualitative interviews and six qualitative questionnaires in order to describe the informants experience as good as possible. The analysis is based upon two concepts: organisational learning and reflection as a collective process and how these concepts are dependant on the other. The main points of the analysis show how important the teacher team’s work is to both the individual and the organisation’s competence and learning development. It also shows how it helps the pupils to get a smooth transition even though the lack of information teachers has to deal with when the new pupils arrive.