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Felix Saul (1883-1942) var verksam som körledare, musikskribent och musikpedagog, och undervisade främst i sin egen musikskola, Stockholms privata konservatorium (SPK). Syftet med studien är att undersöka den pedagogik som Felix Saul tillämpade i sin musikundervisning i barngrupper på SPK. Empirin utgörs av intervjuer med Sauls tidigare elever, och av hans egna artikelserier om musikpedagogik. Materialet har analyserats utifrån ett övergripande kulturpsykologiskt perspektiv. Resultatet visar att Sauls undervisning som syftade till att utveckla elevernas musikalitet i stor utsträckning följde Tonika-do-metoden som den beskrivs av samtida litteratur, men att han lade större vikt vid ackordfunktioner och rytmikövningar, och att lek var en central del av undervisningen. Genom undervisningen fick eleverna tillgång till en omfångsrik verktygslåda med kulturella verktyg i form av konventioner att strukturera, uttrycka och representera musik, som de i fortsatt lärande kunde kombinera till individuella strategier för notläsning, interpretation och i musiklyssnande. Av studien har också framkommit att Saul var en betydelsefull musikpedagog trots att han inte fullt ut var accepterad av etablissemanget. / Felix Saul (1883-1942) was engaged as a choiremaster, music writer and music teacher, mainly at his own music school: Stockholms privata konservatorium (SPK). The purpose of this study is to describe how Felix Saul tought children's groups at SPK, and what pedagogy he employed. The empirical material consists of interviews with students who participated in Saul's children's groups and Saul's own series of articles about his music pedagogy. The material has been analyzed from a cultural psychological perspective. The result show that the teaching methods used by Saul to a large extent followed the Tonika-do method as it was described in the contemporary literature, but with a bigger emphasis on harmonic theory and eurhythmics, and that playing games was a central part of the educational activities. The education gave the students access to cultural tool-box a variety of tools in the form of established music-cultural conventions of structuring, expressing and representing music, that they could combine to create individual learning strategies for sight reading, interpretation as well as listening to music. In this study Saul has emerged as an influential music educator even though he was not fully accepted by the establishment.

The task of diploma thesis "David and Goliath: A Narrative Analysis of 1 Samuel 17 ", is to analyze one of the most famous biblical stories through the methods of naratology and give a view on the text through various narrative categories. The greater part of this thesis will deal with exploring the characters, the dialogue, the role of the narrator, the implied reader, the events in the story, focalization and other categories. At the conclusion, there is a small excursus with a historical perspective on the story of David and Goliath. The excursus helps to place the text into a specific historical context and it also important for understanding the overall meaning of the text. The conclusion of this thesis presents to us a meaning of the story about the battle of David and Goliath. In this thesis I used narrative analysis in combination with a historical approach, and I can say that the story has two dimensions: the first dimension is focus on the individual and indicates who follows the path of Saul and the Israeli army hasn't future. But who follows the way of David and Jesse, follows the way of God, that is a very important for a human. The story offers hope for people. Goliath is a symbol of the threat of faith, religious identity and political freedom. Conversely, David symbolizes hope for...

Made available in DSpace on 2015-04-14T13:55:17Z (GMT). No. of bitstreams: 1 446385.pdf: 380103 bytes, checksum: b183f9c581926e63b6421a4fd95fb3cb (MD5) Previous issue date: 2012-12-17 / This work intends to discuss a problem very recent in philosophy of language, namely the problem of the normativity of meaning. The fundamental locus of discussion is the position of Saul Kripke in Wittgenstein on Rules and Private Language, whose main ingredient is the idea that meaning is an intrinsically normative notion. Several philosophers have assumed this position as a kind of pre-theoretical restriction to assess reasonable theories, discarding all those that cannot accommodate, somehow, the restriction of Kripke . What animates the contemporary debate about this is precisely the possibility of disposing a descriptivist and naturalistic approach of meaning, based on the claim that such approaches fail or offer a plausible explanation of the relevant sense of normativity or fail to ensure a reasonable criterion for semantic correctness. The overall goal of this work is to show that, from the position of Wittgenstein in the Philosophical Investigations, it is not necessary to assume such a restriction, since in many ways it does seem to contradict our ordinary intuitions about the notions of meaning and use . This study aims to show, in other words, that the restriction of normativity is particularly harmless to a semantic model naturalized. The general strategy would be to deny the hypothesis that meaning is an intrinsically normative notion and show that its relevant normative aspects can be immediately derived from certain basic regularities of use. / O presente trabalho pretende discutir um problema bastante recente em filosofia da linguagem, a saber: o problema da normatividade do significado. O l?cus fundamental da discuss?o ? a posi??o de Saul Kripke exposta em Wittgenstein on Rules and Private Language, cujo ingrediente principal ? a ideia de que o significado ? uma no??o intrinsecamente normativa. Diversos fil?sofos t?m assumido esta posi??o como uma esp?cie de restri??o pr?-te?rica para avaliar teorias razo?veis, descartando todas aquelas que n?o possam acomodar, de algum modo, a restri??o de Kripke. O que anima o debate contempor?neo a este respeito ? justamente a possibilidade de inviabilizar qualquer abordagem descritivista e naturalista do significado, com base na alega??o de que tais abordagens ou n?o conseguem oferecer uma explica??o plaus?vel do sentido relevante de normatividade ou n?o conseguem garantir um crit?rio razo?vel de corre??o sem?ntica. O objetivo geral deste trabalho ? mostrar que, a partir da posi??o de Wittgenstein nas Investiga??es Filos?ficas, n?o ? absolutamente necess?rio assumir tal restri??o, j? que em m?ltiplos sentidos ela parece mesmo contradizer nossas intui??es ordin?rias a respeito das no??es de significado e uso. Este trabalho pretende mostrar, em outras palavras, que a restri??o de normatividade ? particularmente inofensiva para um modelo de sem?ntica naturalizada. A estrat?gia geral consistir? em negar a hip?tese de que o significado seja uma no??o intrinsecamente normativa e mostrar que seus aspectos normativos relevantes podem ser imediatamente derivados de certas regularidades b?sicas de uso.

This thesis examines three genres of the oral heritage of the Neo-Aramaic-speaking Jewish community of Zakho, Kurdistan: the proverb, the enriched biblical narrative, and the folktale. During the past three decades, there has been a renewed interest in research on Neo-Aramaic, and a substantial growth of research in the field has been seen. However, the contemporary study of Neo-Aramaic has been focused almost exclusively on linguistic description and analysis. Content-based aspects of the study of the language and its cultures have received very little attention. This thesis is a first step towards filling this gap. The introduction to the thesis provides background information about the Jewish community of Zakho and about the Neo-Aramaic subgroup to which the Jewish Zakho dialect belongs, North-Eastern Neo-Aramaic (NENA). It then gives a brief review of relevant aspects of the study of folklore, before providing a description of the database of audio recordings upon which this thesis is based. The first chapter presents several approaches to the study of the proverb (paremiology). It is argued that an important component for the understanding and analysis of proverbs, one that is often overlooked, is the context of each proverb. The second chapter analyses an example of the genre of enriched biblical narrative through the lens of a concept taken from the field of thematology: the motifeme - a small meaning-bearing contextual-structural unit of the narrative. It demonstrates the non-linear historical development of the sequence of motifemes in the narrative analysed here, a feature which is particularly typical of Jewish narratives. The folktale is a genre central to the formation and maintenance of the Jewish Zakho communal identity, and the third chapter contains a detailed analysis of one particular folktale. The folktale chosen for analysis in this chapter features a cross-culturally uncommon motif: the motif of magical gender transformation. The NENA materials contained in this thesis are transcribed and translated into English. They are drawn from a database of recordings of members of the Zakho community living now mainly in Jerusalem, and were collected in the course of fieldwork undertaken by the author.

Charles Jennens (1700-1773), the librettist of 'Saul', 'Messiah', 'Belshazzar', the final part of 'L'Allegro, il Penseroso ed il Moderato', and probably 'Israel in Egypt', amassed a huge library of music that forms the bulk of what is now known as the Aylesford collection. Jennens's collection of Handel's music was unique among those of his contemporaries, not only because it includes part-books, but also because it is unusually comprehensive. The dissertation focuses on his copies of the sacred oratorios beginning with 'Saul' (1739) because most of the collection was copied in the 1740s, the sacred oratorios were the works that Jennens was most interested in, and 'Saul' was his first collaboration with Handel. As many of these manuscripts have not been the focus of modern scholarly attention, I first establish how, when, and by whom each manuscript was copied, in order to achieve a greater understanding of how and when Jennens assembled his collection, and what his reasons were for doing so. This close study of the manuscripts reveals that Jennens made extensive alterations to the verbal text, the structure, and the music of several oratorios in his collection. His amendments to 'Saul' and 'Belshazzar' shed light on his collaboration with Handel; and his amendments to 'Samson' and 'Joseph and his Brethren' provide insights into his attitude to Handel in the mid-1740s, his approach to word-setting, his views on the adaptation of Scripture for oratorio, and his beliefs and commitments. Jennens was a highly educated man whose activities were informed by two deeply held, conflicting allegiances: to the Anglican Church and to the deposed Stuarts. An examination of how he harnessed Handel's music to deliver his religious and political messages leads to a richer and more profound understanding of the works, of the relationship between Jennens, Handel, and Handel's music, and of their place in the religious and political context of the mid-eighteenth century.

Zugl.: Hamburg, Univ., Diss., 2007

Zugl.: Erlangen, Nürnberg, Univ., Diss., 2007 u.d.T.: Puschner, Marco: "Deutsche" und "Juden"

Univ., Diss., 2007 u.d.T.: "Deutsche" und "Juden"--Erlangen-Nürnberg.

The Postanarchist, an activist in a heterotopia : building an ideal type is the theme of this doctoral thesis. The main aim is to elaborate a design for the postanarchist figure, picking up its main characteristics from the work of the postanarchist Saul Newman. The argument also bears on two other authors: the post-structuralist Michel Foucault, considered a strong influence of postanarchism, and Pierre-Joseph Proudhon, the first author who labelled himself as anarchist and the first to embrace anarchy positively. Immanuel Kant, Friedrich Nietzsche, Gilles Deleuze and Félix Guattari are introduced as mediators to provide deeper understanding of the main authors. The dissertation offers a novel theoretical revision of postanarchism through Michel Foucault and Pierre-Joseph Proudhon. It notes the close similarities between Foucault and Proudhon - in terms of concepts of space, struggle, movement, necessity and consequently anarchy; establishes a conceptual net around them and uses Proudhon s thinking to fill the bibliographic gaps in Foucault s writings. The goal is to better understand the thought and the activist practice of Foucault in terms of anarchism and, in the last instance, to better grasp the postanarchism of Saul Newman in order to carve the postanarchist ideal type. Postanarchism is understood as the constitution of autonomous spaces; the notions of space and heterotopias - the Foucauldian space - are central in the dissertation. Accordingly, the thesis is structured by three hypotheses: (i) postanarchism is space constitution; (ii) the constitution of space is a struggle; (iii) to establish space is to survive. The sub-concepts of the dissertation are: movement, necessity, struggle, power subject, body, sign, truth and utopia. The thesis provides an interpretative analysis of primary sources - books, newspapers, magazines, pamphlets and manifestos - of the three main authors supported by secondary commentaries. It departs from conventions by adopting a theoretical approach inspired by Foucault s solar and circular worldview (and Tommaso Campanella s City of the Sun). This facilitates the fluid organization of the argument and avoids imposing linearity on the content, thus highlighting the interrelation between content and the structure of the argument. This thesis is an exposition, an interpretation that develops new knowledge through the connections and methods that enable us to better know who the postanarchist activist is.