The thesis deals with the birth of the Baroque cantata in Northern and Central Germany. It introduces musical forms that led to the creation of cantata and thus significantly influenced its form, which crystalized during the Late Baroque period. The picture of Early Baroque German music is completed with profiles of three principal composers, on a selection of whose works the gradual development of this new musical form - the German Baroque cantata - is demonstrated. The second part is devoted to an analysis of a work representative of this style, Dietrich Buxtehude's Membra Jesu nostri, which is a supreme example of this musical form.

The objective of this work was to analyze the career skills of students of the Faculty of Economics of the University of South Bohemia in České Budějovice in relation to the subsequent career of graduates in selected work positions. The thesis works with the database of personality test results of students and with the database of graduate students. The work is examining whether there are statistical differences between the students of different study programs. Results of soft skills of graduates are compared to soft skills established by NSP.

No description available.

Detta är en kvalitativ flerfallsstudie som undersökt hur distansarbetet påverkat organisationskulturen hos företag inom IT-branschen. Detta har gjorts på ett abduktivt arbetssätt där teorin har grundat sig Edgar H. Scheins tre nivåer av organisationskultur samt en samling av för- och nackdelar med distansarbete. Empirin har samlats in via sex stycken semistrukturerade intervjuer där intervjuobjekten arbetat på sex olika IT-fokuserade företag. Genom det abduktiva arbetssättet identifierades fem stycken begrepp som vardera beskrev en egenskap inom distansarbetet. Dessutom hittades samband mellan dessa fem begrepp och hur de påverkade de tre nivåerna av organisationskultur. Detta samband kom att illustreras i en egen analysmodell.

Im Vorwort zu Terpsichore (1612) schreibt Michael Praetorius, die Melodien und Arien dieser »Französischen Tänze« habe ein Tänzer und sehr guter Geiger aus Frankreich zusammengestellt. Zu einigen Tänzen ergänzte Praetorius Bass- und/oder Mittelstimmen, übernahm aber auch vollstimmige Tanzsätze oft unbekannter Autorschaft aus bereits existierenden Sammlungen. Im Gegensatz dazu komponierte Johann Hermann Schein in seiner Sammlung Banchetto musicale (1617) die Tanzmelodien selbst. Ausgehend von den analytischen Werkzeugen, mit denen Melodietypen solcher Sammlungen in jüngerer Zeit beschrieben wurden, wird gezeigt, welche Unterschiede sich in der Melodiebildung der beiden Sammlungen erkennen lassen. Mit einem Rekurs auf Hugo Riemann wird zudem ausgeführt, welche analogen melodischen Elemente paarig angeordnete Tänze aufweisen und welche rhythmischen und diastematischen Strategien dabei für Variation sorgen. / In the preface to Terpsichore (1612), Michael Praetorius writes that the melodies and arias of these »French dances« were compiled by a dancer and very good violinist from France. Praetorius added the bass and/or middle voices to several dances, but he also adopted fully voiced dance movements of often unknown authorship from already existing collections. In contrast, Johann Hermann Schein in his collection Banchetto musicale (1617) composed the dance melodies himself. Starting from the analytical tools with which melody types from such collections have been described in recent years, this article shows the differences in the melodic design of these two collections. Through reference to Hugo Riemann, analogous melodic elements in coupled dance movements and rhythmic and diastematic strategies used for variation are demonstrated.

Michael Praetorius’ Terpsichore. Musarum Aoniarum Quinta (1612) präsentiert sich als Sammlung von Tänzen, aus der von Ausführenden verschiedene Stücke zusammengestellt werden können, um daraus eine Tanzfolge zu bilden. Das Banchetto musicale (1617) von Johann Hermann Schein hingegen gliedert sich in zwanzig Tanzfolgen mit zusätzlicher Intrada und Padouana. Drei gleiche Arten von Tänzen lassen sich sowohl in Terpsichore als auch im Banchetto musicale beobachten: Pavane de Spaigne, Gaillarde und Courante bzw. Padouana, Gagliarda und Courente. Der Gegenüberstellung dieser einmal französisch, einmal italienisch bezeichneten Tänze in den beiden Sammlungen ist diese Untersuchung gewidmet. / Michael Praetorius’s Terpsichore. Musarum Aoniarum Quinta (1612) takes the form of a collection of dances from which different pieces can be selected by performers to form a set of dances. The Banchetto musicale (1617) by Johann Hermann Schein, in contrast, is divided into twenty sequences of dances, with an additional Intrada and Padouana. The same three types of dances can be observed in both Terpsichore and Banchetto musicale: Pavane de Spaigne, Gaillarde, and Courante, and Padouana, Gagliarda, and Courente respectively. The focus of this study is the comparison of these dances designated in the two collections in French and Italian respectively.

<p><strong>Background: </strong>Internationally, simulation has been widely used as a teaching strategy in nursing programs. In Ontario, Canada, simulation has gained increasing acceptance and use in nursing education and has been met with a parallel investment of resources. Current literature offers insights into individual-level factors that contribute to the adoption and incorporation of simulation but there is a lack of understanding of how organizational factors shape this this educational strategy.</p> <p><strong>Objective: </strong>The purpose of this grounded theory study was to create a mid-range explanatory theory that describes how the organizational cultures of undergraduate nursing programs shape the adoption and incorporation of mid- to high-level simulation as a teaching and learning strategy.</p> <p><strong>Methods: </strong>Constructivist grounded theory was used to guide this research.</p> <p><strong>Results:</strong> A seven-phase process related to adopting and incorporating simulation into nursing curricula was uncovered. Sites that moved through the phases of the process and integrated simulation into all levels of the curriculum were classified as high-uptake. The level of uptake of simulation by nursing programs influenced the potential outcomes. From the findings, a theory was developed: the Organizational Elements that Shape Simulation in Nursing (OESSN) that includes five key organizational elements that shape the adoption and incorporation of simulation in nursing curricula.</p> <p><strong>Conclusion: </strong>This theory provides nursing programs with insight about the core organizational concepts that influence the adoption and incorporation of simulation within their curricula. The OESSN highlights the organizational elements to be cognizant of when adopting and incorporating simulation and perhaps other technological innovations within nursing curricula.</p> / Doctor of Philosophy (PhD)

No description available.

Denna uppsats har som mål att undersöka begreppet kvalitetsfilm och dess användning med utgångspunkt i marknadsföringskanalerna public relations, marketing management och filmfestivaler i Sverige. Uppsatsen definierar marknadsföring och beskriver hur den kan praktiseras i filmindustrin. Begreppsanalysen av kvalitetsfilm refererar till Pierre Bourdieus sociologiska texter och har en kort historisk genomgång av hur begreppet kvalitetsfilm myntades i Sverige. Sedan följer en genomgång av kvalitetsfilm i förhållande till europeisk konstfilm samt hur begreppet influerat den svenska filmbranschen idag. Uppsatsen innehåller analyser utifrån tre kvalitativa intervjuer med anställda som i någon form arbetar med kvalitetsfilm, samt litteratur kring marknadsföring av film och kvalitetsbedömning. / This study aims to examine the concept of quality film and its use on the marketing channels public relations, marketing management and film festivals in Sweden. The study also defines marketing and describes how it can be practiced in the film industry. The conceptual analysis of quality film refers to Pierre Bourdieu's sociological texts and have a brief historical review of how the concept of quality film was coined in Sweden. Then follows a review of quality films in relation to European art films, and how the concept has influenced the Swedish film industry today. The thesis contains analyzes based on three exclusive interviews with quality film workers, and literature on film marketing and estimation of quality.

A partir da publicação da Crítica da Razão Pura, Kant, na tentativa de colocar a metafísica no caminho da ciência e determinar o que podemos conhecer, recoloca o problema do conhecimento sob uma distinção fundamental: como as coisas são em si mesmas e como essas coisas aparecem para nós. Kant defende, no idealismo transcendental, que nós só podemos conhecer as coisas como elas aparecem, e não podemos conhecê-las como são. Segundo ele, temos uma estrutura a priori determinada, que possibilita o conhecimento das coisas de certa maneira, a saber, sob essas nossas condições de experimentá-las e que, ao mesmo tempo, impossibilita-nos sairmos do nosso ponto de vista e conhecer as coisas como são nelas mesmas, isto é, abstraindo essas condições – e, porque o modo que as coisas aparecem para nós depende dessas condições, se abstrairmos tais condições, as coisas apareceriam de outra maneira; maneira a qual, portanto, não podemos conhecer. Assim, só podemos fazer ciência das coisas como aparecem, e não como são nelas mesmas. Para Hegel, se partimos desse pressuposto, tudo o que podemos conseguir produzir são meras opiniões, e não ciência: é preciso que possamos saber como as coisas são nelas mesmas para que haja conhecimento. Segundo Hegel, podemos conhecer as coisas como elas são, não apenas porque temos condições subjetivas de conhecê-las como elas aparecem, mas porque elas aparecem como são para nós. Sendo assim, o objetivo desta pesquisa é reconstruir a ressignificação hegeliana do aparecer e suas variações conceituais, mais precisamente os conceitos de aparência (Schein) e de fenômeno (Erscheinung) sob a óptica da Ciência da Lógica hegeliana. Para tanto, a presente pesquisa divide-se em três capítulos centrais. No primeiro capítulo, investigaremos o que Kant, na Crítica da Razão Pura, e Hegel, principalmente na Fenomenologia do Espírito, compreendem por ciência e sua relação com a Filosofia. No segundo capítulo, investigaremos o que ambos compreendem por lógica e seu papel para o conhecimento, buscando métodos diferentes para o desenvolvimento de seus sistemas, a partir da Crítica e da Ciência da Lógica. No terceiro capítulo, estabelecemos como Hegel ressignifica o aparecer e o apresenta como um processo lógico de aparecimento dos objetos no mundo, a partir de um aprofundamento da Doutrina da Essência da Ciência da Lógica, buscando, por fim, esclarecer precisamente porque, para Hegel, as distinções kantianas de fenômeno e coisa em si não cumprem o papel de colaborar para a Filosofia seguir o caminho de uma Ciência. / Since the publication of Critique of Pure Reason, Kant, in an attempt to place metaphysics in the way to science and determine what we can know, replace the problem of knowledge in a fundamental distinction: how things are in themselves and how those things appear to us. In transcendental idealism, Kant advocates that we only can know the things as they look like and cannot know them as they are. According to him, we have a determined a priori structure that enables us to know things in certain way, namely, into our conditions to experience them, and that, at the same time, preclude us from leave our point of view and know things as they are, that is, abstracting these conditions – and, for the reason the way things appear to us depends on these conditions, if we abstract them, things would appear in another way: a way that we cannot know. Therefore, we can only make science of things as they appear, and cannot make science of things as they are in themselves. To Hegel, if we start from this presupposition, we can only produce mere opinions, and not science; we need to know how things are in themselves if we want to have knowledge. According to Hegel, we can know things as they are, not only because we have subjective conditions to know them how they appear, but because they appear as they are to us. Thus, the objective of this work is to rebuild the Hegelian reframing of the appear (Scheinen), and its conceptual variations, precisely the concepts of appearance (Schein) and appearance (Erscheinung) in the point of view of the Science of Logic. For this purpose, this work is divided in three central chapters. In the first chapter, we will inquire Kant’s and Hegel’s understanding of science and its relation to Philosophy, mainly in Critic of Pure Reason and Phenomenology of Spirit. In the second chapter, we will inquire their comprehension of logic and its role to knowledge, pursuing different methods to the development of their systems, according to the Critic and Science of Logic. In the third chapter, from a deep reading of the Doctrine of Essence, in the Science of Logic, we will set up how Hegel reframes the appear (Scheinen), and presents it as a logical process of appearance of objects in the world. By the end, we will try to clarify precisely why, to Hegel, the Kantian distinctions of appearance (Erscheinung) and thing in themselves do not play the role of helping Philosophy to follow the way to Science.