O texto que se segue pretende traduzir algumas possibilidades no trabalho do ator no que diz respeito à experiência a partir da palavra, como dizer vindo de um texto, originada no aprofundamento da escuta. O texto nasce de minha prática, iniciada formalmente em 1987, como atriz, professora de teatro, preparadora de atores e aluna, e refere-se a experiências em montagens de peças, aulas (dadas e recebidas) em universidades, estágios, workshops, oficinas, e em encontros em outros espaços nãopertencentes ao campo teatral, acontecidos principalmente nos estados de São Paulo e Rio de Janeiro, e pontualmente em outros estados brasileiros (MG, PR, SC, CE) e em outros países. Dialoga, ainda, com aquilo que nomeio teorias-moventes para as práticas, fontes teóricas nascidas de meu contato com textos de naturezas diversas, de não-ficção de teatro e de outras áreas e de ficção, além do contato específico com uma tradição oral, a do griot africano, que, em meu caso específico, se deu pelo encontro vivo, em duas viagens ao Mali e ao Burkina Faso, na África Ocidental, e em seis estágios realizados a partir dessa aliança. / The following text aims at translating some possibilities in the actors work in experience with the word, as a telling coming from the text, originated in the deepening of the listening. The text is born from my practice, formally begun in 1987, as an actress, theater teacher, actors coach and student, and refers to experiences in staging plays, classes (given and taken) in universities, internships, workshops, and in meetings at spaces not belonging to the theatrical field, mostly taking place in the states of São Paulo and Rio de Janeiro, and occasionally in other Brazilian states (MG, PR, SC, CE) and in other foreign countries. It also dialogues with what I call moving-theories into practices, theoretical sources sprung from my contact with texts of different nature, non-fictional from theater and other areas and fictional, in addition to the specific contact with an oral tradition, namely the African griot that, in my particular case, happened by means of living contact in two trips to West Africa, to Mali and Burkina Faso, and in six internships brought about by this alliance.

Reading aloud is something that is considered important for children's linguistic development, although I have experienced that reading is something that has rarely taken place in the teaching context I´ve found myself in. I therefore chose to study how the attitude to reading aloud looks among selected teachers at the lower secondary school. The purpose of my thesis is to investigate how often pedagogues use reading aloud. I also want to investigate how the pedagogues proceed with the selection of text or book for their reading aloud and how the educator connects his or hers reading to the curriculum. My choice to gather information is based on a selected framing of questions through three semi-structured interviews in which three teachers from grade 1, 2 and 3 participates. All educators practice reading aloud but the scope and purpose varies slightly. All participants share the same view of reading aloud, they say that it’s important and meaningful. I’ve also used a survey to get a broader view of the topic. The result is clear; most of the pedagogues who participated in the survey uses reading aloud for their students, similar to the interviews the scope varied. My personal teaching experience thus differs from the results that the survey provides. / Högläsning är något som anses vara viktigt för barns språkliga utveckling. Trots detta har jag upplevt att högläsning är något som sällan ägt rum i de undervisningssammanhang jag befunnit mig i. Jag valde därför att studera hur inställningen till högläsning ser ut bland utvalda pedagoger på lågstadiet. Syftet med mitt examensarbete är således att undersöka hur ofta pedagogen arbetar med högläsning på lågstadiet. Jag vill även undersöka hur pedagogen går tillväga vid valet av text eller bok till sin högläsning och hur pedagogen kopplar sin högläsning till läroplanen. I min studie använder jag mig av tre semistrukturerade intervjuer där tre respondenter från årskurs 1, 2 samt 3 medverkar för att samla information om valda frågeställningar. Samtliga pedagoger använder sig av högläsning, men omfattningen och syftet varierar något. Respondenterna ser på högläsning som något viktigt och betydelsefullt. Jag använder mig även av en enkätstudie för att få en bredare syn på ämnet. Precis som vid resultatet för intervjuerna, är resultatet vid enkätundersökningen tydligt; de flesta av pedagogerna som medverkade i enkätundersökningen högläser för sina elever, och likt intervjuerna varierade omfattningen något. Min personliga pedagogiska erfarenhet skiljer sig således från resultaten som undersökningen ger.

This thesis analyses information disclosure in clinical practice from a legal, ethical and professional perspective. It examines therapeutic privilege, the duty of candour and the application of virtue ethics to truth-telling in nursing practice. I argue that each of these areas requires further clarity, articulation and application in order to assist the decision-making process of health care professionals and improve disclosure practices. In analysing these areas this thesis recognises the context of disclosure practices in relation to respect for patient autonomy and trust in the patient-health care professional relationship. The first published paper at the core of this thesis considers the status of therapeutic privilege in English law and concludes that further clarification is needed to establish its legitimacy. I argue that the shift in English law towards a disclosure standard judged by reference to the reasonable patient requires a doctrine of therapeutic privilege. There are strong ethical arguments in favour of information disclosure, particularly founded on respect for patient autonomy. As such, further clarification is needed to identify and define the grounds on which this exception exists, when the information can lawfully be withheld and how this exception extends to the rest of the health care team, particularly nurses. The second paper examines the ethical and practical considerations that underpin the disclosure of medical errors to patients. This provides a foundation for a discussion of how the law can best support a duty of candour. I argue for the introduction of a statutory duty of candour and analyse the current legal mechanisms and proposals for addressing this issue. The final paper argues that virtue ethics is a useful approach from which to explore decisions relating to information disclosure. Its explicit focus upon moral character, the role of emotion, intention and the importance of practical judgement are considered from the nurse's perspective. This thesis contributes to the dialogue on information disclosure on a number of levels. In terms of methodological approach, it recognises the importance of the synthesis of law and ethics in addressing issues in clinical practice. It uses an interdisciplinary approach, incorporating both legal and ethical perspectives, to examine the substantive questions as well as incorporating reference to empirical research to further underpin its normative claims. Moreover, this thesis considers the nursing perspective in relation to issues of information disclosure to explore the role of the nurse in decision-making regarding disclosure practices.

No description available.

When examining the process of the intergenerational transmission of trauma for the experiences of first, second, and third generation Holocaust survivors, there exists both overlapping similarities and unique differences. Understanding the trends that underlie this process is of crucial importance when researching the cultural changes in communication and openness across generations that have occurred over time. In particular, minimal prior research has been conducted regarding the unique perspectives of third generation survivors. It is important to highlight that the third generation offers a unique perspective as the youngest participants of studies on post-Holocaust trauma, given that minimal prior research has been conducted on this young demographic. This study aims to fill in sizable gaps in the literature, comprehensively analyzing similarities and differences through the narrative-telling of three living generations of Holocaust survivors. Based on an extensive review of literature, this study poses interview questions adequately suiting each of the three generations and their respective experiences. Based on the results of the power analysis, a minimum of 966 Holocaust survivors from all three generations need to be studied in order to achieve a powerful effect size. For the purpose of this study, data is analyzed using thematic analysis, a coding method that converts qualitative data into quantitative data and identifies patterns of meaning across a dataset (Padgett, 2008). The research findings yielded from this study further the inquiry in literature on Holocaust survivorship, as well as introducing research questions of the intergenerational transmission of trauma.

This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.

<p><strong>D</strong>etta examensarbete handlar om hur man utformar installationer som återger platsens historia i en besöksträdgård. Dåtid möter nutid genom gestaltning av historien i tillfälliga trädgårdsinstallationer.</p><p><strong>A</strong>rbetet beskriver en gestaltningsprocess som börjar med studier av platsen. Fakta och inspirationsmaterial har samlats in, bearbetats och resulterat i tolv olika installationsförslag. Stor hänsyn är tagen till beställarens tankar och önskemål. Platsen som jag utgått från under arbetet är en Hälsingegård med anor från 1700-talet.</p><p><strong>A</strong>vgörande i arbetsprocessen har varit att det funnits mycket historia och fakta att tillgå. Den gamla hälsingegården med sin relativt orörda trädgård har i sig varit en stor inspirationskälla.</p>

Detta examensarbete handlar om hur man utformar installationer som återger platsens historia i en besöksträdgård. Dåtid möter nutid genom gestaltning av historien i tillfälliga trädgårdsinstallationer. Arbetet beskriver en gestaltningsprocess som börjar med studier av platsen. Fakta och inspirationsmaterial har samlats in, bearbetats och resulterat i tolv olika installationsförslag. Stor hänsyn är tagen till beställarens tankar och önskemål. Platsen som jag utgått från under arbetet är en Hälsingegård med anor från 1700-talet. Avgörande i arbetsprocessen har varit att det funnits mycket historia och fakta att tillgå. Den gamla hälsingegården med sin relativt orörda trädgård har i sig varit en stor inspirationskälla.

In his literary works, the Swedish author Peter Pohl (b. 1940) persistently deals with the issue of friendship which is described as a source of joy and consolation as well as a cause for difficulties and pain. Another common theme in his writing is vulnerability, especially that of children and adolescents, as he regards them as particularly exposed to violence and injustice. Pohl features the act of telling as an important instrument in the process of personal development on many different levels. Finally, his authorship shows that his purpose is to be a spokesman for those who cannot speak for themselves. These four topics which are visible in the main part of his production represent the most important aspects of Pohl's literary project which may be described as a desire to improve the conditions of less privileged groups of society. This thesis deals with the works by Pohl written between 1985 and 2007. In the first chapter, the author is presented. The second chapter is an analysis of his first novel Janne, min vän with a special focus on the above-mentioned themes. Chapter three deals with the novel Malins kung Gurra, a story for young readers that can be looked upon as second, but simpler version of Janne, min vän. In chapter four, the five novels Regnbågen har bara åtta färger, Medan regnbågen bleknar, Vi kallar honom Anna, Vilja växa and Klara papper är ett måste are analyzed and discussed. The last chapter is an attempt at dealing with the remaining books written by Pohl. The aim is to establish whether these works are compatible with the general picture given of Pohl’s literary project.

The study focuses the evil within human beings and evil actions against other humans and the human kind. The evil is defined as evil actions such as murder and actions in war. The questions asked is whether the evil has a face and if it is possible in that case to paint that kind of face. The medieval mural paintings in old churches include Cain murdering his brother Abel based on the Bible. The study also includes reliefs, sculptures in stone describing Cains´s murder of Abel and sculptures with the Massacre of the Innocents in Bethlehem according to the Bible. These pieces of medieval art are compared with the paintings of evil faces by some modern artists. The method used in the analysis is Panofsky´s iconological method. The result shows that the medieval art is formally more strictly structurer and that the modern artists have a more personal style. In addition to this fact is the different purpose of the different kinds of art. The medieval mural paintings are storytelling from the Bible and modern art is based on influences from other artists in art history and the artists´own ideas and thoughts in a more persoanl way of painting. The meaning in medieval art is more clear and obvious than that in the modern art. The conclusion reached at is that evil exists but that one cannont talk about a special face of the evil.