No description available.

Cette thèse, La question identitaire dans le ‘giallo’ sarde contemporain. Essai interprétatif, porte sur vingt-quatre romans policiers, parus en Sardaigne entre 1988 et 2006. Ils traitent, ou permettent de traiter, de questions sociales et, plus généralement, de la question identitaire sarde. Elle est composée de trois parties principales (formées de sept chapitres) permettant d’étudier la typologie du ‘giallo’ sarde, le contexte historico-littéraire sarde contemporain, les éléments constitutifs du ‘giallo’ autochtone (l’enquêteur, le lieu, le rapport au crime) et, plus spécifiquement, la problématique identitaire. L’approche sociologique a été choisie comme paraissant la plus appropriée pour analyser la spécificité identitaire de l’île. Dans cette optique, les romans sont étudiés sur la base de leur caractère essentiel, à savoir le ‘réel’, car il permet de mieux saisir les implications de la société sarde considérée dans son évolution historique, sociale et anthropologique. / This thesis, The Identity Question in the Contemporary Sardinian ‘Giallo’. Interpretative Essay, deals with twenty four thrillers published in Sardinia between 1988-2006. They are about or related to social questions and, moreover, to the question of Sardinian identity. This work focuses on three main themes (in seven chapters). Allowing for the study of tipology Sardinian ‘giallo’, the historical and litterary context of contemporary Sardinia, the elements wich constitute the ‘giallo’ itself (the investigator, the place, the circonstances of the crime) and more specifically, the identity issue. The sociological approach was chosen as it seemed the most appropriate way to analyse the island’s specific identity. The novels are studied on their essential level, as it is their realism wich allow them to seize the implications of Sardinian society, in its historical, sociological, and antropological evolution.

No abstract available / Dissertation (MArch (Prof))--University of Pretoria, 2007. / Architecture / unrestricted

One of the major aims of this dissertation is to demonstrate that modern apocalypticism, however rationally justified it may appear to be, is the product of desires comparable to those which prompted our forebears to espouse apocalyptic beliefs. Apocalypticism springs from a persistent desire to see the present world order replaced by a perfected world order, a desire to render sacred the profanity of existence. The modern predilection to view the world in ironic terms has, however, rendered us incapable of attaining a sacramental vision, and we are thus victims of an ironic apocalypticisrn, which deals only in terms of destruction, not of regeneration, and we look to the future with gloomy foreboding rather than millennial hope. This, then, is the death-wish of modern culture, and the major part of the dissertation is concerned to show how the sacramental vision of Romanticism, which was itself in the mainstream of the Christian apocalyptic tradition, became transformed in the nineteenth century into the ironic apocalypticism of the present day. The first chapter opens with a discussion of the nature of apocalyptic belief and traces its development up to the beginning of the nineteenth century. The central chapters examine in detail the careers of two writers--Carlyle and Tennyson--who started out from a fundamentally Romantic position, but who gradually moved towards a nihilistic vision of a world ruled by flux, which paved the way for the development of an ironic, non-sacramental vision. In the final chapter, the development of this ironic vision in the twentieth century is traced, and the dissertation concludes with an examination of current trends, and, in particular, of a nee-Romanticism, which seeks to reinstate a sacramental vision. / Thesis / Doctor of Philosophy (PhD)

The power and beauty of all Indigenous cultures lies within the oral tradition of each respective group. The Eastern Cherokees continue today to regenerate and reinvigorate their culture, lifeways, spirituality, dance and song, and healing practices through their daily use of oral storytelling and historical narratives. As a small Native community in the southern United States (North Carolina), the Eastern Band of Cherokee Indians (EBCI) function as a sovereign Indigenous nation who have steadfastly remained in their original homeland, despite a forced removal of most of the tribe in the late 1830s, infamously known as the Trail of Tears. These are the descendants of those brave Giduwah ancestors who resisted the colonizer demands to remove to Indian Territory, now called Oklahoma. The oral tradition with its ancient cultural teachings and stories provide the impetus for the Eastern Band to reassert their indigeneity to their sacred homeland in the Smoky Mountains, and to practice their unique and distinctive culture so that future generations of their young will keep the language and the old ways alive. Oral storytellers and community Elders use their spoken word art and share their vast orature in order to both revitalize the culture within their Native community, and to share cultural knowledge and educate those thousands of non-Cherokee tourists who visit there. My research into the living oral tradition of the Eastern Cherokees involved recording and collecting the oral stories shared at community events, and creating an archive in order to examine these varied stories and cultural specifics. Although it is difficult to analyze orality transcribed onto a written page, it was necessary for this formal dissertation. I have used a Native and specifically Cherokee theoretical methodology, known as Duyvkta and Gadugi, in order to frame and explicate the wealth of cultural knowledge held within this oral tradition. This dissertation may be complete, but the stories and spoken words will live on for the Eastern Cherokee, and there is much more work to be done so that the sacred Fire will continue to burn. Hvwa. / Dissertation / Doctor of Philosophy (PhD) / Normally a formal dissertation in English Literature would examine works of literature and apply western literary theory to examine the intricacies of the poem or story. My project attempts a more difficult task – that of taking the spoken word in the form of Cherokee oral stories and, first, transcribing this orature into written words on paper, and, second, using an Indigenous critical approach in order to present a Cherokee-centric method of understanding the rich cultural and spiritual teachings held within these spoken stories and histories. I offer the ancient concepts of Gadugi (giving of oneself and working for the betterment of the community) and Duyvkta (walking the right path of harmony and balance) as ways of learning from the ancient and contemporary stories of the Eastern Cherokee. It is the originary oral tradition which created the basic foundation of Cherokee culture and life, and I humbly wish to offer my research to the growing field of study of Native orature of Turtle Island. Sgi.

No description available.

No description available.

Cette thèse de doctorat aspire à percevoir jusqu’à quel point la dynamique agonale du XVIe siècle déclenchée par la Réforme protestante provoqua des différences irréconciliables parmi les humanistes français. L’analyse prend comme point de départ la querelle sotériologique entre Érasme et Luther de 1524, considérée comme l’exemple le plus paradigmatique de l’impossibilité de trouver une compatibilité bien entendue entre les diverses manifestations de l’enthousiasme philologique, stylistique, éthique, religieux et épistémologique des humanistes. Ses oppositions fondamentales en ce qui concerne la liberté du chrétien démontrèrent que les humanistes étaient contraints d’envisager l’élan de réforme avec prudence afin d’éviter de mettre en danger leurs propres fondements épistémologiques. Par ailleurs, l’affrontement entre ces deux hommes tellement représentatifs de la Renaissance tardive peut bien inaugurer l’étude du cas français à cause de l’influence d’Érasme sur les humanistes vassaux du Roi Très-Chrétien, mais aussi à cause de l’échec de la collatio érasmienne. Le centre de gravité historique est l’événement le plus révoltant de la France du XVIe siècle, i.e., le massacre de la Saint-Barthélemy. Le choc provoqué par la tuerie fut si définitif qu’on peut, faisant attention aux participations directes des humanistes dans la polémique confessionnelle avant et après août 1572, reconstruire le socle commun de discours dont beaucoup d’eux partageaient. Nonobstant, ces dénominateurs communs encouragèrent paradoxalement des dynamiques agonales autant qu’ils permirent la survivance d’une courante irénique marquée par la tradition sceptique qui finira par être une des marques d’identification historiographique du discours humaniste. / This Ph.D. dissertation tries to measure how the violent dynamic of the 16th century, encouraged by the Reformation provoked dissention in between French Humanists. The analysis takes the debate between Erasmus and Luther of 1524 as a point of departure, considered as the paradigmatic example of the impossibility of finding some compatibility between the different versions of the philological, stylistic, ethic, religious and epistemological enthusiasm of the Humanists. Their fundamental oppositions concerning the free will showed that the Humanists were forced to take the will of reformation with caution to avoid the harm of their own epistemological fundaments. On the other hand, the clash between these men had a very large impact in France because Erasmus was one of the main influences of the French Humanism but also because of the failure of his collatio. The center of gravity of the research is the Saint-Bartholomew Night’s Massacre because it left an impression over the humanists’ consciences that the analysis of the discourses before and after the killing may allow to recover the common basis of their discourses. This common basis encouraged violent dynamics but let paradoxically survive an irenic trend marked by the skeptic tradition, which would be one of the most characteristic signs of the historiographical readings of the humanist discourse.

Syftet med detta arbete är att undersöka hur musik används och lärs ut i den lilla byn Berefet i Gambia. Under ett första besök i byn tyckte vi oss nämligen se att barn och vuxna musicerade med stor glädje och kunskap. Anledningen till ämnesfokus var att vi ville hitta vägar till ett mer naturligt och glädjefyllt sätt att undervisa som musiklärare här i Sverige. Undersökningen har genomförts med hjälp av kvalitativa intervjuer med tre lärare och tre andra invånare i byn. Svaren har vi sedan analyserat utifrån ett musiketnologiskt perspektiv och jämfört med vad andra forskare och författare inom musiketnologi och pedagogik har kommit fram till. Resultatet visar på att det vardagliga musicerandet i Berefet inte är så utbrett som det verkar vid en första anblick. Det visar sig att barnen i byn i första hand lär sig och övar upp sina musikaliska kunskaper i sin hemmiljö, och att de då lär sig av äldre släktingar och familjemedlemmar. / The purpose of this study is to examine how music is being used and how it is taught in the small village of Berefet in The Gambia. During our first visit to the village, it seemed to us that both children and adults used music in a very natural, knowledgeable and, at the same time, joyful way. We, as music teachers from Sweden, would like to learn from the citizens in Berefet and find new methods of teaching music in a more intuitive and enjoyable way. The research has been conducted through qualitative interviews with both teachers and inhabitants of the village. We have analyzed the collected data from a music ethnological perspective and compared our results with findings from other studies and literature concerning music ethnology and pedagogy.Our study indicates that a daily practicing of music in Berefet isn’t as widely spread as initially assumed. It appears that the children in the village learn and practice music primarily in their home environment, and that they learn from their older relatives and family members.

Studien syftar till att få en djupare förståelse för hur sångare använder och upplever olika verktyg för att forma och kommunicera musik, vilka verktyg de prioriterar samt vilken funktion dessa verktyg fyller. För att undersöka detta har jag utgått från olika teorier om musikalisk kommunikation samt ett multimodalt och socialsemiotiskt perspektiv med fokus på kommunikation som en social process av teckenskapande. Jag har genomfört åtta kvalitativa intervjuer med sångare som arbetar/arbetat professionellt med sång inom olika genrer. Resultaten visar att sångarnas musikaliska kommunikation formas och uttrycks genom ett användande av flera olika verktyg varav röstteknik, samspel, publikens förväntningar, personlighet och tradition är de viktigaste. Sångarnas användande och prioritering av dessa olika verktyg kan sammanfattas i olika övergripande förhållningssätt som sångarna har till sin musikaliska kommunikation, varav tradition och personlighet är de mest framträdande förhållningssätten. En slutsats är att en sångares musikaliska uttryck kan beskrivas som en väv av kommunikativa strukturer och att sångare strävar efter att gestalta helheter av dessa strukturer för att uppleva mening. En annan slutats är att sångare kan betona olika aspekter av den musikaliska kommunikationen vid olika tillfällen i musicerandet, att den sker på flera plan samtidigt samt att musikens sammanhang avgör hur den musikaliska gestaltningen formas. Jag vill slutligen tillägga att sångarens gestaltande av musikaliska helheter sker genom att skapa, tolka och imitera olika resurser i syfte att skapa en meningsfull kommunikation för både publik, medspelare samt med sångaren själv. / The study aims to demonstrate a deeper understanding in how singers can use different tools to shape and communicate music, and the order of priority and functions of these tools. To attain knowledge about this, I have applied different theories of musical communication, in addition to a multimodal and social semiotic perspective with focus on communication as a social process of sign making. This has been examined through qualitative interviews with eight active and former professional singers in various genres. The results show that the singers use many different tools to shape and communicate music, of which the most predominant are voice-technique, interplay, expectations from the audience, personality and tradition. The singers usage and priority of these tools can be summarised in different overall ways of musical communication, of which tradition and personality are the most conspicuous. One conclusion is that the musical expression of a singer can be described as a weave of communicative structures, and that the singers strive to achieve a wholeness of these structures to yield meaning. Another conclusion is that singers may emphasize different aspects of the musical communication at different stages in a performance, that this may occur at different levels simultaneously, and that the musical context decides how the musical communication is being shaped. Finally, I want to describe the singers’ function as achieving completeness in the musical expression by creating, interpreting and imitating different resources by using different tools, thereby creating a meaningful musical communication to the audience, in interplay with other musicians and the singer.