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Die ersten Diskussionen musikalischer Modulation oder Ausweichung von einer Tonart zu einer anderen finden sich nicht in Kompositionslehren, sondern in Generalbasstraktaten. Dabei erscheinen diese neuen Konzeptionen grundsätzlich bei Autoren, die auch neue Tonartensysteme anerkennen. Es gibt keinerlei Verbindungen zu früheren Begriffen wie mutare il modo (Zarlino) oder Mutatio toni und Alteratio modi (Bernhard). In England und Frankreich, wo sich auch die ersten Tonartkategorisierungen nach Moll und Dur finden, zeigen sich ab 1667 erste Beschreibungen von Modulation im neueren Sinne. Matthew Locke gab 1673 noch keine Regeln, aber Notenbeispiele für Übergänge von einer Tonart in eine andere. Gasparini 1708 und Heinichen 1711 geben Vorzeichenregeln. Erst mit Rameaus Traité von 1722 und seiner Anerkennung charakteristischer Dissonanzen für Dominante und Subdominante werden Regeln für Modulation auf eine neue Basis gestellt. / The first discussions of musical modulation or transition from one key to another are not to be found in composition primers but in thorough bass treatises. These new concepts generally appear with authors who also offer new key systems and have no relations to earlier terms of mutare il Modo (Zarlino) or Mutatio toni and Alteratio modi (Bernhard). It is in England and France, where we also find the first key categorizations according to major and minor, that – from 1667 – we find the first descriptions of modulation in the modern sense. Matthew Locke in 1673 did not give rules but musical examples for transitions from one key to another. Gasparini in 1708 and Heinichen in 1711 give rules of accidentals. Only with Rameau’s Traité of 1722 and his recognition of characteristical dissonances for dominant and subdominant that rules for modulation receive a new basis.

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While subject-specific research shows that the use of picturebooks in foreign language lessons is beneficial to the acquisition of a foreign language as well as to the development of visual literacy, there is evidence that the use of picturebooks in German as a Foreign Language lessons in Sweden is being neglected. The main subject of this thesis is to offer suggestions as to how Antje Damm´s picturebook Der Besuch can be employed in German as a Foreign Language lessons in Sweden in order to uncover and discuss different responses to the alien by the main character. The philosophical background of this study is based on Bernhard Waldenfels´ notions of alienness and the event of responsivity. A central line of argument is that the plural character of our experiences determines how the alien is perceived. Bettina Schröder´s work Bild(er)leser wissen mehr! Das Bil-derbuch als Vermittler von “Visual Literacy”: Eine Aufgabe für die Kinder- und Jugendbibliotheksarbeit? is not only decisive for the analysis of the visual elements of the picturebook but also for the design of a questionnaire that enables the thematic exploration of Damm´s picturebook during German as a Foreign Language lessons. By separately analysing the visual and the verbal elements of the picturebook as well as their relationship, the result of the first part of this work points out four approaches to the alien by the main character: isolation, elimination, ignoration (Weghören) and hospitality. Furthermore, the thematic analysis of Der Besuch makes it evident that picture and text tell the same story in their own specific and autonomous way. Based on the results of the first part, the findings of the second part suggest a guideline as how Damm´s picturebook can be used in German as a Foreign Language lessons. A three-phased model presents a set of example questions designed to enable the meticulous exploration of the theme when working with the picturebook.

This thesis explores the relationship between image and text in four devotional books printed in Münster Germany between 1589 and 1660, and shows how this relationship supported the Catholic confessionalization programs of the three prince-bishops of those years. These confessionalization strategies, though varied, all emphasized the reinforcement of religious conformity leading to the consolidation of the authority of the ecclesiastical and secular leadership of the prince-bishop. The success of the confessionalization strategies of the three prince-bishops through this medium were the result of three contributing factors. The first of these was the printer of the works, the Raesfeldt printing house, which held a printing monopoly from all three of the prince-bishops. The second factor was the Jesuits who were responsible for education and indoctrination in Münster and shaped a significant portion of this literature. The last contributing factor was the readers, a group with a relatively wide spectrum of abilities in literacy who bought, read, and exchanged the books. Among the readers were a significant number of women readers who took up the confessional message of these books, wound it into their devotional lives, and strove to perpetuate Catholic piety within their homes. Although conventional wisdom suggests that images played a minor role in such programs, images were crucial elements in the communication of Catholic orthodoxy. This thesis shows how images were an equal partner in the conveyance of a nuanced Catholic confessional message in which the text directed a specific Catholic viewing and reading experience. The majority of the images do not carry an intrinsic Catholic message but rather present a traditional visual vocabulary that established an unbroken lineage between the Catholic Church and the pre-Reformation Church. These images provided the standard recurring theme around which the confessionalization message of the text was fashioned. As a distinctly regional literature, these devotional works reveal a localized Catholic response to Protestant polemic. They give valuable insight into the influence of confessionalization programs on regional devotional practices. The lasting effects of these confessionalization programs are still visible in Münster’s Catholic character today.

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.