The study shows how seven informants, all studying at a university in northern Sweden to become art teachers, perceive and relate to controversial contemporary art in the context of secondary school art education. The study is based on semi-structured interviews. The study contributes to a nuanced view of these informants opinions and thoughts regarding provocative contemporary art, in relation to the school's democratic values ​​and founding mission. The seven informants' responses were compiled thematically linked to the study's purpose and issues to allow for comparisons and analysis. The analysis of the information that was served was based on a qualitative perspective, which has links to hermeneutics. It appears that some of the informants have strong opinions regarding what kind of controversial contemporary art that should not be dealt with in elementary school art education. It is also suggested that contemporary art is an absent element in art education at Sweden's primary schools.

The combination of observational, anecdotal and circumstantial evidence suggests that, in the present-day Christian church, older, traditional hymns are slowly but inexorably being replaced by modern, contemporary ones. Whilst it is a truism that hymnody, like every other aspect of civilisation, moves forward with the times, there still remains a large number of people, congregations and clergy for whom the early eighteenth century English hymn is a genre that remains ever-popular. This research focuses deliberately on the eighteenth century hymn for four main reasons. First, hymns from this period are widely used in most Christian denominations. Second, the eighteenth century was a particularly fertile period for hymnody. Third, this was the era of Watts and Wesley, arguably two of the greatest hymn writers of all time; their burgeoning popularity thrust the eighteenth century into a period of proclivity for hymn writing. Finally, the whole area of hymnody in the Church of Ireland appears to be under-researched. Thus, in seeking to determine why older, more traditional hymns continue to be published in Church of Ireland hymnals this research fills a very obvious gap. This study establishes that this resilience is real and not merely perceived. Eighteenth century hymns are still widely sung in today’s Church, irrespective of size, location, setting, status, leadership or congregation. The study explores the many reasons behind this resilience—reasons that go beyond the more obvious musical and liturgical ones and highlight the impact of hymnody from a variety of angles. / Thesis (PhD (Liturgics))--North-West University, Potchefstroom Campus, 2012

The combination of observational, anecdotal and circumstantial evidence suggests that, in the present-day Christian church, older, traditional hymns are slowly but inexorably being replaced by modern, contemporary ones. Whilst it is a truism that hymnody, like every other aspect of civilisation, moves forward with the times, there still remains a large number of people, congregations and clergy for whom the early eighteenth century English hymn is a genre that remains ever-popular. This research focuses deliberately on the eighteenth century hymn for four main reasons. First, hymns from this period are widely used in most Christian denominations. Second, the eighteenth century was a particularly fertile period for hymnody. Third, this was the era of Watts and Wesley, arguably two of the greatest hymn writers of all time; their burgeoning popularity thrust the eighteenth century into a period of proclivity for hymn writing. Finally, the whole area of hymnody in the Church of Ireland appears to be under-researched. Thus, in seeking to determine why older, more traditional hymns continue to be published in Church of Ireland hymnals this research fills a very obvious gap. This study establishes that this resilience is real and not merely perceived. Eighteenth century hymns are still widely sung in today’s Church, irrespective of size, location, setting, status, leadership or congregation. The study explores the many reasons behind this resilience—reasons that go beyond the more obvious musical and liturgical ones and highlight the impact of hymnody from a variety of angles. / Thesis (PhD (Liturgics))--North-West University, Potchefstroom Campus, 2012

<p>Bilaga: 2 CD/DVD</p>

This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.

This paper will explore the intersections of gender, sexuality and revolution in contemporary Chinese art through the lens of the Chinese Cultural Revolution. As an integral part in the process of narrative reconstruction, the propaganda imagery from the Cultural Revolution provides important insights into societal expectations for the masses. This paper will also analyze how contemporary artists seek to appropriate and respond to the events of the Cultural Revolution through their artwork, and describe the processes by which the I interpreted this information in order to create my own artwork.

Irony: metafiction in Luigi Malerba’s works. In this thesis I examine irony and metafiction in some novels by Italian writer Luigi Malerba (1927-2008). Metafiction characterizes all of Malerba’s works; this dissertation shows how Malerba’s works constantly draw attention to themselves and consequently encourage readers to pose questions about the existing relationship between fiction and reality. Similarly, irony fosters further investigation of language as sign system; through recurrent word games, Malerba removes the certainty of a univocal existing correspondence between signifier and signified. In the first chapter I discuss the very first works by the author: Le lettere di Ottavia, Il serpente, Salto mortale and Il protagonista. The entire chapter revolves around the construction of possible worlds and, therefore, of fictional worlds. Through this analysis the borders between fiction and reality appear to be quite weak; they are indeed proved to be an illusory construction of contemporary human beings who tend to think according to binary oppositions, such as reality and dream, reality and fiction. I proceed by examining Storie dell’anno mille, Il pataffio, I cani di Gerusalemme and Le maschere; these novels are imbued with history. The central theme of the entire chapter is history and fabulation and their relationship to each other. History is shown to be part of human discourse: historical events are made out of pure chronicles by a process called emplotment. The form that the historical narration takes on inevitably influences the meaning of the events narrated. In the third chapter I analyze Le pietre volanti, La superficie di Eliane and Il circolo di Granada. Here I demonstrate how Malerba uses detective novels in a non-canonical way, turning his own works into anti-detective novels. In these works, the investigation does not reach any rewarding ending; even at the conclusion of the story, the detective’s hypothesis cannot be completely ruled out and the reader is left with what Stefano Tani calls a “fiction of possibilities”. Fantasmi romani occupies the whole chapter four. In this final chapter I discuss why this work, the very last one before the author’s death, can be considered his literary testament. In this novel, Malerba’s readers can find all the peculiarities which have distinguished the author’s writing for more than four decades. Along with recognizing his style, readers will appreciate new developments in his narration. This work encourages readers to investigate the consuming relationship which can be established between a writer and his reader. In the end of this thesis, some considerations for further investigation are made; these considerations focus on Luigi Malerba’s writing for children, an area of study that has received little critical attention.

This thesis engages with what has become a ubiquitous term in masculinity studies: “crisis”. I argue that the invocation of “crisis” which implies catastrophe, disaster and trauma, and the favorable reception of this invocation both in academic and popular thinking about men, has resulted in a rush to defend and reauthorize aspects of the masculine ideal. The defense of traditional masculinity risks re-entangling men with masculinity and masculinity with patriarchy. The retying of these categorical knots challenges the deconstruction of gender that feminism and early men’s studies carried out in the second half of the twentieth century in the name of equal rights and in the name of freeing both men and women from having to conform to rigid gender stereotypes – particularly in the home. In recent work by J.M. Coetzee, John Banville and Ian McEwan the male protagonists are fathers who are forced to address a crisis of authority and legitimacy. In the first three chapters I argue that fatherhood in these novels is the site wherein the masculine ideal is least likely to be deconstructed and as such, it is in the context of the relationship between father and daughter that I argue heteromasculinity is most powerfully constructed, maintained and defended. In the fourth chapter I consider Alison Bechdel’s graphic memoir Fun Home which provides a queer take on male crisis and father-daughter relationships and which represents female masculinity as a counter to the pressure to reauthorize heteromasculinity for the next historical turn.

Mardin&amp / #8217 / s unique stone architecture has evolved within various ethnical and religious communities. Regardless of its hybrid nature, with the effect of topography, the fabric has a uniform character. The interventions made to the city during the last century have repeated fragments of stereotype apartment building instead of sustaining traditional typologies (building types with living unit, aiwan, arcade, terrace and courtyard). Typological difference of these interventions has caused an incongruous hybridization and deterioration in the fabric. Hybridization in architecture, for Felipe Hernandez, is not only diversity of architectural styles and materials. Furthermore, it is a cultural issue related with changes in the society. Mardin confronts hybridization because the traditional buildings are incapable of embracing contemporary functions. This has been exemplified with G&ouml / z&uuml / House and neighboring buildings. Late interventions are distinguished from the historical ones according to typological differences. This study accepts hybrid as a problem but also as a fact / thus aims to regenerate it. The historical types, accepted as original, are interpreted with a contemporary sense in reference to debates on sustaining urban form with new buildings and theories on typology which define it as open to creativity, vague in form and reproducible. This is exemplified by a proposal, an infill in the fabric. Spatial sequence of the proposal refers to traditional plan typologies while these spaces embrace contemporary functions and their architectonic expression refers to contemporary architecture. So, in relation to the facts of the present context the proposal fulfills its spatial expectations while respecting physical context.

This thesis explores the changing identity of Asian North American women in the past thirty years through the analysis of the work of three Asian North American female artists, Liu Hung (b.1948), Jin-me Yoon (b.1960), and Nikki S. Lee (b.1970). It argues that Asian North American female identity has evolved in three stages: firstly, it shows a close connection with a diasporic imagined community bound by ones cultural origin; secondly, it is rooted in a settled diasporic community, meanwhile remains tied to the original homeland as an imaginary political space for unification; lastly, the new transnational Asian female identity rejects classification based on race and gender and embraces an identity rooted in globalization. / History of Art, Design and Visual Culture