In this study the subjective experience of psycho-analytic essence is approached through an examination of conscious and unconscious representations of self-in-work (Dreyfus, 1991). The study begins with an heuristic identified as the psycho-analytic moment, a transitory self-state arising in the course of conducting a psycho-analysis and felt to correspond to occasions of right, expert, good or exemplary therapeutic practice. The study advances to an examination of the lived experience of clinical psycho-analysis through a set of structured and unstructured interviews with two psycho-analysts. The study’s general approach incorporates a revised version of Goethe’s delicate empiricism as adapted by Hoffman (1989). The methods for interviewing participants and for analyzing transcripts were designed to access unconscious communications regarding subjective experience. Interview procedures combined phenomenological and free-associative narrative techniques: Procedures for transcript analysis were developed from literary studies, psycholinguistics, psycho-analysis and grounded theory. The analysis of participants’ utterance led to the hypothesis that an unconscious configuration of inference and memory gives shape to the subjective experience of composite elements of psycho- analytic practice. This hypothesized coherence of unconscious memory and process structures is identified as a structural metaphor. The structural metaphor is posited to underwrite the verisimilitude of lived experience, personal idiom and aesthetic within the clinical encounter. Thus, the structural metaphor is hypothesized to shape not only the psycho-analyst’s representations of his or her way of being-in-work and linguistic deportment within the interview setting, but to also shape the subjective experience of psycho-analytic practice. Thus reconsidered, the psycho-analytic moment is viewed as an existential moment in the ongoing phenomenology of lived experience, occasioned by a convergence of unconscious identity and experience within the clinical field. This existential moment is taken to be indicative of the presence of something essential about self, work or self-in-work, as a result of a set of psychological, affective and visceral factors that arise in this moment of convergence. However, the psycho-analytic moment is assigned little epistemic value in identifying properties of psycho-analysis as a discipline or a practice, instead reflecting the structural metaphor that underlies the experience of that practice.

In this study the subjective experience of psycho-analytic essence is approached through an examination of conscious and unconscious representations of self-in-work (Dreyfus, 1991). The study begins with an heuristic identified as the psycho-analytic moment, a transitory self-state arising in the course of conducting a psycho-analysis and felt to correspond to occasions of right, expert, good or exemplary therapeutic practice. The study advances to an examination of the lived experience of clinical psycho-analysis through a set of structured and unstructured interviews with two psycho-analysts. The study’s general approach incorporates a revised version of Goethe’s delicate empiricism as adapted by Hoffman (1989). The methods for interviewing participants and for analyzing transcripts were designed to access unconscious communications regarding subjective experience. Interview procedures combined phenomenological and free-associative narrative techniques: Procedures for transcript analysis were developed from literary studies, psycholinguistics, psycho-analysis and grounded theory. The analysis of participants’ utterance led to the hypothesis that an unconscious configuration of inference and memory gives shape to the subjective experience of composite elements of psycho- analytic practice. This hypothesized coherence of unconscious memory and process structures is identified as a structural metaphor. The structural metaphor is posited to underwrite the verisimilitude of lived experience, personal idiom and aesthetic within the clinical encounter. Thus, the structural metaphor is hypothesized to shape not only the psycho-analyst’s representations of his or her way of being-in-work and linguistic deportment within the interview setting, but to also shape the subjective experience of psycho-analytic practice. Thus reconsidered, the psycho-analytic moment is viewed as an existential moment in the ongoing phenomenology of lived experience, occasioned by a convergence of unconscious identity and experience within the clinical field. This existential moment is taken to be indicative of the presence of something essential about self, work or self-in-work, as a result of a set of psychological, affective and visceral factors that arise in this moment of convergence. However, the psycho-analytic moment is assigned little epistemic value in identifying properties of psycho-analysis as a discipline or a practice, instead reflecting the structural metaphor that underlies the experience of that practice.

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Failure in teaching is common in Swedish school because there are teachers who do not know how to adapt the education according to the students prerequisites (Andersson & Sandgren, 2015). The purpose of the study is to investigate how high school teachers work on the difficulties of teaching through delicate negotiations. The study is based on theory of how the relationship between teacher and student is created through communication and how learning can only be done through relationships. The study is based on qualitative interviews with actors from a secondary school in a medium-sized town in Sweden. The result of the study is that delicate negotiations imply the educator's ability to create and maintain participation, attention and good relationships with students. This is evident by actors who also point out the importance of trust, safety and also the meaning of failures. The study takes place at a school and is interested in the educational work method of secondary school teachers, which demonstrates relevance to the subject of pedagogy.

A dissertação estuda o romance Um Crime Delicado, de Sérgio SantAnna (1996), ao filme quase homônimo, de Beto Brant (2005), tendo como principal questão a imagem do corpo no contexto sócio-cultural urbano e a sua representação na arte contemporânea. O romance de SantAnna acolhe, na urdidura ficcional, subtemas da maior relevância, tais como o lugar da deficiência física no horizonte de uma cultura hedonista, violência sexual (contra a mulher) e os poderes da crítica de arte (da autojustificação ao desvirtuamento de seus fins). A adaptação fílmica, por sua vez, introduz mudanças na obra de partida que complementam e enriquecem o romance e suas questões. No exercício comparativo, a tradicional discussão sobre as relações interartísticas (calcadas em Lessing), o culto à beleza e respectiva hostilização da feiura, os limites da exacerbação sensorial a partir do uso artístico da nudez provocaram a incorporação de outras obras de arte e de artistas à discussão de conceitos imprescindíveis: o abjeto, o contraditório, a intermidialidade. No primeiro capítulo, circunscrevemos historicamente nosso tema, focalizando a representação do corpo como lugar de multiplicação e relativização de significações; a seguir, apresentamos o painel de contradições que a sociedade excitada do século XX (Christoph Türcke, 2010) projeta sobre a questão corporal; e, para finalizar, propusemos a dilatação teórica do adágio horaciano ut pictura poesis /a poesia é como a pintura ao cinema poético (com suporte teórico de Claus Clüver, 2011, e Wolfgang Moser, 2006). Concluímos sugerindo que as intermidializações propõem novas interpretações aos textos literários, mas podem ser bem mais contundentes como formas de potenciação estética e de crítica social. / The dissertation studies the novel A Delicate Crime, Sérgio Sant'Anna (1996), the film almost homonym, Beto Brant (2005), the main issue of body image in the urban socio-cultural context and its representation in contemporary art. The romance of Sant'Anna welcomes, in the fictional warp, sub-themes of paramount importance, such as the place of disability on the horizon of a hedonistic culture, sexual violence (against women) and the powers of art criticism (self-justification of the distortion its purposes). The film adaptation, in turn, introduces changes in starting work that complement and enrich the novel and its issues. In the comparative exercise, the traditional discussion of the art transposition (modeled on Lessing), which implicate midia, technique and content changes, the cult of beauty and ugliness of their harassment, the limits of sensory exacerbation from the artistic use of nudity caused the incorporation of other works of art and artists the discussion of essential concepts: the abject, the contradictory, the intermediality. In the first chapter, historically circumscribe our theme, focusing on the representation of the body as a place of multiplication and relativity of meanings; the following are the contradictions panel that "excited society" of the twentieth century (Christoph Türcke, 2010) projected on the body concerned; and, finally, we proposed the theoretical expansion Horation adage - ut pictura poesis / "Poetry is like painting" - the poetic cinema (with theoretical support Claus Clüver 2011, and Wolfgang Moser, 2006). We conclude by suggesting that the questions about midia transposition propose new interpretations to literary texts, but can be much more forceful as forms of cosmetic enhancement and social criticism.

A dissertação estuda o romance Um Crime Delicado, de Sérgio SantAnna (1996), ao filme quase homônimo, de Beto Brant (2005), tendo como principal questão a imagem do corpo no contexto sócio-cultural urbano e a sua representação na arte contemporânea. O romance de SantAnna acolhe, na urdidura ficcional, subtemas da maior relevância, tais como o lugar da deficiência física no horizonte de uma cultura hedonista, violência sexual (contra a mulher) e os poderes da crítica de arte (da autojustificação ao desvirtuamento de seus fins). A adaptação fílmica, por sua vez, introduz mudanças na obra de partida que complementam e enriquecem o romance e suas questões. No exercício comparativo, a tradicional discussão sobre as relações interartísticas (calcadas em Lessing), o culto à beleza e respectiva hostilização da feiura, os limites da exacerbação sensorial a partir do uso artístico da nudez provocaram a incorporação de outras obras de arte e de artistas à discussão de conceitos imprescindíveis: o abjeto, o contraditório, a intermidialidade. No primeiro capítulo, circunscrevemos historicamente nosso tema, focalizando a representação do corpo como lugar de multiplicação e relativização de significações; a seguir, apresentamos o painel de contradições que a sociedade excitada do século XX (Christoph Türcke, 2010) projeta sobre a questão corporal; e, para finalizar, propusemos a dilatação teórica do adágio horaciano ut pictura poesis /a poesia é como a pintura ao cinema poético (com suporte teórico de Claus Clüver, 2011, e Wolfgang Moser, 2006). Concluímos sugerindo que as intermidializações propõem novas interpretações aos textos literários, mas podem ser bem mais contundentes como formas de potenciação estética e de crítica social. / The dissertation studies the novel A Delicate Crime, Sérgio Sant'Anna (1996), the film almost homonym, Beto Brant (2005), the main issue of body image in the urban socio-cultural context and its representation in contemporary art. The romance of Sant'Anna welcomes, in the fictional warp, sub-themes of paramount importance, such as the place of disability on the horizon of a hedonistic culture, sexual violence (against women) and the powers of art criticism (self-justification of the distortion its purposes). The film adaptation, in turn, introduces changes in starting work that complement and enrich the novel and its issues. In the comparative exercise, the traditional discussion of the art transposition (modeled on Lessing), which implicate midia, technique and content changes, the cult of beauty and ugliness of their harassment, the limits of sensory exacerbation from the artistic use of nudity caused the incorporation of other works of art and artists the discussion of essential concepts: the abject, the contradictory, the intermediality. In the first chapter, historically circumscribe our theme, focusing on the representation of the body as a place of multiplication and relativity of meanings; the following are the contradictions panel that "excited society" of the twentieth century (Christoph Türcke, 2010) projected on the body concerned; and, finally, we proposed the theoretical expansion Horation adage - ut pictura poesis / "Poetry is like painting" - the poetic cinema (with theoretical support Claus Clüver 2011, and Wolfgang Moser, 2006). We conclude by suggesting that the questions about midia transposition propose new interpretations to literary texts, but can be much more forceful as forms of cosmetic enhancement and social criticism.

The following project will examine the scientific, metaphysical, and aesthetic themes connected to Goethe's vision of Natur during and surrounding the years of his famed Italian Journey. Goethe's progressing conceptualization of the Urpflanze during this period, as witnessed in his autobiographical Italienische Reise and the Versuch, die Metamorphose der Pflanzen zu erklaren, will be of special concern because of its pertinence to a number of vital natural scientific themes in Goethe's scientific work. I will also trace the progression of these themes over time as seen in Goethe's related theories of the intermaxillary bone and of the morphology of plant organs so as to maintain that the Italian Journey may be seen as a period not only of literary revitalization as commonly cited, but also of scientific progress in connection with Goethe's deepening understanding of Natur as well as its inherent laws and archetypal nature. The first chapter will introduce the project's problem in detail as well as the textual and critical obstructions associated with the project. I will maintain in Chapter II that Goethe's biography during the 1780s shows a systematic progression in the understanding of Natur in his scientific projects and in the Reise, which also helps to demonstrate that Goethe's Journey was a period during which Goethe was able to develop, in greater detail than heretofore, his metaphysical vision of Natur. In Chapter III, I will investigate the primary textual material on Goethe?s notion of the Urpflanze within the Italienische Reise and its resulting extension in his 1790 study of plant morphology, the Metamorphose der Pflanzen. Chapter IV will discuss the topic of the Eins in Nature and anschauende Urteilskraft as detected in Goethe's scientific writings. Chapter V will continue and conclude this argument by linking Richards' argument regarding "Romantic biologists" to Goethe?s natural science during the time of the Italian Journey, thus making a connection between Kunst and Natur in the Italienische Reise and in Goethe's scientific projects during and surrounding the Journey.

This diploma thesis deals with the teaching specificity of the history of the 20th century in upper primary schools and with methodical drafts of selected thematic units of the same period. The thesis puts emphasis on problems related to teaching on the 20th century. The work summarizes theoretical knowledge of teaching on the history of the 20th century and follows up the classification of this historical period into the General educational program for basic education. Methods and strategies suitable for teaching the history of the 20th century and the approach how to give lessons about controversial and delicate topics in history are also included in the present thesis. The methodical drafts of selected thematic units from the history of the 20th century are one part of the thesis. These drafts were worked out in respect of using various teaching styles and educational strategies. The thesis also pays attention to the utilization of didactic media in the teaching of history.