In Dylan Thomas's poetry, he refers to an inexorable, amoral force that exists within the universe. This force exists in all things, yet cannot be manipulated. His first collection, 18 Poems, serves as the premier source for defining and understanding the existence of this force. Two poems in particular, "A Process in the Weather of the Heart" and "The Force that Through the Green Fuse Drives the Flower," provide the most comprehensive examination of the force. However, his idea of the force is not confined to his poetry. During the last years of his life, he completed a play titled Under Mile Wood, which explores the treatment of the force. Within the play Thomas presents life as it exists in the small, seaside town of Llareggub. The town and its inhabitants are subject to the force, which results in the characters' unique eccentricities.

Syftet med följande examensarbete är att undersöka i vilken form och utsträckning formativ bedömning existerar ute i den svenska gymnasieskolan. Vi vill dessutom undersöka huruvida det finns en kommunikation mellan lärare och elever gällande formativ bedömning samt hur denna kan se ut. För att svara på våra frågeställningar har vi först sammanställt den tidigare forskning som finns kring formativ bedömning. Därefter har vi presenterat relevant teori som primärt består av Dylan Wiliam och hans fem strategier för hur man kan ta sig an formativ bedömning i klassrummet. I resultatet presenteras den empiri som framkommit genom intervjuer med lärare, samt enkätundersökningar som gjorts eleverna som går i de klasser som lärarna undervisar i. I analys-avsnittet sker således en analys av empirin med hjälp av teorin; Dylan Wiliams fem punkter. Denna visar på att det finns en dialog av något slag i alla de klassrum som undersökts gällande formativ bedömning. Hur mycket denna implementeras samt på vilka konkreta sätt tycks vara relaterat till vilken mängd fortbildning lärarna fått sedan Gy11 och formativ bedömning kom ut på marknaden i den form det är idag. Tidsbristen tycks också ha en viss påverkan på i vilken utsträckning formativ bedömning används. Slutligen så tycker dock både elever och lärare att formativ bedömning är något positivt och att det bör finnas med i klassrummet så länge tiden, möjligheten och kunskapen finns där.

<p>Dylan Thomas belongs to an exclusive group, the Anglo-Welsh poets, who, throughout most of English literary history, have either chosen or have been compelled to write in English rather than in Welsh, a situation which offers someone interested in language analysis an opportunity to study its several implications. Perhaps, in the not too distant future, the way in which human beings think and learn a language will be satisfactorily determined. In what language does a bi-lingual person think? Does a human being think in words or pictures? What emotive value do words possess? Is there an on-going tension between the first language and the acquired language or languages, or, as in Thomas' case, the first family language which he could not speak fluently and the alien language which became his lingua franca? To what extent do the latent influences such as personal associations, family background, interests, ancestry, ultimately affect the nature of writing? At present, in the world of critical thought on these subjects, we are still "on a darkling plain" where "ignorant armies clash by night".</p> <p>Literary critics have often dismissed Dylan Thomas' poetry, and particularly his figurative language, as excessively esoteric and complex. This study will, I hope, go some way to meet this criticism by examining in some detail the dynamics of Thomas' diction, metaphor, and symbolism, as necessary components of a style that is both original and essential to the manifestation of a truly private metaphysical vision. In this study I will attempt to identify the elements that characterize his style: in short, to establish why his poems are the way they are.</p> / Master of Arts (MA)

Studiens syfte är att få ökad kunskap om hur fysiklärare på högstadiet tillämpar for- mativ bedömning i praktiken. Hur ofta utför lärarna formativ bedömning? Vilka me- toder använder sig lärarna av, och vilka faktorer påverkar deras arbete med formativ bedömning? En enkät med frågor direkt kopplade till Dylan Wiliams fem nyckelstra- tegier för formativ bedömning skickades ut via e-post till högstadielärare inom ett skol- område. En tematisk analys av svaren visar att lärarna oftast utför formativ bedömning en gång i veckan och att de främst använder gruppdiskussioner och skriftliga uppgifter för att samla information om elevernas tänkande, samt att eleverna oftast får feedback muntligt. Analysen visar även att självreglerat lärande är den minst utövade strategin för formativ bedömning. Vidare visar studien att erfarenhet, samarbete med kollegor, gott klassrumklimat och små klasstorlekar är de vanligaste faktorerna som underlättar tillämpning av formativ bedömning, medan tids- och intressebrist hos ele- verna finns bland de vanligaste hindren för implementering av formativ bedömning.

The Freewheelin’ Bob Dylan was released in 1963, during the Cold War. Nuclear apocalypse was a big fear at the time and the fright deeply influenced the album. Therefore, this essay argues that the record contains a poetic narrative, with the overarching theme of contemporary apocalyptic death. The poetic narrative reveals an allusion to Noah’s Ark and the story of Judas, which is not present if the songs are analyzed independently. The narrative consists of five parts: “Blowin’ in the Wind” deals with the uncertainty of the 1960s; “Masters of War” describes the arming of the younger generation to fight a nuclear war; the actual apocalyptic event is chronicled in “A Hard Rain’s A-Gonna Fall”; “Talkin’ World War III Blues” narrates the post-apocalyptic event and the final part is “Corrina, Corrina”, which deals with the reproductive consequences. The material will be analyzed, and the conclusion supported, by recourse to historical contextualization and religious symbolism and allusions. The essay uses Beebee’s analysis of “A Hard Rain’s A-Gonna Fall” (1991) and Roos’ work on the entire Dylan canon from a thematic perspective (1982) to support the conclusions made, but compared to previous papers on The Freewheelin’ Bob Dylan, this essay takes the original mode of music consumption into account and studies the album as a greater whole. Through an analysis of the entire record, allusions are encoded that is not evident if each song is interpreted independently.

O presente trabalho tem como objetivo compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango e I Want You) e baseada nas abordagens adotadas pelos mesmos, compor uma versão de uma canção do vasto repertório dylaniano. A partir disso, procurei traçar os rumos que levaram ao primor das três versões Negro Amor, Romance no Deserto e Tanto, focando não apenas na mera tradução, mas na transposição para a língua portuguesa brasileira da lírica dylaniana mantendo para tal o formato da canção. As canções, apresentadas na ordem cronológica do lançamento das versões, são cotejadas com suas respectivas originais e os panos de fundo dos quatro versionistas, procurando analisar o caminho que cada um trilhou para chegar a sua interpretação. Ao final, tendo como enfoque as abordagens colhidas, apresento uma versão de própria lavra de uma canção do cancionista americano. / The present work aims to trace the approaches which led to the perfection of Negro Amor, Romance no Deserto and Tanto, three versions to songs of singer-songwriter Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango and I Want You respectively) e, focusing not merely on translation, but in the transposition of Dylan’s lyric into Brazilian Portuguese in which the song format has been maintained intact. The songs, presented in the chronological order of the versions, are collated with their corresponding originals and backgrounds of the four Brazilian composers, looking to analyze the way in which each one of them was able to reinterpret a Dylan song. At the end, taking into account the approaches gathered along this study, I present my own version of a Bob Dylan song.

O principal objetivo deste trabalho é, primeiramente, o levantamento de versões brasileiras para canções de Bob Dylan e, posteriormente, a análise das letras dessas versões. A intenção é compreender como os compositores brasileiros fizeram a leitura do compositor americano. O resultado mostra um quadro com 46 versões, realizadas no período de 1968 a 2008, que se referem a três períodos da obra de Bob Dylan, antes, durante e depois do que o biógrafo Robert Sheldon denominou Primeiro Ciclo Rock. Os dados permitem separar dois grandes grupos de compositores brasileiros: um contém aquelas versões feitas a partir dos álbuns pertencentes ao Primeiro Ciclo Rock de Dylan, gerando a estatística de mais de 52% dos casos, e o outro contém versões que focaram nas outras fases do músico. / The main purpose of this research was to collect Brazilian versions of Bob Dylan’s songs and analyze both Portuguese and English lyrics, searching for evidences on how Brazilian songwriters have interpreted Dylan’s work in their cultural context. Results show a table with 46 Brazilian versions made from 1968 to 2008. They were analyzed according to what the biographer Robert Shelton called Rock Cycle. Statistics show more than 52% of those versions referring to pre-rock cycle and rock cycle, aiming the musician’s production from 1963 to 1965, mainly. This paper analyses Brazilian version lyrics in comparison to original lyrics.

O presente trabalho tem como objetivo compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango e I Want You) e baseada nas abordagens adotadas pelos mesmos, compor uma versão de uma canção do vasto repertório dylaniano. A partir disso, procurei traçar os rumos que levaram ao primor das três versões Negro Amor, Romance no Deserto e Tanto, focando não apenas na mera tradução, mas na transposição para a língua portuguesa brasileira da lírica dylaniana mantendo para tal o formato da canção. As canções, apresentadas na ordem cronológica do lançamento das versões, são cotejadas com suas respectivas originais e os panos de fundo dos quatro versionistas, procurando analisar o caminho que cada um trilhou para chegar a sua interpretação. Ao final, tendo como enfoque as abordagens colhidas, apresento uma versão de própria lavra de uma canção do cancionista americano. / The present work aims to trace the approaches which led to the perfection of Negro Amor, Romance no Deserto and Tanto, three versions to songs of singer-songwriter Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango and I Want You respectively) e, focusing not merely on translation, but in the transposition of Dylan’s lyric into Brazilian Portuguese in which the song format has been maintained intact. The songs, presented in the chronological order of the versions, are collated with their corresponding originals and backgrounds of the four Brazilian composers, looking to analyze the way in which each one of them was able to reinterpret a Dylan song. At the end, taking into account the approaches gathered along this study, I present my own version of a Bob Dylan song.

O principal objetivo deste trabalho é, primeiramente, o levantamento de versões brasileiras para canções de Bob Dylan e, posteriormente, a análise das letras dessas versões. A intenção é compreender como os compositores brasileiros fizeram a leitura do compositor americano. O resultado mostra um quadro com 46 versões, realizadas no período de 1968 a 2008, que se referem a três períodos da obra de Bob Dylan, antes, durante e depois do que o biógrafo Robert Sheldon denominou Primeiro Ciclo Rock. Os dados permitem separar dois grandes grupos de compositores brasileiros: um contém aquelas versões feitas a partir dos álbuns pertencentes ao Primeiro Ciclo Rock de Dylan, gerando a estatística de mais de 52% dos casos, e o outro contém versões que focaram nas outras fases do músico. / The main purpose of this research was to collect Brazilian versions of Bob Dylan’s songs and analyze both Portuguese and English lyrics, searching for evidences on how Brazilian songwriters have interpreted Dylan’s work in their cultural context. Results show a table with 46 Brazilian versions made from 1968 to 2008. They were analyzed according to what the biographer Robert Shelton called Rock Cycle. Statistics show more than 52% of those versions referring to pre-rock cycle and rock cycle, aiming the musician’s production from 1963 to 1965, mainly. This paper analyses Brazilian version lyrics in comparison to original lyrics.

O presente trabalho tem como objetivo compreender as abordagens que permitiram a quatro compositores brasileiros verterem com maestria três canções do compositor e cantor Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango e I Want You) e baseada nas abordagens adotadas pelos mesmos, compor uma versão de uma canção do vasto repertório dylaniano. A partir disso, procurei traçar os rumos que levaram ao primor das três versões Negro Amor, Romance no Deserto e Tanto, focando não apenas na mera tradução, mas na transposição para a língua portuguesa brasileira da lírica dylaniana mantendo para tal o formato da canção. As canções, apresentadas na ordem cronológica do lançamento das versões, são cotejadas com suas respectivas originais e os panos de fundo dos quatro versionistas, procurando analisar o caminho que cada um trilhou para chegar a sua interpretação. Ao final, tendo como enfoque as abordagens colhidas, apresento uma versão de própria lavra de uma canção do cancionista americano. / The present work aims to trace the approaches which led to the perfection of Negro Amor, Romance no Deserto and Tanto, three versions to songs of singer-songwriter Bob Dylan (It’s All Over Now, Baby Blue, Romance In Durango and I Want You respectively) e, focusing not merely on translation, but in the transposition of Dylan’s lyric into Brazilian Portuguese in which the song format has been maintained intact. The songs, presented in the chronological order of the versions, are collated with their corresponding originals and backgrounds of the four Brazilian composers, looking to analyze the way in which each one of them was able to reinterpret a Dylan song. At the end, taking into account the approaches gathered along this study, I present my own version of a Bob Dylan song.