Um texto sobre o corpo dos números complexos abordando-os de uma forma integrada e direcionada para professores de educação básica que atuam no ensino médio. Apresenta de forma bem fundamentada vários aspectos dos números complexos: par ordenado, vetor do plano, forma algébrica, forma trigonométrica e matricial. Todos os resultados essenciais foram demonstrados. Há um capítulo com alguns problemas resolvidos. / A text on the field of complex numbers in an integrated way and directed to teachers of basic education who work in high school. It presents in a well-founded form several aspects of the complex numbers: ordered pair, plane vector, algebraic form, trigonometric and matrix form. For every essential result, there is a proof. There is a chapter with some solved problems.

This study seeks to investigate form and content of African music as exemplified by Bukusu circumcision music. Technological products, growth of urban centres, emergence of industries and the widespread of deadly diseases such as HIV/AIDS have led to remarkable adjustments in the social behaviour and other ways of life in African communities. These adjustments have strained the socio-cultural patterns of African traditional ceremonies leading to a shift in the form, content, significance and performance of music in such ceremonies. The dilemma and problem in the Bukusu community is centred on how to strike a balance between the traditional and modern perspectives in the form, content, organization and performance of Bukusu circumcision music. This dilemma has given rise to three protagonists: the traditionalists, semi-traditionalists and modernists. While traditionalists advocate for the traditional organization and performance of Bukusu circumcision music, the semi-traditionalists mix the modern and traditional aspects. On the other hand, the modernists have altogether done away with the traditional music. This study identifies, investigates and explains the various structures, forms, meanings and functions of traditional Bukusu circumcision music against the backdrop of modernity. Here, by modernity we mean capitalistic and monetary oriented economies together with religious ideologies foreign to the African belief systems. Such ideologies are, for example, embodied in Christianity and Islam. It is recommended that important virtues embodied in the Bukusu circumcision ritual be incorporated and perpetuated within the modern social trends. This would sustain the social controls that such virtues effect and, by extension, stand for in most African communities. Primary and secondary sources of data were consulted. Collection of primary data involved carrying out both participant and non-participant observations in Bungoma District in Western Province of Kenya, where most Bukusus reside. Interviews and focus group discussions were also employed in primary data collection. Purposive and snowball sampling techniques were used to identify respondents who included circumcisers, initiates, song leaders, singers and instrumentalists among others. Secondary sources included information from written materials like books, journals, reports, articles, seminar papers and periodicals. Findings of this research are a record of Bukusu circumcision music, which is ever evolving to conform to the changing socio-cultural and economic situation of the society. They are an invaluable assessment tool in the evaluation of the past, present and future perspectives of the music. Above all, the findings are a repository for reference by future generations in scholarship and ethnomusicological research. / Thesis (DMus (Music))--University of Pretoria, 2007. / Music / unrestricted

In terms of structure, style, content and intended audience, Genre Analysis 58, this thesis presents a rhetorical analysis of the plenary address as a genre. Four examples of the opening plenary were analyzed because they represent the opening plenary lecture-keynote speech type, the most common presented at conferences: Mina Shaughnessy and the teaching of writing, Keynote address, Literacy after the revolution and The uneasy partnership between grammar and writing instruction.

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Antoine Reicha stands as an important figure in the growing systematization of musical form. While Traite de melodie (1814) captures the essence of eighteenth-century concern with tonal movement and periodicity, Reicha's later ideas as represented in Traite de haute composition musicale (1824-26) anticipate descriptions of thematic organization characteristic of his nineteenth-century successors. Three important topics emerge as crucial elements: melody, thematic development, and schematic categorization of complete pieces.

En väl fungerande bostadsmarknad är avgörande för ett samhälles utveckling och välfärd. Den stora bostadsbristen i Stockholm, och då särskilt bristen på hyresrätter, har därför länge varit ett omdiskuterat problem. Nästan samtliga av Stockholms kommuner uppgav år 2011 att det råder brist på hyresrätter, ett resultat av minskat byggande i kombination med en hög grad ombildningar till bostadsrätter. Följdproblemen visar sig bland annat i form av svarta marknader för hyreskontrakt, långa kötider samt svårigheter för ungdomar att göra entré på bostadsmarknaden. Denna uppsats fokuserar på alternativa upplåtelseformer och deras möjlighet att komplettera hyresrätten på Stockholms bostadsmarknad, samt deras inverkan på de problem som följer med bristen på hyresrätter. De alternativa upplåtelseformer som studeras närmare är kooperativ hyresrätt samt den nya formen andelsägarlägenhet. Intervjuer har genomförts med aktörer inom respektive upplåtelseform, vilka ligger till grund för presentation och diskussion av formerna samt för en jämförelse med hyresrätten. Det kan konstateras att varken kooperativ hyresrätt eller andelsägarlägenhet kan utgöra något perfekt komplement till hyresrätten. Utifrån en alternativ tolkning, att någon av upplåtelseformerna kan komplettera hyresrätten genom att uppfylla en funktion vilken kan efterfrågas bland befintliga hyresgäster, utgör de båda emellertid ett visst komplement genom att kunna bidra till en mer effektiv flyttkedja på bostadsmarknaden. Då formerna endast bedöms kunna leda till en lägre grad av nybyggnation, antas deras inverkan på hyresrättsbristens följdproblem vara relativt liten. / A well-functioning housing market is critical to a society's development and welfare. The major housing shortage in Stockholm, and in particular the leasehold shortage, has therefore been a controversial issue for long time. Almost every of Stockholm's municipalities stated in 2011 that they were experiencing a leasehold deficit, a result of reduced construction combined with a high degree of remodeling to condominiums. The problems that follow are seen in form of the illegal trading of lease contracts, long waiting times for apartments together with difficulties for young people to enter the housing market. This paper focuses on alternative forms of tenure and their ability to complement the leasehold form on the Stockholm housing market, as well as their impact on the problems resulting from the leasehold shortage. The alternative forms of tenure studied are the cooperative leasehold form and the new form shareowner tenure. Interviews with participants from each tenure form were held, which constitutes the basis for presentation and discussion of the forms and for a comparison with the leasehold form. It is found that neither the cooperative leasehold form nor the shareowner tenure may constitute a perfect complement to the leasehold form. Based on an alternative interpretation, that any of the tenure forms can complement the leasehold form by fulfilling a function which could be requested from some tenants, they both constitute a certain complement by contributing to a more effective movement in the housing market. Since the forms are only expected to result in a minor level of new construction, their impact on the leasehold deficit is assumed to be relatively insignificant.

This study is a close reading of how Shapeshifters (Sophie Vuković, 2017) and Inuti diamanten (Viktor Johansson, 2020) produce social criticism through essayistic forms. Using relevant research and theories on essay film, the first part of this study explores essayistic form in above mentioned films. It demonstrates how the use of voiceover, narrative structure and other filmic forms in Shapeshifters and Inuti diamanten can be described as essayistic. The second part combines the implications of the first part with theories on essayistic form and its capacity of societal critique. It reveals how an essayistic form allows these filmmakers to produce social critique in similar and different ways. Research about essay film is an expanding field of film studies that has become increasingly relevant in our postmodern society. Investigating a more personal, complex and open style of filmmaking, essay film studies offer new ways of making, watching and analyzing film. A shortage of attentiveness to essay film in Swedish film studies has urged this study to expand the research and explore essay filmmaking in contemporary Sweden.

By integrating the human form with the circular reformable construction, this project presents a storytelling dance costume design. These costumes give rise to an extensive repertoire of silhouettes, providing dancers with a new library of shapes to explore. As a result, viewers are transported beyond the limits of the human form, giving imaginative responses with the goal of stimulating the audience’s creativity. / Genom att integrera den mänskliga formen med den cirkulära omformbara konstruktionen presenterar detta projekt en berättelse-byggande danskostym. Dessa kostymer ger tillgång till en omfattande repertoar av silhuetter, vilket ger dansare ett nytt bibliotek av former att utforska. Som ett resultat transporteras tittarna bortom gränserna för den mänskliga formen och ges fantasifulla associationer med målet att stimulera publikens kreativitet.

Die in der Literatur zu Gustav Mahlers Symphonik immer wieder diagnostizierten ›Formbrüche‹ lassen sich mit den herkömmlichen Kategorien der Formenlehre nicht befriedigend analysieren und erklären. Der Text schlägt deshalb als zusätzliches Untersuchungskriterium das Begriffspaar ›Kontinuum‹ und ›Diskontinuum‹ vor, das unabhängig von bekannten Kategorien der Formenlehre verwendet werden und zu einem tieferen Verständnis von Gemeinsamkeiten und Unterschieden von Kompositionsweisen verschiedener Komponisten und der Anlage verschiedener Werke beitragen kann. Die Problematik und Begrifflichkeit wird anhand von Beispielen Gustav Mahlers vorgestellt und dann auf Musik von Charles Ives und György Ligeti übertragen, wobei als zusätzliches Hilfsmittel die Theorie und Technik der Montage nach Pudovkin fungiert. / Common categories in musical theory of form fail to analyze and explain what studies on Gustav Mahler’s symphonies have described as disruptions of the (sonata) form. The text therefore suggests, as an additional set of analytical tools, the conceptual pair of “Continuity” and “Discontinuity”, to be used independently of the well-known categories of musical form, that can contribute to a deeper understanding of similarities and differences of compositional methods used by different composers. Examples from Mahler’s symphonies illustrate the problem and introduce the explanation of the concept, which later is applied on music by Charles Ives and György Ligeti, Vsevolod Pudovkin’s montage theory serving as a supplementary means of analysis.

Musiktheorie ist eine singuläre Erscheinung: Keine andere künstlerische Disziplin hat eine derartige Theorie ausprägen können. Die Wandlungen, die nicht nur die Gegenstände der Musiktheorie und ihre theoretische Beschreibung, sondern auch den Theoriebegriff als solchen erfasst haben, haben doch eine grundlegende Tatsache unangetastet gelassen: Die Musiktheorie ist eine Theorie rationaler Strukturen und Verhältnisse, seien sie nun tonsystematisch oder werkbezogen, systematisch oder historisch, mathematisch, kosmologisch, physikalisch oder pragmatisch begründet. Nur als solche konnte sie historische Kontinuität ausbilden. Dass Klang als solcher in einer Theorie dieses Zuschnitts zuerst einmal systematisch ausgeschlossen wird, ist kein Zufall und auch kein behebbares Versäumnis, sondern konstitutiv. Klang wird, wie man aristotelisch sagen könnte, einer Theorie der musikalischen Formen zur Materie, zu dem, was nicht strukturell beschrieben werden kann. Damit wird Klang sozusagen negativ bestimmt als das, was sich der Theorie entzieht – nicht dem theoretischen Zugriff schlechthin, aber diesem speziellen. Indem sich die Musiktheorie dem Klang in seinen verschiedenen Dimensionen zuwendet, wird sie sich in einen anderen Typus Theorie verwandeln müssen bzw. mit anderen Theorietypen in Dialog treten. Aus einer Theorie musikalischer Rationalität wird ein ganzes Ensemble von Theorien unterschiedlicher Rationalitätsweisen, deren Zusammenspiel immer wieder neu austariert werden muss. / Music theory is a singular phenomenon: no other artistic field has been able to develop a theory of this type. Through the centuries, its objects and their theoretical examination and also the concept of theory itself have undergone major changes, while one thing has remained untouched: music theory is a theory of rational structures and relationships, regardless if they are located in the tonal system or the work, sought after in systematic or historical analyses, and founded in mathematics, cosmology, physics or in musical practice. This is what has guaranteed its historical coherence. It is no accident that sound as sound is systematically excluded from a theory of this kind, and this exclusion cannot simply be undone because it is constitutive for this kind of theory. For a theory of musical forms, sound becomes matter in the Aristotelian sense; it turns into something that cannot be described structurally. In this way, sound is negatively determined as that which eludes theory – not theory as such but this particular one. In turning to sound in its various dimensions, music theorists will have to adapt music theory to other types of theory. A theory of musical rationality will turn into an ensemble of theories whose interplay will constantly have to be rebalanced.