Thesis (Ph. D.)--University of Tennessee, Knoxville, 2008. / Title from title page screen (viewed on Mar.9, 2009). Thesis advisor: Michael R. Fitzgerald. Document formatted into pages (xi, 226 p. : ill.). Vita. Includes bibliographical references (p. 191-210).

In the last years the Theory of the Multiple Intelligences developed by Howard Gardner has had a tremendous impact in elementary and secondary classrooms in the United States. Gardner(1983) defines intelligence as the ability to solve a problem or fashion a product that is valued in one or more cultural settings. His definition expands our understanding of "intelligence" beyond the familiar linguistic and Logical-mathematical intelligences, to include the spatial, musical,bodily-kinesthetic, naturalist. interpersonal, and intrapersonal intelligences. This new wayof conceptualizing human intelligence has profound implications for educators whose task needs to include the identification and nourishment of the different talents brought by al students. / En los últimos años la Teoría de las Inteligencias Múltiples formulada por Howard Gardner ha tenido un impacto tremendo en los salones de clase de escuelas primarias y secundarias en los Estados Unidos de Norteamérica. Gardner (1983) define inteligencia como una habilidad para resolver un problema o manufacturar un producto valorado por lo menos en un contexto cultural. Esta definición extiende nuestra comprensión de inteligencia más allá de las reconocidas inteligencias lingüística y lógico-matemática, para incluir otras inteligencias como es el caso de la espacial, musical, física-cinestética, naturalista, interpersonal, e intrapersonal. Esta nuevamanera de conceptualizar la inteligencia humana tiene profundas implicaciones para los educadores cuya labor deberá involucrar la identificación y nutrición de los diferentes talentos que traen consigo todos los estudiantes.

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"The purpose of this study was to make a housing survey in the rural areas of Howard County to determine the needs of the farm families in order that a more adequate program for the improvement of housing conditions could be planned by the county home demonstration council with the help of the county home demonstration agent." -- leaf 10.

Bibliography: leaves 221-234 / This research explores the humour and laughter in Howard Barker's Theatre of Catastrophe in the light of Mikhail Bakhtin's theory of the carnivalesque against the backdrop of the postSecond-World-War British (post-WWII) society and cultural tendencies and problems thereof. In this research, which explores the different stages of Barker's work – namely plays written in the seventies, the eighties and early nineties – I argue that comedy and laughter are pivotal to Howard Barker's theory for theatre which ultimately shaped his Theatre of Catastrophe as a tragic theatre. Howard Barker forged the appearance of a unique theatrical practice, the Theatre of Catastrophe, not only through the revival of pain, death and tragedy but also through the juxtaposition of the carnivalesque and death/tragedy. This research therefore, studies transformation in Barker's art of theatre in a period of twenty years and demonstrates how the playwright deviates from tenets he set for his tragic theatre without necessarily betraying its tragic spirit. It is worth highlighting the observation that, the marriage of catastrophe and the carnivalesque remains the most significant achievement of Barker's art of theatre. Chapter Two of the research explores Bakhtin's theory of the carnival through the elaboration of crucial concepts such as the grotesque imagery, laughter and the marketplace. Bakhtin's thoughts on laughter root in Henri Bergson's theory of laughter. Definitely the realm of laughter somewhere in between art and life, both Bergson and Bakhtin also emphasise on the negative aspect of laughter. The engagement of individuals in the marketplace creates the concrete presence which is crucial to the carnivalesque. Taking into account the tenets of the Bakhtinian carnivalesque, this second chapter also concisely studies the challenges posed to the carnival theory by philosophers such as Umberto Eco and Terry Eagleton. The chapter finally investigates the revival of the concept of the carnival in the post-war British drama by studying David Edgar's advocacy of Augusto Boal's thoughts on the theatre and the necessity of the carnival. Chapters Three and Four offer close analyses of the plays written by Barker in the seventies, eighties and early nineties with the primary aim to show the turns and shifts that he takes in the development of his career as an oppositional playwright in search of a remedy to the cultural malaise of his day. The plays selected for these chapters are the ones which the playwright has categorised as his best plays, namely, Claw (1975), Stripwell (1975), The Love of a Good Man (1978), The Power of the Dog (1984), The Castle (1985), The Europeans (1987), (Uncle) Vanya (1992). Chapter Five sums up the findings on the research and concludes that Barker's comic sense goes beyond the comic sense ascribed to many tragic playwrights. The comedy which permeates his theatre of catastrophe shares affinities with the carnival leading to a carnivalisation of catastrophe in Barker's tragic theatre despite the claims by the Barker and his downplaying of the comedy which exists in his oeuvre. / English Studies / D. Litt. et Phil. (English Studies)

Evaluations of John Howard Yoder’s legacy have proliferated since his death in 1997. Although there is much disagreement, a broad consensus is forming that his theology was, on the one hand, focused on the social and political meaning of the New Testament accounts of Jesus Christ and, on the other hand, sociologically reductive, hermeneutically tendentious, and ecclesiologically ambiguous. This thesis proposes a revision of Yoder’s theology that maintains its broadly sociological emphasis but corrects for its apparent problems. In specific, adjustments are made to his social theory to open it to spiritual reality, to hone its analytical approach, and to clarify its political import. To do so his preferred framework for social criticism, the theology of the principalities and powers, is examined in the context of his wider work and its critics, and then synthesized with concepts from Pierre Bourdieu’s influential reflexive sociology. Yoder maintains that the powers, understood as social structures, are part of God’s good creation, fallen, and now being redeemed through their subjection to the risen Lord Christ. Bourdieu’s fundamental sociological concepts--habitus, capital, and field--enable an interpretation of the powers as dynamically constituted by their relations to the triune God and to personal dispositions. His treatment of social reproduction and freedom furthermore facilitate a construal of choice as a divinely gifted, sociologically mediated freedom for obedience to God. The sinful restriction of this freedom is read in light of Bourdieu’s concept of symbolic violence, which recognizes the ambiguity of violence without thereby identifying any form of killing as nonviolent. Violence and other phenomena can be investigated by a reflexive, dialogical, and empirically rigorous comparison with the life of Christ. The church’s spiritual participation in the redemption of the violent powers is conceptualized in Bourdieusian terms as a critical legitimation of other political and cultural fields made possible through autonomy from those fields. Christian social distinctiveness moreover has universal meaning because it is oriented towards the worship of God and so radically welcoming of others; and this sociological universality is distinctive because it is the result of a particular history of social struggles with and for God. These revisions to Yoder’s theology of the principalities and powers produce a sociological theology that is material and spiritual, critical and dialogical, and particular and universal. By incorporating these revisions, Yoder’s work can continue to support those who seek peace in a world riven by violence.

Detta arbete undersöker vad som kan sägas utgöra kärnan i Garden cities-idealet utifrån Ebenezer Howards definition och Johan Rådbergs tolkning av Howard. Vidare undersöker arbetet hur idealet kan tolkas, förstås och appliceras i en nutida svensk kontext. De gestaltningsprinciper som kan sägas vara bärande för idealet används som utgångspunkt för utformandet av en illustrationsplan över Varvsstaden i Malmö. Därmed exemplifieras hur idealet kan förstås konkret i planeringssammanhang och vilka effekter som följer på ett genomförande av idealet i en central stadsdel i en storstad. För den teoretiska delen av arbetet används en innehållsanalys och de gestaltningsprinciper som utläses som bärande för Garden cities-idealet skisseras sedan fram i syfte att skapa "visuella verktyg" för den illustrationsplan som arbetas fram. Arbetet visar att det är fullt möjligt att utforma en central stadsdel i enlighet med Garden cities-idealet och uppnå ett relativt högt exploateringstal som resultat.

In this thesis I analyse the reporting and the reception of news about distant suffering in the light of John Howard Yoder‘s work on witness. Studies of news reporting about foreign wars, genocide and disasters commonly conclude that the practice of bearing witness to distant suffering contributes to a context where both journalists and spectators appear to have limited moral agency. I argue that the practice of bearing witness has ethical significance for those actively engaged in bearing witnessing. In his work on Christian witness, Yoder demonstrates how witness can be understood as a method for moral reasoning. I assert that Yoder‘s argument presents a fruitful approach for interdisciplinary consideration of the ethical significance found in the practice of bearing witness to distant human suffering. In chapter one, I lay the foundation of my investigation into the ethical agency involved in bearing witness. John Howard Yoder‘s theological approach to social ethics provides that foundation. Central to Yoder‘s claim that witness is a form of ethics, is the premise that presence testifies. Yoder calls this the 'phenomenology of social witness‘. Yoder‘s work opens new ways in which to ask questions about the practice of bearing witness as a form of social ethics. It is from this foundation that I begin to ask questions about the news media practice of bearing witness to distant suffering, the subject of chapter two. Media practices are social practices that involve a dense interaction of many layers of society. In the media practice of witnessing distant suffering, governments, charities, news media organisations, and audiences are all involved in what I call the social formation of the Global Samaritan. The foundational work on Yoder in chapter one allows me to ask the question: How is the Global Samaritan a presence, and to what does this presence testify? In chapters three and four, I focus on two of the prominent groups which contribute to the formation of the Global Samaritan: audiences and foreign correspondents. News audiences as moral agents already seem a problem for Yoder‘s claim that presence testifies. Do audiences who bear witness to distant suffering have moral agency? How can the amorphous and fleeting presence of television, internet, or twitter audiences testify? In the chapter on audiences, the initial claim regarding presence makes for an important investigation into how audiences can potentially move beyond mere spectatorship and towards participation in care for the suffering. Foreign correspondents bearing witness to distant suffering do not face the same obstacles to testifying as audiences do. After all, foreign correspondents are often live, on-the-scene of extraordinary circumstances of suffering. The danger and risks foreign correspondents face in order to report live from scenes of devastation and disaster testify to the fact that the situation is indeed dangerous and causing suffering. Yoder‘s claim that presence testifies is a claim strongly paralleled within the tradition of investigative journalism. In chapter four, I investigate the ethical function of foreign correspondent presence. I consider the foreign correspondent‘s dual role as the proxy 'eyes and ears‘ of the public and the proxy voice for those without a voice. Through these two roles, I explore major concepts involved in the practice of investigative journalism. One prominent issue I explore is the tension between the principles of a liberal democratic press and the practice of frontline reporters live, on-the-scene of extraordinary and extreme situations. In the final chapter, chapter five, I focus on the experience of three frontline reporters bearing witness to human suffering. BBC [British Broadcasting Company] reporter John Simpson‘s reflections on his coverage of the beginning of the Iraq War illustrate the importance of bearing witness as involving real presence on location. Norwegian freelance reporter Ǻsne Seierstad‘s reflections on covering the Iraq War from Baghdad further contributes to the concept of 'being there‘ as central to bearing witness. Focus on Seierstad also furthers discussion on women reporters bearing witness to war. The third reporter I highlight is BBC reporter Fergal Keane. I focus on his reflections covering the Rwandan genocide to illustrate how the claim to bearing witness involves more than spectatorship, but often involves participation. I conclude with an analysis of the media practice of bearing witness, involving the range of reporter presence to the quasi-presence of the audience, in the light of John Howard Yoder‘s claim that bearing witness is a form of social ethics.

Den här uppsatsen handlar om den svenska arbetarrörelsens musikanvändning. Rörelsens användande av musik belyses och analyseras ur ett historiskt, politiskt och strategiskt perspektiv. Uppsatsen belyser arbetarrörelsens tidiga period i Sverige, vilket innebär att senare år och nutida perspektiv inte står i fokus. Den tidiga arbetarrörelsen definieras som rörelsens verksamhet mellan åren 1880 fram till ca 1925, innan rörelsen fått den självklara plats som en svensk kontemporär och historisk politisk maktfaktor den idag har. Uppsatsen fokuserar även på arbetarrörelsens syn på musik, kultur och kulturarv och hur rörelsens musikanvändning och kultursyn har format framväxandet den kommunala musikskolan. Slutligen ställs frågan vilka paralleller som kan göras mellan arbetarrörelsens musikanvändning och främjandet av det underifrånperspektiv historikern Howard Zinn talar om, när han argumenterar för att belysa historieforskning från de förtrycktas perspektiv. Metoden som används är intervjuer som utförts med verksamma politiker ur arbetarrörelsen, både ur Vänsterpartiet och Socialdemokraterna. De intervjuade har olika kopplingar till kultur och merparten arbetar direkt med kulturfrågor inom politiken. Den hypotes jag arbetat med är att musiken haft en viktig och betydande roll för att samla människor i den svenska arbetarrörelsen. Musiken har varit genomsyrande och använts genomgående i det politiska arbetet för den svenska arbetarrörelsen. Kultur och musik har även varit en betydande strategisk komponent för rörelsens utbredning, tillväxt och förmåga att hantera politiska problem och motgångar.

Thesis (Ph.D.)--McMaster University, 2006. / Supervisor: Travis Kroeker ... [et al.]. Includes bibliographical references (leaves 298-304).