This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.

Des del 2003, any en què es va fer públic el desxiframent del Genoma Humà, hi ha hagut una allau de descobriments i aplicacions relacionats amb aquesta gran fita històrica i científica. Paral·lelament han anat sorgint diferents qüestionaments ètics; entre ells, aquells que es plantegen de quina manera es pot veure afectada la imatge de l'home en el desplegament de les possibilitats que ofereix aquesta singular troballa. En aquesta recerca s'estudien les diferents repercussions des d'un angle concret: el pensament de Hans Jonas. La proposta ètica desenvolupada per Hans Jonas permet fer una valoració acurada de la problemàtica que es dóna en alguns camps de la bioètica i, d'una manera especial, la que va associada amb la manipulació genètica. En aquesta tesi s'ofereix una sistematització dels plantejaments d'aquest autor per tal de facilitar la seva aplicació a situacions concretes.L'estudi del genoma i les pràctiques científiques, mèdiques i socials que se'n deriven, especialment les del genoma humà, han estat i constituiran en el futur una gran contribució per a la humanitat. Tanmateix, s'imposa la prudència en l'actuació de diferents estaments per preservar el bé de les persones, especialment d'aquelles més vulnerables.Un aspecte fonamental que es pot veure afectat per la tecnologia genètica aplicada a l'ésser humà és el mateix concepte d'home en la seva peculiaritat tridimensional: biològica, cultural i espiritual. En aquesta recerca es delimita l'especificitat humana en les seves diverses esferes tot oferint una orientació sobre l'eticitat de les intervencions genètiques per tal de preservar la dignitat de la persona humana.Es constata en aquest estudi que ciència i humanitats no són mons separats i que es fa necessari el diàleg constant entre les diverses disciplines perquè no és possible parlar de bioètica sense un clar i honest diàleg interdisciplinar. Les conclusions principals conflueixen en una qüestió que planteja una de les preocupacions principals de Jonas i també de l'autora: podrà la genètica arribar, amb el seu poder, a afectar allò més íntim que té la persona com és la seva essència, allò que li fa ser el que és? / Desde el 2003, año en que se hizo pública la descodificación del Genoma Humano, ha tenido lugar una ingente cantidad de descubrimientos y aplicaciones relacionados con este gran hito histórico y científico. Paralelamente han ido surgiendo diferentes cuestionamientos éticos; entre ellos, aquellos que plantean en qué medida puede verse afectada la imagen del hombre cuando se desplieguen las diversas posibilidades que ofrece el singular hallazgo. En investigación presente se estudian las diferentes repercusiones desde un ángulo concreto: el pensamiento de Hans Jonas. La propuesta ética desarrollada por Hans Jonas permite hacer una buena valoración de la problemática que se da en algunos campos de la bioética y, de una manera especial, la que va asociada con la manipulación genética. En esta tesis se ofrece una sistematización de los planteamientos del autor, con la pretensión de facilitar su aplicación a situaciones concretas. El estudio del genoma y las prácticas científicas, médicas y sociales que se desprenden de él, especialmente las que afectan al genoma humano, han sido y constituirán en el futuro una gran contribución para la humanidad. Aun así, se impone la prudencia en la actuación de diferentes estamentos si se quiere preservar el bien de las personas, especialmente el de las más vulnerables. Un aspecto fundamental que puede verse afectado por la tecnología genética aplicada al ser humano es el mismo concepto de hombre en su peculiaridad tridimensional: biológica, cultural y espiritual. En esta tesis se delimita la especificidad humana en sus diversas esferas ofreciendo diversas orientaciones sobre la eticidad de las intervenciones genéticas de manera que se pueda preservar la dignidad de la persona humana. Se constata en este estudio que ciencia y humanidades no son mundos separados y que se hace necesario el diálogo constante entre las diversas disciplinas porque no es posible hablar de bioética sin un claro y honesto diálogo interdisciplinar. Las conclusiones principales confluyen en una cuestión que plantea una de las preocupaciones principales de Jonas y también de la autora: ¿podrá la genética llegar, con su poder, a afectar lo más íntimo que tiene la persona como es su esencia, aquello que le hace ser lo que es? / The human genome was first completed in 2003 and since then there has been a surge of discoveries and applications related to that historic and scientific deed. Different ethical issues have arisen in parallel posing the question of how man's image can be affected by the immense quantity of ramifications that the finding itself possesses. In this study we have focused on the impact of the human genome's applications from the perspective of Hans Jonas' thinking. His ethical approach will allow us to assess accurately the problems associated with genetic manipulation which occur in some fields of bioethics. This study aims to systematize points of view so as to make a future practical application less complex. The study of the human genome and its scientific, medical and social practices have been and will continue to be a great contribution to mankind. Nonetheless, caution and good sense should prevail when applying its results in order to protect those members of society who are more vulnerable.The concept of human being in its biological, cultural and spiritual could be negatively affected by genetic technology so this research highlights human uniqueness within different spheres while offering ethical guidance on how to preserve human dignity in genetic interventions.This study states both that science and humanities are not two worlds apart and that an ongoing dialogue within different disciplines is very much needed. It makes no sense to talk about bioethics without opening first an honest interdisciplinary dialogueThe main conclusions of this study point at an issue which is both mine and Jona's top priorities: Will genetic engineering eventually have a negative impact on the essence of human's core values?

Uppsatsen Den performativa uppväxten syftar till att studera den heterosexuella matrisens verkan i tre svenska skolskildringar. Som teoretisk grund för undersökningen används såväl Yvonne Hirdmans teori om hur genussystemet bärs upp av de logiska fundamenten isärhållning och könshierarki, som Judith Butlers queerfeministiskt filosofiska dekonstruktion av kön som kategori. De skönlitterära verk som analyseras är Agnes von Krusenstjernas Tony växer upp och Tonys läroår, Jan Guillous Ondskan och Jonas Gardells trilogi En komikers uppväxt, Ett ufo gör entré och Jenny. Genom ett textanalytiskt tillvägagångssätt med komparativa inslag undersöks hur genusstereotyper reproduceras och stabiliserar heterosexualiteten som obligatorisk norm, vidare hur dessa processer gestaltar ungdomars identitetstillblivelse i den skönlitterära skolmiljön. De tre skolskildringarna statuerar exempel som belyser hur grupptryck och okritisk medvetenhet resulterar i kollektiv könsseparerad performativitet. Den komparativa analysen av de olika skönlitterära verken framhäver genussystemets samtidigt stabila och föränderliga karaktär. De olikartade verken stärker tesen om könsnormer som kulturella, samhälleliga och tidsanpassade konstruktioner, där dock samtida manliga och kvinnliga ideal definieras utifrån varandra likt binära motsatser. Dessa, utifrån varandra definierade genus, stabiliserar en biologistisk heteronormativ beroendeställning mellan en dominant manlighet och en underordnad kvinnlighet. Genom applicerandet av Butlers teori om genussymmetri som en naturaliserad diskurs snarare än en biologisk sanning analyseras hur de olika utanförskap som gestaltas i skolskildringarna samtidigt avslöjar och stärker genussystemet.

The purpose of this paper is to do an analysis of the characters and the theater/masquerade motif in C.J.L. Almqvist’s Drottningens juvelsmycke (The Queen’s Diadem), based on queer theory, by using Judith Butlers’s Gender Trouble. As an alternative to the Swedish, gender determined, feminine pronoun ”hon”, which has been used by earlier critics concerning the main character of the book, ”hen” is proposed. By using the pronoun ”hen” the mistake made by the earlier critics who, without reflection, state that the character is a woman, will hopefully be avoided. In this analysis, the fact that the main character Tinto – generally known as Tintomara – is an androgyne, is demonstrated. The analysis of Drottningens juvelsmycke also shows that the other characters of the book try to – by heteronormative patterns – define Tinto’s gender identity according to their own requests and purposes. The recurrent theater/masquerade motif, which is closely connected with the main character of the novel, reflects the drift of the gender identities between fiction and reality, between acting and real life. By not staying or getting caught in any specific heteronormative gender identity, Tinto reveals the binary gender categories ”man” and ”woman” as non-natural constructions, just as true or false as any other gender.

This study is on the political and ethical aspects of recent advances in genetics. Its aim is to explicate the scientific and technological premises of genetics along historical, philosophical and political axes by employing the critical perspectives of Jonas, Heidegger and Foucault. Starting the discussion from a brief account of scientific and technological revolutions initiated in the 16th and 17th centuries, I defend the thesis that the idea of control and manipulation of life is not a novelty introduced by genetics, but a historical orientation underlying modern man&rsquo / s metaphysical reasoning. That is to say, &lsquo / the idea of control and manipulation of life&rsquo / is not an unintended technological excess of genetic practices, and hence a transgression of our moral principles. Rather, this endeavour is a scientific and technological &lsquo / project&rsquo / which has been at the very core of modern man&rsquo / s rational political agenda. Therefore, any attempts to understand genetics from a na&iuml / ve Baconian utilitarianism and optimism fails to grasp its complicated political nature. For the ethical concerns to become more comprehensive, three genetic cases (prenatal screening tests, cloning, and genetic engineering) are examined in the light of the philosophical reflections of Jonas and Heidegger. Besides, following Foucault&rsquo / s critical assessments of medicine and bio-power, a &lsquo / fourth spatialization of disease&rsquo / is proposed at the end of the study in order to evaluate the transformations with the introduction of genetics into medicine. Consequently, it is argued that geneticized medicine might sign a new regime of bio-power &ndash / a reconfiguration of knowledge, power and subjectivity.

<p>The purpose of this paper is to do an analysis of the characters and the theater/masquerade motif in C.J.L. Almqvist’s Drottningens juvelsmycke (The Queen’s Diadem), based on queer theory, by using Judith Butlers’s Gender Trouble. As an alternative to the Swedish, gender determined, feminine pronoun ”hon”, which has been used by earlier critics concerning the main character of the book, ”hen” is proposed. By using the pronoun ”hen” the mistake made by the earlier critics who, without reflection, state that the character is a woman, will hopefully be avoided. In this analysis, the fact that the main character Tinto – generally known as Tintomara – is an androgyne, is demonstrated. The analysis of Drottningens juvelsmycke also shows that the other characters of the book try to – by heteronormative patterns – define Tinto’s gender identity according to their own requests and purposes. The recurrent theater/masquerade motif, which is closely connected with the main character of the novel, reflects the drift of the gender identities between fiction and reality, between acting and real life. By not staying or getting caught in any specific heteronormative gender identity, Tinto reveals the binary gender categories ”man” and ”woman” as non-natural constructions, just as true or false as any other gender.</p>

Après avoir passé plus de 4 ans dans des camps de travail forcé, Jonas Mekas, lituanien, est déporté avec son frère par les Nations-Unies en 1949 aux États-Unis. Les deux rescapés de la seconde guerre mondiale dédient alors leur temps au cinéma. Dès leur arrivée, ils se procurent une caméra 16 mm bolex et se tournent vers le cinéma expérimental, grâce, entre autre, à une de ces cinéastes pionnières américaine Maya Deren. En marge de l'industrie cinématographique hollywoodienne, Jonas Mekas participe à l'édification de structures - coopératives, associations, magazines, journaux - afin de rendre accessible ce genre filmique, de lui obtenir une reconnaissance publique et de, ultimement, le préserver. En 1969, il réalise un film intitulé "Diaries, Notes and Sketches : Also Known as Walden". Mekas réalise ensuite des films qui réemploient des séquences qui se trouvent dans cette première ébauche filmique. Ce processus se retrace au sein de son « premier essai » numérique qu'il réalise à l'ère cybériste intitulé "The First Forty" (2006), composé de vidéos et de descriptions textuelles. Tout comme il l’avait fait avec Walden, Mekas présente explicitement celui-ci à un public, en l’occurrence son nouveau public d'internautes, qui en prend connaissance sur son site web officiel. La présentation numérique et la table des matières papier accompagnant "Diaries, Notes and Sketches : Also Known as Walden" rédigée par l'artiste en 1969 ont une fonction similaire au sens où, par elles, Jonas Mekas donne ces deux créations aux spectateurs. Nous avons choisi d'employer le terme de dispositif pour parler de ces « objets » qui font appel à diverses formes énonciatives afin de créer un effet spécifique chez le spectateur. En explorant la théorie sociologique moderne du don développée par Jacques T. Godbout, notre projet a été de relever « l'esprit de don » qui se retrace au sein de ces dispositifs. Cette étude nous permet de constater que les dispositifs audiovisuels / cinématographiques que développa Mekas sont des « objets » qui peuvent être reçus tel des dons suscitant le désir de donner chez les spectateurs. Ils sont le ciment symbolique personnel et collectif nécessaire à l’accomplissement du processus de « reconnaissance » qu’implique le don. / Having spent more than 4 years in camps of forced labor, Jonas Mekas, Lithuanian, is deported by the United-Nations in 1949 to the United States. With his brother, both survivors of the Second World War, they manage to acquire a bolex 16 mm camera. Outside the Hollywood cinematographic industry, Mekas participates to the institutionalization of the underground artistic community by creating cooperatives, associations and magazines. Mekas is devoting his time to make experimental film genre accessible and allows it to become publicly recognized for its artistic value, which would lead towards protecting and preserving it. In 1969, Mekas produced "Diaries, Notes and Sketches: Also Known has Walden" which condense 4 years of capturing everyday events, people, New York, nature. From his Walden, Mekas will reuse some sequences found in this first draft when comes the time to edit new films. In 2006, Mekas produces his “first digital essay” entitled "The First Forty" (2006). It consists in a presentation of his cinematic labor to a new public, his “new Internet Audience”, in which sequences of Walden appear. Accessible on his official website, this digital piece is composed by videos and their textual descriptions, reminding us of Diaries, Notes and Sketches: Also Known has Walden and its table of content drafted by the artist in 1969. These two apparatus have a similar function : by them, Jonas Mekas explicitly gives these two pieces to the spectators. By investigating the sociological “gift theory” developed by the Jacques T. Godbout, our project was to reveal how “the gift spirit" can be found within those two creations. This study allows us to believe that audiovisual/cinematographic apparatus created by Mekas are “objects” which can be received such as gifts leading to arrouse the spectator’s desire to give in his turn. In this way, they are personal and collective symbolic cement necessary for the fulfillment of the process of “recognition” which involves the gift spirit.

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Cette thèse s’inscrit dans le débat actuel relatif au monothéisme biblique et au pluralisme religieux. Ces dernières décennies, ce débat a été influencé par des auteurs comme Jan Assmann pour lequel le monothéisme vétérotestamentaire constitue une racine importante de l’intolérance dont les trois religions monothéistes se seraient rendues coupables. Le but de notre thèse n’est pas d’entrer dans ce débat mais d’approfondir un sujet négligé par la recherche : qu’en est-il des tendances inclusives du monothéisme vétérotestamentaire ? Cette thèse ne se veut pas une contribution historique mais son but est d’étudier les principes théologiques permettant de concevoir des rapports positifs entre le Dieu d’Israël et des individus ou des peuples étrangers. En particulier, nous cherchons à analyser trois textes, le Livre de Jonas, le Psaume 33 (TM et LXX) et le roman Joseph et Aséneth. Bien qu’il s’agisse de trois textes différents en ce qui concerne le genre littéraire, l’origine et la datation, ils ont en commun d’aborder le problème du rapport entre le Dieu d’Israël et les non-Israélites. Plus concrètement, chacun de ces trois textes présente le Dieu d’Israël comme un créateur universel qui, en tant créateur, a pitié de toutes ses créatures. / The starting point of this study is the current debate on monotheism and religious pluralism. In recent decades, this debate has been strongly influenced by some authors such as Jan Assmann for whom the monotheism originating in the Old Testament is the root of the intolerance and violence of the three monotheistic religions. Rather than participating at this debate, the intention of this study is to answer the following questions: what about inclusive tendencies in Old Testament monotheism? Thus, this thesis is aimed at looking into the theological principles motivating and supporting the possibility of an approach by individuals and peoples to the God of Israel. With this aim, our objective is to analyse three texts where the relationship between YHWH, Israel and the non-Israelites is examined: the book of Jonah, Psalm 33 (MT and LXX), and the novel, Joseph and Aseneth. Although these three texts are different concerning their genre, period and provenance, they have the following ideas in common: the relationship between the God of Israel and non-Israelites as well as the concept of God as an universal creator who has pity of all his creatures.

Swedish compulsory school has recently been subjected to a number of political reforms. Between 2011 and 2014, for example, earlier grades, more national tests and a new curriculum plan (Lgr 11) were to be implemented. This thesis aims to examine those changes as they were experienced by teachers who teach history in Swedish upper primary schools. The theoretical framework is in-spired by existential philosophy, primarily as formulated in the works of Martin Heidegger and Hanna Arendt. In this way, the study highlights the teachers’ lived experience by making use of the concepts yearning, appearance, acting and mood. The study comprises of 36 interviews with 26 informants. The interviews were carried out and transcribed during 2014. The questions focus on both the existential being of the teachers’ lives as well as the ideological function of the history subject. This highly renders in the issue of how lived experiences of a specific school reform corresponded to the teachers’ own perception of a mean-ingful history education. Both the yearnings that were expressed by the participants and their de-scriptions of what they have experienced, have been related to the overall educational ideological functions stated by Gert Biesta (socialisation, subjectification and qualification) and Jonas Aspelin (existentialisation). Although the teachers’ narratives were greatly varied in some aspects, their interpretations of the new assignment seemed to be quite homogenous. Most of the teachers portrayed a situation characterised by performativity. Measurable knowledge and more frequent documentation seemed to be prioritised. Some of them stressed that they experienced less autonomy. In terms of history, the new curriculum was associated with more content knowledge, cognitive skills and procedural abilities. From the teachers’ perspective, pure qualification, rather than subjectification and social-isation, characterised the new curriculum. Still, the teachers’ feelings towards the curricular changes showed a great deal of divergence. Some of them embraced most of the new aspects. They claimed that clearly formulated require-ments in the history curricula provided them with security. They declared that their history teaching to some extent became more professional. In line with such beliefs, some teachers asserted that the strengthened focus on analytical skills improved their teaching. Particularly those who ex-pressed that they preferred such analytic procedural approaches described their experience in terms of confirmation and approval. Others appeared to struggle with the changes. While a few teachers even tried to resist the curricular changes, some found themselves forced to endure what appeared to be a totally new situation. They expressed disbelief, frustration and pain. Notably it was those most devoted to the existentialisational function of history teaching that usually seemed to express such alienation. As argued, they appeared to long for a lost possibility to engage their pupils, to bring history alive and to make meaning of the past.