Studien är en applicering av Foucaults Övervakning och straff på science fiction-romanen The Left Hand of Darkness av Le Guin. Fokus låg på hur makten drabbar huvudkaraktärerna; syftet var att notera hur de gör motstånd mot maktutövningen och att ta fasta på alternativa maktrelationer som kan influera verkligt politiskt arbete mot en bättre, mer jämlik värld. Att använda Foucaults idéer på liknande sätt är vanligt. Analysen består av sex sekvenser som utspelar sig på planeten Vinter i The Left Hand of Darkness. Landsförvisningar för att återupprätta härskarens makt, både avsaknaden och upprättandet av framstegsmyt och en etik som förespråkar jämlikhet utmärkte monarkin Karhide; kuvade kroppar i disciplinens förtecken och en makt som är sammantvinnad med vetandet kännetecknade byråkratin Orgoreyn. Slutsats: Det är nödvändigt att uppoffra sig för att få till stånd förändringar. Den politiske visionären kan dessutom ha användning för en särskild etik, en mindre aggressiv framstegsmyt och horisontellt samarbete.

The diploma work is engaged in specific problems of laterality at the age of younger pupilage children. It´s divided into to three parts - theoretical, practical and appendixes. Theoretical part deals with the laterality in relation to matureness of personality, historical context in society, diagnostic of laterality and its types. This work also inquires into influence of laterality on school successfulness. The diploma work contains the suggestion of possibility pupils work with several types of laterality in school use. The object of research in practical part of this work was to find out number of dexterous children and left-handed children and ambidexters in population of infant at school on the subject of laterality and its definition. The method of laterality test and observation were used to results processing. It was supplemented with questionnaire which was aimed to anamnesis data. The results of laterality tests are presented in the graphs. The conclusions of each part of research was analyzed from questionnaire results and also from results of laterality tests. Last part of diploma work, appendicces, contains working materials connected with laterality determination and proposals of grapho-motorical lists for dexterous and left-handed pupils with possibility of grapho-motorical difficulties.

No description available.

Chaos-Gnosticism is a branch of the occult tree which through an eclectic approach tries togather all the dark, antagonistic aspects and forces from certain religions and mythologies ofthe world in order to reach back to the primeval Chaos, the stage that existed before theCreation. With a fundamental gnostic worldview the cosmos is seen as a prison, created byDemiurges, and in Chaos a total freedom rules.The philosophy (or Chaosophy to use a term used by the Chaosgnostics) has spread all over theworld during the past ten years or so. It is vital, in connection to this fact, to give the importanceto the music scene, especially the genre called black metal, for the spreading of theChaosgnostic ideas. Some of the leading bands in this genre, for instance Dissection, Watainand Arckanum, have adopted the Chaosgnostic tenets into their music and thus making theseideas more known all around the world than they otherwise would have been. That being said,it is not clear how many actual practioners of Chaos-Gnostcism there are since it is mainly anindividual religion and the handfull of orders that exist display no sorts of missionary ambitionsand are, additionaly, quite closed for outsiders.Although the first ideas of Chaos-Gnosticism emerged in Sweden in the middle of the 1990´s,an in-depth academic survey has not yet been made on the movement itself. This essay aims tochange that by putting Chaos-Gnosticism in its correct historical and occult context and also byshedding some light on the fundamental tenets and beliefsystem aswell as the importance ofnumerology and central symbols. The essay also presents the three different Chaosgnosticbranches that has emerged to date: Temple of the Black Light, with its Qabbalistic approach,Templum Falcis Cruentis, inspired by folktraditions of Central America and the biblical figureof Cain and finally Thursatrú in which the Chaosgnostic worldview is adopted on Old Norsemythology.

The thesis follows the development of the methodology of left-handers's writing, teacher's usage of the knowledge of methodology in a practice, researching the materials aimed in left- handness dedicated to teachers and parents, describing statements and opinions of the concrete primary teachers on left-hander's methodology. The thesis consists of the theoretical part and the empiric part. In the therotical part there are defined terms laterality and dominance, the development of the methodology of left-hander's writing since the year 1967 when this type of writing was legalised in the Czech Republic. The possibilities of getting information about the problematic of left-handness are summed, including books and trainings for primary school teachers. Finally, available equipment for left-handers is introduced. The research combines two methods - questionnaire and interview. The quantitative research is supposed to come up with the concrete percentage of left-handed pupils and with the general knowledge of teachers connected with methodology of left-hander's writing. The qualitative research was made by the form of interiewing teachers and Ivo Vodička. The aim of the thesis is to find out the way how to train teachers effectively based on researched information. KEYWORDS laterality, diagnostics of...

Este trabalho foi realizado com o objetivo de reunir e executar as principais obras para piano, criadas no Brasil, compostas somente para a mão esquerda. Este repertório constitui uma especialidade musical de importância histórica, artística e acadêmica e não necessita permanecer velado ou esparsamente considerado. A tese possui dois capítulos e dois anexos. O capítulo 1 versa sobre o surgimento histórico de obras para mão esquerda, as motivações composicionais e informações gerais sobre obras, composições, artistas e intérpretes. Traça-se um panorama histórico sobre o surgimento da especialidade no Brasil. Dois momentos e dois artistas foram considerados fundamentais geradores de obras importantes: a pianista Sigrid Nepomuceno, na década de 10 e 20 (sec. XX), e João Carlos Martins (início do sec. XXI). O capítulo 2 traz informações específicas sobre cada uma das obras, aspectos performáticos específicos e um quadro de referências estatísticas. A parte intitulada Anexos é uma coletânea de obras para a mão esquerda. Embora não se apresente como definitiva, trata-se de coleção, a mais abrangente possível, das obras compostas no Brasil até finais de 2006. O 1º anexo contém as obras editadas (pelos compositores, pelas editoras e pelo doutorando). O 2º anexo apresenta os manuscritos encontrados no decorrer da pesquisa. Como parte da defesa, o doutorando propõe que a execução das obras em recital, seja considerada como complementar e ilustrativa do próprio trabalho escrito. Procurou-se, com este trabalho, pesquisar e demonstrar a importância desta especialidade no Brasil. / This work was carried out to meet and implement the major works for piano, created in Brazil, made only for the left hand. The musical repertoire is a specialty of historical importance, artistic and academic and need not remain veiled or sparsely considered. The thesis has two chapters and two annexes. Chapter 1 is about the emergence of historical works for the left hand, the compositional motivations and information on compositions, artists and performers. It is a historical overview on the emergence of the specialty in Brazil. Two points and two artists were considered as generators of important works: the pianist Sigrid Nepomuceno, at the decade of 10 and 20 (sec. XX) and João Carlos Martins (beginning of sec. XXI). Chapter 2 provides specific information about each of the works, performance issues and a specific frame of statistical reference. The section of annexes is a collection of works for the left hand, although not final, it is collection, the most comprehensive possible, of the works composed in Brazil until the end of 2006. The annexe 1 contains the works edited (by composers, publishers and by the doctoral student).The annexe 2 presents the manuscripts found during the search. As part of defense, the doctoral student suggests that the works in recital, is regarded as complementary and illustrative of his own written work The main purpose of this work was to research and demonstrate the importance of this specialty in Brazil.

Este trabalho foi realizado com o objetivo de reunir e executar as principais obras para piano, criadas no Brasil, compostas somente para a mão esquerda. Este repertório constitui uma especialidade musical de importância histórica, artística e acadêmica e não necessita permanecer velado ou esparsamente considerado. A tese possui dois capítulos e dois anexos. O capítulo 1 versa sobre o surgimento histórico de obras para mão esquerda, as motivações composicionais e informações gerais sobre obras, composições, artistas e intérpretes. Traça-se um panorama histórico sobre o surgimento da especialidade no Brasil. Dois momentos e dois artistas foram considerados fundamentais geradores de obras importantes: a pianista Sigrid Nepomuceno, na década de 10 e 20 (sec. XX), e João Carlos Martins (início do sec. XXI). O capítulo 2 traz informações específicas sobre cada uma das obras, aspectos performáticos específicos e um quadro de referências estatísticas. A parte intitulada Anexos é uma coletânea de obras para a mão esquerda. Embora não se apresente como definitiva, trata-se de coleção, a mais abrangente possível, das obras compostas no Brasil até finais de 2006. O 1º anexo contém as obras editadas (pelos compositores, pelas editoras e pelo doutorando). O 2º anexo apresenta os manuscritos encontrados no decorrer da pesquisa. Como parte da defesa, o doutorando propõe que a execução das obras em recital, seja considerada como complementar e ilustrativa do próprio trabalho escrito. Procurou-se, com este trabalho, pesquisar e demonstrar a importância desta especialidade no Brasil. / This work was carried out to meet and implement the major works for piano, created in Brazil, made only for the left hand. The musical repertoire is a specialty of historical importance, artistic and academic and need not remain veiled or sparsely considered. The thesis has two chapters and two annexes. Chapter 1 is about the emergence of historical works for the left hand, the compositional motivations and information on compositions, artists and performers. It is a historical overview on the emergence of the specialty in Brazil. Two points and two artists were considered as generators of important works: the pianist Sigrid Nepomuceno, at the decade of 10 and 20 (sec. XX) and João Carlos Martins (beginning of sec. XXI). Chapter 2 provides specific information about each of the works, performance issues and a specific frame of statistical reference. The section of annexes is a collection of works for the left hand, although not final, it is collection, the most comprehensive possible, of the works composed in Brazil until the end of 2006. The annexe 1 contains the works edited (by composers, publishers and by the doctoral student).The annexe 2 presents the manuscripts found during the search. As part of defense, the doctoral student suggests that the works in recital, is regarded as complementary and illustrative of his own written work The main purpose of this work was to research and demonstrate the importance of this specialty in Brazil.

In 1990 a small self-published journal/magazine called The Watcher was distributed among New Zealand's occult underground. The Watcher described itself as 'the New Zealand Voice of the Left Hand Path', and was published as the journal of the Order of the Left Hand Path. The Watcher and the Order directed its attentions towards those occultists who identified themselves as Satanists and, as such, the journal articulated a distinctly Satanic philosophy and perspective. However, as the journal evolved and developed, renaming itself as The Heretic and The Nexus in later years, there arose alongside Satanic philosophy an increasing emphases on what could be called esoteric Nazism or esoteric Nationalism. Given that the editor of The Watcher was Kerry Bolton, a man who has been immersed in New Zealand's Nationalist/neo-Nazi movement since the early 1970s, such an increasingly political orientation was perhaps unsurprising. This thesis examines the way in which the Order bought Satanic and neo-Nazi ideologies together and the resulting synthesis. It also looks at the transition from being a Satanic order led by a neo-Nazi to an openly neo-Nazi Order that uses Satanic philosophy to justify and popularise its conception of National Socialism.

No description available.

Este trabalho trata da investigação dos princípios metodológicos necessários ao processo de digitação ao violão. Para tal, parâmetros digitacionais são convertidos em um protocolo de instâncias (exposição dos casos, aplicação dos comandos, avaliação das circunstâncias, gerenciamento das consequências e julgamento das condições), as quais são mediadas por princípios e circundadas por perspectivas, formando, assim, um cenário digitacional. Por meio de um processo de inferências, concluímos que a fluência sonora, independentemente de posicionamentos estéticos, é uma condição básica para uma execução satisfatória ao violão; por dedução, vimos que a capacidade de se tocar legato é o principal elemento desse ideal. Verificamos, também, que a digitação é, em termos, pessoal, pois todas as suas instâncias são de interação dialética entre sujeito e objeto; mas não completamente, pois cada instância é regida por princípios que não dizem respeito, exclusivamente, ao indivíduo. Observamos, por fim, que a construção de um cenário digitacional não é um meio de se encontrar a melhor digitação, mas sim, de buscá-la, pois o princípio básico em que ela se opera é a organização dos saberes que o executante mobiliza em seu processo. / This work deals with the investigation of the methodological principles necessary to the process of elaborating guitar fingerings. To this end, fingering parameters are converted into a protocol of instances (exposure of the cases, application of the commands, assessment of the circumstances, management of the consequences and judgment of the conditions), which are mediated by principles and surrounded by perspectives, thus forming a fingering scenario. Through a process of inference, we conclude that the sound fluency, independently of aesthetic positioning, is a basic condition for a satisfactory performance on guitar; by deduction, we have seen that the ability to play legato is the main element of this ideal. We also verified that fingering is, in terms, a matter of personal choice because all its instances are dialectical interaction between subject and object; but not completely so, because each instance is governed by principles which do not concern exclusively the individual. We note, finally, that the construction of a fingering scenario is not a way to find the best fingering, but, to seek it, because the basic principle on which it operates is the organization of acknowledgments that the performer mobilizes in his process. / Este trabajo se ocupa de la investigación de los principios metodológicos necesarios para el proceso de elaboración de la digitación en la guitarra. Con este fin, parámetros de digitación se convierten en un protocolo de instancias (la exposición de los casos, la aplicación de los comandos, la evaluación de las circunstancias, la administración de las consecuencias y el juicio de las condiciones), que están mediadas por principios y rodeadas de perspectivas, formando así un escenario de digitación. A través de un proceso de inferencia, llegamos a la conclusión de que la fluidez del sonido, independientemente de las posiciones estéticas, es una condición básica para una ejecución satisfactoria en la guitarra; por deducción, hemos visto que la capacidad de tocar legato es el elemento principal de este ideal. También verificamos que la digitación es, en términos, personal, porque todas las instancias son una interacción dialéctica entre el sujeto y el objeto; pero no completamente, porque cada instancia se rige por principios que no se refieren exclusivamente a la persona. Observamos, por último, que la construcción de un escenario de digitación no es una manera de encontrar la mejor digitación, sino buscarla, porque el principio básico en el que opera es la organización de los conocimientos que el intérprete moviliza en su proceso.