Syftet med arbetet var att klarlägga vad pedagoger anser är skillnaderna mellan så kallad traditionell pedagogik och Montessoripedagogik, samt belysa för och nackdelar mellan dem. Empiri har insamlats med djupintervjuer av tolv Montessoripedagoger som även har erfarenhet av traditionell pedagogik. Det resultat vi fick fram var att Montessorilärare har många gemensamma drag såsom synen på barn, arbetssätt, engagemang och att de anser att Montessoripedagogiken är lätt att anpassa till Lpfö 98 och Lpo 94. Resultatet har visat att Montessoripedagogerna i studien uttrycker gemensamma uppfattningar om fördelar med Montessoripedagogiken samt nackdelar med den traditionella pedagogiken. De har dessutom svårt att finna några nackdelar med Montessoripedagogiken. Studiens slutsats är att det återfinns många likheter mellan verksamma Montessoripedagoger i allt från deras syn på lärande och Montessoripedagogikens styrkor och svagheter. Bristen på självkritik kring Montessorimetoden skulle kunna leda till att Montessoripedagogiken inte utvecklas. Däremot innebär pedagogernas engagemang och barnsyn till ett gott lärande där barnets individuella behov sätts i fokus.

This thesis is a monograph on the facade of the church of Santa Maria Novella in Florence, Italy. The present appearance of the facade is the result of three building campaigns effected over the period of two centuries (c1300--c1500), and two restorative campaigns conducted in the twentieth century. Each of the three major campaigns is considered in isolation, with attention to reconstructions, formal and comparative analyses, and extensive contextualization and discussion of patronage networks. The twentieth-century interventions are cursorily presented in an epilogue. Major themes developed and continued through the five chapters of the dissertation are: architecture and its projected meanings in late medieval and Renaissance Florence, urban organization, political structures, the Dominican order and the position of the Florentine chapter within local and international ecclesiastical, social and political structures.

This thesis portrays an attempt to write and learn from the whole of life within and through the framework of a thesis. Written in the place- and space-times of three years it both questions and searches for the meaning of curriculum as the "running of the course," the purpose and methods and frameworks by which I live and write. Part of an ongoing personal journey to understand inclusion, the thesis begins with an understanding that change towards a more inclusive world involves change in my self, and the desire and intent to practice a different way of knowing my own interrelatedness with others and world. Both the content and form of the thesis explore the main themes of relationship and expression; how the hidden and unwritten parts of past, of self, of other, belong in the present and can be brought to birth. It is presented as a layered portrait showing the many forms through which I come to understand and articulate the world over time. My own words—poetry, autobiographical pieces, journal entries, letters, and interpretive pieces-are the means to bringing lost themes in my life to meaning on the pages of a thesis. But writing and life are more than self-expression. Through the words and presence of others, through living with and reading and responding to the other, I learn a more meaningful course of action. Writing and living in relation to others as woman, graduate student, teacher, family member and immigrant, I come to an understanding of my self and my place with others in the world as one of responsibility and response. In writing the meaning of my curriculum I also write possible meanings for education. Through mindful presence a teacher can look below the surface to see the worth of another, and give a response that will birth and nurture a curriculum waiting to be born. Writing personal experience in the framework of a thesis, while problematic throughout, in the end I found necessary to bring outside to inside, objectivity to subjectivity, interpretation to art, and tentative, uncertain conclusion to radical questioning. In the very end I find silence. The mystery of the unknowable, the eloquence of the inexpressible in its presence. Yet always the longing, the reaching, to understand and give voice. And so I sit at the side of the river writing, leaf by leaf, layer by layer, the roots of curriculum. / xi, 126 leaves : ill. ; 28 cm.

No description available.

The impact of the visual arts upon Rilke's work is obvious and indisputable; it has been the subject of much detailed discussion and study and is now more or less taken for granted by Rilke's critics. This emphasis on the visual arts can, in part, be explained by the amount of material readily available: the Worpswede and Rodin monographs, for example, or the highly important Cezanne letters to Clara Rilke. Rilke did, after all, marry a sculptor and act for a while as secretary to Rodin. Perhaps because of this clearly acknowledged debt, the importance of music in Rilke's life and work has been largely overlooked, if not expressly denied. The early writers were fond of regarding Rilke as a Slav musician-poet; but more recent critics have, without more ado, proclaimed that Rilke was not in the least musical and that music never in any way influenced his poetry. One good example here is K.A.J. Batterby, the author of the most recent English study of Rilke, Rilke and France. K.A.J. Batterby states repeatedly that Rilke, unlike the French symbolists, whose writings meant so much to him, was interested exclusively in the representational arts; and, by wisely keeping away from music, he thus avoided the pitfall into which Mallarme fell. When, however, he comes to discuss the late verse, Batterby, like many other writers, realizes that music cannot be entirely disregarded; he therefore gets round the problem by explaining that Rilke, under the influence of Valery, who had studied the Symbolists' preoccupation with music, was suddenly enabled to make use of the true 'music' of his native German language. Those critics who have mentioned Rilke's contact with music have tended to assume that the only decisive experience was in 1914, the year of Rilke's meeting with Frau von Hattingberg, the reason for this being, presumably, the publication of her book Rilke und Benvenuta (which describes their meeting in that year), and, later, of her correspondence with Rilke. Such critics were therefore surprised to find Rilke expressing a marked interest in music in his letter of 1912 about the French scholar and musicologist, Fabre d'Olivet. Eudo C. Mason, however, has hinted that music helped to influence the changes of style in Rilke's poetry after the period of the Neue Gedichte and Malte Laurids Brigge, in the same way as the visual arts effected the changes of style between the StundenBuch and the Neue Gedichte. Indeed, Rilke himself indicated this. There has been only one published study of Rilke's relationship with music: Clara Magr's Rainer Maria Rilke und die Musik. As the author herself states, this work is aimed, not at the Rilke-scholars, but at the Rilke-lovers; she therefore devotes a considerable amount of space to the external details of his life, and quotes all the poems on music in full. She is chiefly concerned to bring together chronologically what she regards as all the available material, without subjecting it to detailed scrutiny. Quite rightly, she stresses the dispersed and fragmentary state of the available material - doubtless the main reason why no attempt at a more minute study of the subject has been made. Clara Magr deals almost exclusively with Rilke's practical attitude to actual music. It is, however, his theoretical idea of music that is most important. His idea of music fits a symbol, and the frequent fluctuations and refinements of that idea played a significant part in his theory of art in general and in the development of the language of his late poetry in particular: the 'Bezug' that prevails in the mature verse certainly owes something to his thoughts on musical form. Each of the two parts of the Neue Gedichte begins, significantly, with a poem to Apollo, god of the visual arts; the Orpheus of the Sonette is at once the god of poetry and of music. This thesis aims at showing that Rilke's contact with music, though not so marked, not so immediately fruitful as his contact with the representational arts, was, nevertheless, highly significant. By doing so, it touches upon common misconceptions concerning the relationship between poetry and music, misconceptions which have caused some critics to see the late verse as 'musical', others as decidedly 'unmusical', and hopes to illuminate Rilke's own idea of the relationship between the two arts.

Thesis (MEd) -- University of South Australia

Thesis--Christian-Albrechts-Universität. / Includes bibliographical references (p. 180-209).

Zugl.: Wien, Univ., Diplomarbeit, 2000 u.d.T.: Betz, Susanne Helene: Die innerösterreichische Erzherzogin Maria Magdalena (1587 - 1631) und ihre Heirat mit Cosimo II. de Medici im Jahre 1608

Zugl.: Berlin, Kirchliche Hochsch., Diplom-Arbeit, 2006

Thesis (doctoral)--Ludwig-Maximilians-Universität München, 1965. / Includes bibliographical references (p. ix-xi).