This thesis deals with theme The actor and the monologue. After defining the concept of monologue, there is an excursion into history and the development of the monologue. There are given personal experiences of working on monologues during the studies and talks about transformation of the ideas about monologue. In the end there is also definition of the concept of monodrama and experiences with unfinished work on monodrama by Ivan Vyrypajev called July.

I det här arbetet har jag undersökt vikten av publikkontakt för mig som musiker.   Syftet för mig var att finna tillvägagångssätt att som musiker känna mig säkrare på scen och kunna beröra min publik.   Jag har skrivit en musikalisk clownmonolog Du duger inte som hade premiär den 1 april. Den spelades in och därefter har jag analyserat om den känsla jag hade på scen överensstämde med, eller skiljde sig från, vad jag kände som publik.   Jag har med hjälp av det här arbetet funnit ett tillvägagångssätt att musicera som gjort mig tryggare och mer kontrollerad på scen.

Zugl.: Köln, Universiẗat, Diss., 1994.

Zugl.: Bonn, Universiẗat, Diss.

Syftet med denna studie är att bidra med kunskap om vilka samtalssituationer som uppstår under en matematiklektion. Detta uppnås genom att kategorisera de olika samtalssituationerna utifrån Dysthes perspektiv på dialog. För att undersöka detta genomfördes sex observationer av lärares matematiklektioner i årskurs 1–3. Den insamlade empirin analyserades sedan med utgångspunkt i en riktad kvalitativ innehållsanalys och utifrån studiens teoretiska utgångspunkter. Resultatet visar att samtal är en integrerad del av samtliga lektioner och att interaktionen främst sker mellan lärare och elev snarare än elev och elev. Det finns en relativt stor variation mellan lärares matematiklektioner och även mellan de olika samtalssituationernas utrymme. Helklassamtal sker i stor utsträckning medan gruppsamtal är sällsynta. Resultatet visar även att monologiskt- och dialogiskt organiserad undervisning är relativt jämnt fördelat men att den monologiskt organiserade undervisningen får något större utrymme.

Mgr. Veronika Štěpánová Czech orthoepic codification Abstract This doctoral thesis deals with the codification of standard Czech pronunciation. It focuses on how the phonetic level of the language is studied and described and, more generally, on orthoepic codification, its criteria, sources, relationship to orthography, etc. A historical overview of Czech orthoepic research, in particular of the first attempts at codification, work carried out for the orthoepic manuals Výslovnost spisovné češtiny I (ed. B. Hála; 1955, 1967) and Výslovnost spisovné češtiny II (ed. M. Romportl; 1978) is presented. In addition, research into standard Czech pronunciation from the 1980s to the present day is summarised from a new perspective. The primary focus of the thesis is a critical analysis of the principal Czech orthoepic manuals: not only Výslovnost spisovné češtiny I and II but also some older and newer works. Special attention is given to features (1) whose evaluation has changed over time (e.g. the pronunciation of mě and sh, the use of the glottal stop, simplification of certain consonant clusters, or voice assimilation before sonorants) and (2) which are problematic form the point of view of the contemporary pronunciation norm. This thesis is closely connected with the recently created Monolog corpus, which...

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Diese Arbeit befasst sich mit den Gesprächen im 2004 erschienenen Roman "Jessica, 30." von Marlene Streeruwitz. Der Hauptdialog und die vorhergehenden Telefongespräche zwischen der Hauptfigur Jessica und ihrem Liebhaber Gerhard werden eingehend auf verschiedene Aspekte hin linguistisch analysiert. Einen Schwerpunkt bilden die Gesprächsstrategien beider Aktanten, Passagen des Streits, der innere Monolog, aber auch Merkmale der gesprochenen Sprache und des mimetischen Sprechens. Die Arbeit schließt mit einem Überblick, was die Künstlichkeit des literarischen Dialogs trotz seiner realistischen Nachahmung von Alltagsgesprächen ausmacht. / This thesis brings into focus the dialogues of Marlene Streeruwitz’s novel "Jessica, 30." which was published in 2004. The main dialogue and the preceeding phone calls between the main character Jessica and her lover Gerhard are anaysed linguistically in detail under different aspects. The main emphasis is put on the characters’ conversation strategies, passages of dispute, the inner monologue, but as well as on the distinguishing features of spoken language and mimetic speech. The thesis closes with an overview on the artificial signs of literary dialogues despite the realistic imitation of an every day-conversation.

<p>In this paper I make an analysis of the play Järnbörd (By burning Iron) written by the swedish author Magnus Dahlström. In this play all the characters has committed horrible crimes wich they easily describes the violence. The starting-point of my analysis is the text itself and not any stage-setting. The reason for this is that I find it interesting to see what can be found in the text only. I investigate if the language itself can tell something.</p><p>Furthermore I discuss Magnus Dahlström´s literary language and if he has any distinguishing quality, and if so what it may be. I examine each characters discourse and I describe certain aspects of the language such as the characters incapability to really interact and how the violence is described.</p><p>I focus on the text and it´s characteristic elements. My main sources is therefore two literature studies. Dramatiskt berättande (“Dramatic telling”) by Mats Ödeen and Drama i tre avsnitt (“Drama in three parts”) by Gunnar Brandell. In particular I use the chapters in which they discuss the language and it´s significance in the world of drama. In the study Det moderna dramats teori 1880-1950 (“Theory of the modern drama 1880-1980”) by Peter Szondi, he writes about how the classical drama went from taking place between persons to take place inside the characters mind. I use this study to discuss Järnbörd as a modern play.</p><p>I also want to discuss the discourse from a philosophical aspect of language. I discuss Emilé Benveniste and his thoughts about language as a ”tool” of communication. Furthermore I discuss Friedrich Nietzsche´s study Om moralens härstamming (Geniality of morals), in which he writes about our human moral as something created and not as some “higher power” that judges us.</p>

In this paper I make an analysis of the play Järnbörd (By burning Iron) written by the swedish author Magnus Dahlström. In this play all the characters has committed horrible crimes wich they easily describes the violence. The starting-point of my analysis is the text itself and not any stage-setting. The reason for this is that I find it interesting to see what can be found in the text only. I investigate if the language itself can tell something. Furthermore I discuss Magnus Dahlström´s literary language and if he has any distinguishing quality, and if so what it may be. I examine each characters discourse and I describe certain aspects of the language such as the characters incapability to really interact and how the violence is described. I focus on the text and it´s characteristic elements. My main sources is therefore two literature studies. Dramatiskt berättande (“Dramatic telling”) by Mats Ödeen and Drama i tre avsnitt (“Drama in three parts”) by Gunnar Brandell. In particular I use the chapters in which they discuss the language and it´s significance in the world of drama. In the study Det moderna dramats teori 1880-1950 (“Theory of the modern drama 1880-1980”) by Peter Szondi, he writes about how the classical drama went from taking place between persons to take place inside the characters mind. I use this study to discuss Järnbörd as a modern play. I also want to discuss the discourse from a philosophical aspect of language. I discuss Emilé Benveniste and his thoughts about language as a ”tool” of communication. Furthermore I discuss Friedrich Nietzsche´s study Om moralens härstamming (Geniality of morals), in which he writes about our human moral as something created and not as some “higher power” that judges us.