Julie/Julia stands out in several ways. What had begun, in 2002/2003, as a highly popular blog, in which New Yorker Julie Powell tracks her experience of cooking all the recipes in Julia Child’s classic cookbook Mastering the Art of French Cookery, became one of the first notable, commercially successful "blooks"—a neologism that denotes blogs adapted into books. As a visible sign of this achievement, The Ju-lie/Julia Project was awarded with the inaugural “Blooker Prize” in 2006. A few years later, Julie/Julia again pioneered in being the first blog (or blook, for that matter) to be adapted into a Hollywood movie, Nora Ephron’s Julie & Julia. In the following, I want to discuss Julie/Julia, and its adaptations from blog to book to film, as an instructive case study of life writing in the digital age.

Julie/Julia stands out in several ways. What had begun, in 2002/2003, as a highly popular blog, in which New Yorker Julie Powell tracks her experience of cooking all the recipes in Julia Child’s classic cookbook Mastering the Art of French Cookery, became one of the first notable, commercially successful "blooks"—a neologism that denotes blogs adapted into books. As a visible sign of this achievement, The Ju-lie/Julia Project was awarded with the inaugural “Blooker Prize” in 2006. A few years later, Julie/Julia again pioneered in being the first blog (or blook, for that matter) to be adapted into a Hollywood movie, Nora Ephron’s Julie & Julia. In the following, I want to discuss Julie/Julia, and its adaptations from blog to book to film, as an instructive case study of life writing in the digital age.

Syftet med detta arbete är att öka insikten i hur fördelningen mellan hantverk och uttryck ser ut på trumsetslektioner inom genrerna rock/pop/jazz och hur olika lärare arbetar kring/med begreppen personligt uttryck och hantverk. Jag har intervjuat fyra pedagoger – tre från musikskolan och en från gymnasiet – och använt mig av kvalitativ intervju som metod. Följande forskningsfrågor ligger som grund för arbetet: Finns det en tydlig uppdelning mellan moment som fokuserar på hantverk och personligt uttryck under trumsetslektioner på gymnasieskolan och kulturskolan - och i så fall, hur ser fördelningen mellan dessa inslag ut? Hur hanterar trumsetslärare dessa två begrepp i sin undervisning?   Resultatet visar att samtliga informanter inkluderar moment som kretsar kring både hantverk och personligt uttryck i trumsetsundervisningen. De kombinerar ibland dessa två områden men resultaten visar även att användandet kan bero på undervisningens natur snarare än aktiva val gjorda av informanterna. De deltagande trumsetslärarna definierar personligt uttryck som något som har med det musikaliska att göra till skillnad från hantverket, som har att göra med tekniskt kunnande. Fokus på lektionen tenderar att väga över åt det personliga uttrycket, så länge eleven har kommit till en viss grundläggande hantverksmässig nivå. Gemensamt för alla informanter är att fokus har flyttats från ett mer tekniskt/hantverksmässigt fokus till ett mer individinriktat med betoning på uttryck, i takt med ökad arbetslivserfarenhet. De informanter som har arbetat på både gymnasium och kulturskola menar att betygen kan verka hämmande i valet av fokus, eftersom personligt uttryck kan te sig mera svårbedömt än teknisk färdighet. / The aim of this work is to increase an understanding of how the division between a technical and personal expression in teaching the drums in the genres of rock, pop and jazz, and how teachers work around or with the concepts of personal expression and technique. I have interviewed four teachers and used the qualitative interview method. The following research questions are the basis of the work: Is there a clear division between the elements that focus on a technical and personal expression in teaching the drums in high school and school of music and arts - and if so, what is the relationship between those elements? How do drum teachers handle these two concepts in their teaching? The results indicate that all the informants include elements that revolve around both a technical and personal expression in drum lessons. They sometimes combine these two, but the results also show that the use may depend on the nature of teaching rather than an active choice made by the informants. The participating teachers define self-expression as anything that relates to the musical side of playing as opposed to the technical, which has to do with technical expertise. Focus on the lesson tends to lean more to the personal expression, as long as the student has reached a certain basic level of technique. Common to all informants is that the focus has shifted from a more technical and craft-oriented focus to a more individual emphasis with a focus on expression, with an increase in work experience. The informants who have worked at both the high school and school of music and arts level believe that grades may constrain the choice of focus, as self-expression may seem more difficult to assess than technical skills.

A study was conducted of Introductory Art students to find if the six traits of writing as written by Spandel/Stiggins (1997) would have influence over a narrative painting when combined with the six traits of painting. Inconclusive findings were reported. Data difference between the treated and untreated class was less than one point. More research needs to be conducted to study transfer of knowledge from verbal to visual as well as from one curriculum to another with both curriculums teaching same material.

This study investigated three francophone adolescent girls� experiences with singing. A qualitative, narrative research approach (Bogdan & Biklen, 2003; Murray, 2003) was used to increase understanding about the benefits of singing, with a particular interest in exploring singing as a potentially positive means for adolescent minority-culture girls to successfully negotiate multiple aspects of identity, that is, adolescence, gender, and culture. Semi-structured interviews provided an opportunity for the participants to share their experiences, and describe what it is like for them to sing. Data were analyzed with The Listening Guide (Gilligan, Spencer, Weinberg, & Bertsch, 2003), a relational analysis responsive to the narrative and authentic voices of participants, and used to generate �I� poems and identify themes. Three ways of singing were identified � private informal, social informal, public formal � as well as three themes, evoked with the metaphors of: Rhythm (singing and experiences of identity), Harmony (singing and relationships), and Melody (singing, wellbeing, and strength). Findings confirm and extend the small but growing research literature on the psychology of singing, and have implications for those interested in working with youth using a strength-based perspective focused on positive youth development (Larson, 2000).

This study investigated three francophone adolescent girls� experiences with singing. A qualitative, narrative research approach (Bogdan & Biklen, 2003; Murray, 2003) was used to increase understanding about the benefits of singing, with a particular interest in exploring singing as a potentially positive means for adolescent minority-culture girls to successfully negotiate multiple aspects of identity, that is, adolescence, gender, and culture. Semi-structured interviews provided an opportunity for the participants to share their experiences, and describe what it is like for them to sing. Data were analyzed with The Listening Guide (Gilligan, Spencer, Weinberg, & Bertsch, 2003), a relational analysis responsive to the narrative and authentic voices of participants, and used to generate �I� poems and identify themes. Three ways of singing were identified � private informal, social informal, public formal � as well as three themes, evoked with the metaphors of: Rhythm (singing and experiences of identity), Harmony (singing and relationships), and Melody (singing, wellbeing, and strength). Findings confirm and extend the small but growing research literature on the psychology of singing, and have implications for those interested in working with youth using a strength-based perspective focused on positive youth development (Larson, 2000).

In prevalent concept of marketing, brand culture is a static identification, treated as corporate prerogative which removed from culture and consumers. Generally marketers regard it as an emotional part of branding or a result of a constant branding. Hence, the conventional marketing provides the tools or principles for managers or marketers to conduct branding such as 4P, 7P, Brand Equity Model, etc., to reach high and rapid market share. With growth of diverse business environment and consumer behavior, brands only have long and deep relationships with consumers are more possible to be iconic and sustainable. It attracts people to actively access and to interplay with brand rather than just receive message from brand. In this study, the brand culture is specifically pointed out and seen as marketing approach especially in those brands which consumers will access for purpose of self-expression through consuming. The five dimensions help readers to look upon the important aspects in brand culture and how it works actively in marketing approach. From three multiple-case study: Harley-Davidson, Coca Cola and IKEA, the result shows the strong brand culture can be generated by cultural marketing in which the co-creation is developed and kept in cultural discourses. At the end, brand culture as marketing approach is helpful to review whole marketing strategy in consumer¡¦s perspective and improve the possibilities of increasing value in whole value chain.

Tiek pasauliniame, tiek Europos, tiek ir Lietuvos kontekste pastaruoju metu pastebimas ženklus moterų aktyvumo padidėjimas. Moterys nesitenkina vien tik žmonos ar mamos vaidmeniu. Šiandieną jos sėkmingai daro karjerą, tobulina profesines žinias, aktyviai dalyvauja visuomeniniame bei politiniame gyvenime. Lietuvos smulkaus ir vidutinio verslo plėtros agentūros duomenimis, pastaraisiais metais didėja ir auga moterų verslininkių vaidmuo ekonomikoje. Spėjama, kad moterų kūrybiškumas ir verslo potencialas yra užslėptas ekonominio augimo ir naujų darbo vietų kūrimo šaltinis. Būdamos užimtos verslu, karjera, šeima ir namais - moterys dar sugeba rasti laiko ir savo profesinių žinių tobulinimui, bendravimui, patirties pasidalijimu su kitomis moterimis klubinėje veikloje. Verslo bei sėkmingai karjerą darančios moterys yra dar labiau užimtos nei verslininkai vyrai, tad įdomu, kaip joms pavyksta atrasti laiko dar ir klubinei veiklai, ir ko jos siekia šioje veikloje. Šiame darbe siekta išsiaiškinti LIONS moterų klubo narių nuomonę apie moterų savirealizacijos galimybes klubinėje veikloje. / In today's World, Europe and even Lithuania context we see a very noticeable women activity. Nowadays it is not enough for them to take care of the house and children, to study at universities, to run their own business. Women take part in different political or social organizations, associations and clubs. What are their expectations? Having so little free time, they waste it on improving our imperfect world. And they have been doing it for more than two hundred years, since one of the earliest and most influential of women's clubs Sorosis was founded in New York City in 1868. As there were no studies in women's club movement in Lithuania, this paper aims to find out what are the expectations of women self-realization and self-actualization, and how they could be fulfilled participating in club activity.

The pupils of primary forms attend theatrical clubs and periods having different demands, interests, views and attitudes. There are a lot of educational problems the pupils encounter while attending theatrical clubs and periods. At the beginning of the course they are active, receptive, curious and later after having come across some problems they lose their interest in theatrical activities. So having a purpose becomes especially important as pupils educate themselves and the teacher only helps to improve them. While trying to achieve motivated, meaningful education every teacher must know the interests of pupils and their likes and dislikes. For this reason the demands of the primary forms pupils were searched in this work. The most of the attention was devoted to cognitive, social and communicative demands, the causes of their occurrence, the purposes of their development and which of them motivate the primary pupils most of all in the theatrical activities. The research was carried out involving the primary pupils of six Alytus primary schools ( Senamiestis, Drevinukas, Dzūkija, Putinai, Panemunė and Volungė Schools). The questionnaire was made of 22 questions, it was filled in by 173 primary pupils who participate in theatrical activities. The hypothesis that primary pupils like playing theatrical games, like watching their friends perform and learn from them was confirmed. We were assured that primary pupils highly value the demand of communication, so working in... [to full text]

Pradinis muzikinis ugdymas yra ypatingos reikšmės vaiko muzikinės kultūros formavimo etapas. Muzika labai glaudžiai siejasi su emocijomis, kurios užima aktualią vietą jaunesniajame mokykliniame amžiuje. Svarbu nepervertinti pradinuk�� galimybių, atsižvelgti į jų ugdymo ypatumus, smalsumą ir žingeidumą, patenkinti šiuos poreikius, įtraukiant vaikus į muzikinę veiklą. Veikla gali būti įvairi. Muzikos mokykloje vaikams aktuali yra koncertinė veikla, kuri padeda tobulėti, leidžia save išreikšti, labiau pažinti muzikos kalbą ir yra vienas muzikinės kultūros ugdymo veiksnių. Deja, ne visi vaikai turi galimybę save išreikšti koncertinėje veikloje, nes dažniausiai koncertams ruo��iami gabesnieji, o mažiau gabiems lieka tik muzikavimas klasėje. Taip pat trūksta ir koncertų jaunesnių klasių vaikams, kad atitiktų jų amžiaus tarpsnį ir paskatintų dažniau juose lankytis. Pasinaudojant vaikų aktyviu domėjimusi aplinka, jų emocionalumu, būtina mokymo procesą daugiau organizuoti per veiklą, įtraukiant į ją ne tik labai gabius bet ir silpnesnių muzikinių gabumų vaikus bei skatinti dažniau lankytis koncertuose – tai aktuali pedagoginė problema. Tyrimo tikslas. Ištirti koncertinės veiklos įtaką muzikos mokyklos pradinių klasių mokinių muzikinės kultūros ugdymui. Tyrimo objektas. Muzikos mokyklos pradinių klasių mokinių koncertinės veiklos poveikis jų muzikinės kultūros ugdymui. Tyrimo hipotezė – mokinių koncertinė veikla teigiamai veikia... [toliau žr. visą tekstą] / Primary musical training is the exclusive stage in forming the child,s musical culture. Music is very closely related with emotions which are very important in the junior school years. It is important not to overestimate young learners possibilities taking into consideration the training peculiarities, curiosity, to satisfy these needs, involving children to musical activity. This activity can be various. Prforming activity is very important to children in the music school which helps them to improve, gives opportunities for self-exprssion, to know better the music language and it is one of musical culture training factor. Unfortunately, not all the children has a possibility of self-axpression in the performing activity because usually more gifted pupils are prepared to take part in concerts suitable for their age and inducing to take part in them as well. It is necessary to organize the learning process through the activity involving to it not only very gifted pupils, but less gifted to music pupils as well, and to induce them to attend concerts more often. It is very urgent pedagogical problem. The research aim is to investigate the influence of performing activity to musical culture training of primary class pupils in music school. The research objekt is performing activity of primary class pupils in music school. The research hypothesis – pupils performing activity has a positive effect on children,s musical culture training, induces them to attend cultural events... [to full text]