<p>Historiskt sett har kvinnan fått lite utrymme i media överhuvudtaget. Det håller på att ändras idag, mycket tack vare jämställdhetsdebatten. Kvinnor syns och hörs mer men det handlar i stor mån fortfarande om det privata: hemmet, familjen och relationer.</p><p>Vår uppsats är uppbyggd kring en kvalitativ undersökning av gymnasieelever i fokusgrupper. Syftet med uppsatsen har varit att ta reda på vad gymnasieelever anser om två utvalda kvinnors åsikter i media. De två kvinnorna är Anna Anka och Susanne Sjöström som medverkade i reality-showerna <em>Svenska Hollywoodfruar</em> respektive <em>Ensam mamma söker</em>. Båda serierna visades på TV3.</p><p>De frågor vi ställt oss är; <em>Hur påverkas mottagare av Anna Ankas och Susanne Sjöströms åsikter?</em> <em>Hur hade mottagarna reagerat om dessa åsikter framfördes av en man?</em><em> </em>Med underfrågan: <em>Varför? </em>Och <em>Varför</em> <em>utvecklas dessa kvinnors åsikter till en debatt? </em></p><p>Resultatet visar att våra fokusgrupper inte anser sig bli direkt påverkade av kvinnors åsikter i media, men de tror att åsikterna kan påverka dem indirekt i form av diskussioner. Reaktionerna på kvinnors åsikter i media hade blivit större om åsikterna hade framförts av en man, visar resultatet. Det är för att mäns åsikter, av många, tas på större allvar. Susanne Sjöströms sätt att leva och visa sina åsikter visar att en kvinna kan klara av att ta hand om en familj, både ekonomiskt men också hushållet och allt annat runtomkring. Anna Ankas sätt att leva och åsikterna hon framför kritiserar istället jämställdhetsdebatten och sättet många svenskar lever på. Därför har dessa kvinnors åsikter blivit till en debatt, enligt våra fokusgrupper.</p>

This dissertation is primarily concerned with women's writing in the mid-seventeenth century, comprising the years from 1624 to 1686. It covers the period immediately following Martin Opitz's vernacular literary reforms in Germany and takes as its primary subject the resultant increase in female authorship. It arises out of an interest in two separate but interrelated issues. The first is out of an interest in female literary production in Germany during the seventeenth century, specifically between 1624 and 1686, dates demarcated by the publication of Martin Opitz's Buch von der deutschen Poeterey and the publication of Susanne Elisabeth Zeidler's collection of poetry, Jungferlicher Zeitvertreiber. The second is the question of women's self-concept within a patriarchal society and the discursive strategies of female authors struggling "against complex odds" to "com[e] to written voice" (Olsen 9). In order to fully explore this subject, I have chosen to focus on the work of two poets, Sibylle Schwarz (1621-1638) and Susanne Elisabeth Zeidler (1657-1706?). Writing at different stages in this period and from dissimilar social positions, the two poets offer contrasting strategies of self-representation and self-authorization. By negotiating the demanding terrain of female authorship in a period inhospitable to female learning in different ways, they illustrate the tensions faced by female poets and the various strategies for overcoming the challenges they faced. I look first at the construction of female gender in the early modern period and the ways female writers could subtly shift the prevailing ideas and definitions to include the act of writing as an acceptable component of female identity. The analysis and comparison of the works of Schwarz and Zeidler also offers a glimpse into the changes in self-awareness and self-concept of female poets across the period. / text

Historiskt sett har kvinnan fått lite utrymme i media överhuvudtaget. Det håller på att ändras idag, mycket tack vare jämställdhetsdebatten. Kvinnor syns och hörs mer men det handlar i stor mån fortfarande om det privata: hemmet, familjen och relationer. Vår uppsats är uppbyggd kring en kvalitativ undersökning av gymnasieelever i fokusgrupper. Syftet med uppsatsen har varit att ta reda på vad gymnasieelever anser om två utvalda kvinnors åsikter i media. De två kvinnorna är Anna Anka och Susanne Sjöström som medverkade i reality-showerna Svenska Hollywoodfruar respektive Ensam mamma söker. Båda serierna visades på TV3. De frågor vi ställt oss är; Hur påverkas mottagare av Anna Ankas och Susanne Sjöströms åsikter? Hur hade mottagarna reagerat om dessa åsikter framfördes av en man? Med underfrågan: Varför? Och Varför utvecklas dessa kvinnors åsikter till en debatt? Resultatet visar att våra fokusgrupper inte anser sig bli direkt påverkade av kvinnors åsikter i media, men de tror att åsikterna kan påverka dem indirekt i form av diskussioner. Reaktionerna på kvinnors åsikter i media hade blivit större om åsikterna hade framförts av en man, visar resultatet. Det är för att mäns åsikter, av många, tas på större allvar. Susanne Sjöströms sätt att leva och visa sina åsikter visar att en kvinna kan klara av att ta hand om en familj, både ekonomiskt men också hushållet och allt annat runtomkring. Anna Ankas sätt att leva och åsikterna hon framför kritiserar istället jämställdhetsdebatten och sättet många svenskar lever på. Därför har dessa kvinnors åsikter blivit till en debatt, enligt våra fokusgrupper.

Arts-based methods are increasingly used to facilitate meta-level learning in management education. Such increased use suggests that these methods are relevant and offer a unique contribution meeting a need in today’s management education. Yet, the literature is not clear on what this unique contribution may be even though it abounds with suggestions of varying quality. To explore this matter, I conduct a systematic literature review focused on arts-based methods, management education, and meta-level learning. I find that the unique contribution of arts-based methods is to foreground the process of making and expressing more refined perceptual distinctions, not to get accurate data, but as integral to our thinking/learning. This finding is important, because it imply that certain (commonly applied) ways of using arts-based methods may limit their potential. Finally, I suggest that future research regarding arts-based methods should focus on exploring the impact the process of learning to make and express more refined perceptual distinctions may have on managerial practice to further understand the relevance of these methods to managers.

Aware, as generally conceived in Japanese aesthetics, refers to the felt content within a particular work of art that drives the aesthetic value of that work. In this thesis presents a theory of art that places aware as central to the aesthetic experience in the Japanese as derived from Shinto and Buddhist ontology, as well as the aesthetic theories of Motoori Norinaga. This theory is then contrasted with the aesthetic theory of Susanne K. Langer as presented in Philosophy in a New Key, Feeling and Form, and Problems of Art, to provide a full explication of what it means to have an aesthetic experience or create art in the Japanese context.

Made available in DSpace on 2016-08-10T11:07:33Z (GMT). No. of bitstreams: 1 MARIA LUCIA CASASANTA BRUZZI.pdf: 780827 bytes, checksum: 829f068d041e0d0caf80373a3e85b672 (MD5) Previous issue date: 2011-08-15 / This essay presents in its first chapter the concepts of images and symbols. In the second chapter, it deals with Gaston Bachelard s theories applied to examples from the poems of Fazendeiro do Ar, written by Carlos Drummond de Andrade. The metaphors are studied in the third chapter. They are based in Susanne Langer s theories and are also applied to examples from the poems of the same masterpiece. In its fourth chapter the conclusion is a deeper study of images, symbols and metaphors of two poems, namely Estrada and Elegia . / Esta dissertação apresenta, em seu primeiro capítulo, os conceitos de imagens e símbolos. No segundo, as teorias de Bachelard, aplicando-as a exemplos extraídos da obra poética Fazendeiro do Ar, de Carlos Drummond de Andrade. As metáforas são tratadas no terceiro capítulo. Orientam-se pelas teorias de Susanne Langer e também são aplicadas a exemplos extraídos da mesma obra poética. No quarto capítulo, conclui-se o trabalho, com uma análise mais aprofundada de imagens, símbolos e metáforas de dois poemas, Estrada e Elegia .

Ausstellung kuratiert von Gwendolin Kremer / Die Ausstellungsbroschüren des „Projektraum am Weißen Hirsch. Galerie Grafikladen“ dokumentieren die Ausstellungstätigkeit eines nicht institutionellen Ausstellungsraumes in Dresden zwischen 2010 und 2016. Die Galerie widmete sich dem Werk zeitgenössischer junger Künstler, vorwiegend Meisterschüler und Absolventen, die in der Regel einen biografischen Bezug zu Dresden haben. Das Ausstellungskonzept war offen für die verschiedensten künstlerischen Ausdrucksformen – von Malerei über Fotografie bis zu performativen Ansätzen. Jährlich fanden vier bis fünf, von wechselnden Kuratoren entwickelte Ausstellungen statt. Im August 2016 eröffnete die vorerst letzte Ausstellung. / © bei den Rechteinhabern, Lizenz: Zugang frei – Rechte vorbehalten. Bitte beachten Sie unsere Hinweise zum Urheberrecht.

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Of all fields of historical enquiry, Germany’s Third Reich is perhaps the richest in sources and historiography. Therefore, it is logical to assume that this is where we see history done at its best. The chief interest of this dissertation is how historians select their sources and how they use the evidence they find in their sources. I have taken relations between Jewish Germans and non-Jewish Germans as a case study because of the enormous quantity of primary source material and because so many historians have commented on the issue. I do not attempt to make any claims about what happened between Jewish Germans and their non-Jewish compatriots nor do I make a moral assessment of behaviours and attitudes among the ‘ordinary’ people of Germany under the Third Reich. Rather, this is a technical exercise to examine how well the historians have done history in this particular area. My systematic review of the historians’ methodologies reveals that many either distort the evidence they cite or put forward arguments that go well beyond what the evidence warrants, perhaps because of pre-conceived theories which shape their approaches to the evidence. Moreover, they fail to make the best possible use of some types of source such as personal narratives. In order to ascertain whether these sources can be better used, I systematically analyse a selection of personal narratives which are sometimes quoted by historians, in particular the 1933-1945 diaries of Victor Klemperer. My question is: Do these testimonies really say what the historians claim they say about relations between Jewish and non-Jewish Germans? And if not, how can we analyse them to determine what they actually do say? The two kinds of problems which emerge are how to select a balanced range of sources and how to use them properly. My argument is that there are six methodological principles that should underpin good historical practice. Because historians are not scrupulous to apply these common-sense rules, their arguments are methodologically flawed and they do not use some sources to the full extent of their value. This raises the question of whether these problems are confined to this particular field or whether they are endemic to the history profession as a whole.

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