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Undersökningens syfte är att belysa skillnader och likheter i synen på kompositionsprocesser mellan två traditioner: konstmusik och afroamerikansk. För att nå fram till detta syfte har fyra komponerande musikhögskolestudenter intervjuats i en semistrukturerad kvalitativ intervju. Intervjumaterialet har sedan tolkats och analyserats med hjälp av ett teoretiskt ramverk, bestående av teman rörande kompositionsprocessens förutsättningar. Utifrån undersökningens resultat kan de båda traditionernas olika kompositionella förutsättningar uttryckas i ett antal, mer eller mindre, dikotomiska motsatspar: känsla och tanke, intuition och logik, del och helhet, hörsel och syn, musikinstrument och penna, inspelning och noter, samt tillsammans med andra och ensam. För att förtydliga dessa motsatspar, så hör det första ordet i alla par till den afroamerikanska traditionen, och det andra till den konstmusikaliska. Likheter och gemensamma nämnare mellan traditionerna är stolthet, ett frihetsbehov samt en specialiserad vokabulär för både mentalt och fysiskt skissande. Ytterligare likheter är att olika inre drivkrafter och vårt sociala liv och omgivning motiverar till komposition, samt en tro på att alla kan vara kreativa.

The Saulteaux Nation is comprised of 7 major clans the larger of which is the Bear Clan. This thesis examines the holistic philosophy of the Saulteaux world view and the oral teachings of the Bear Clan. The teachings, which emphasize the nature of healing and personal growth, were related by Elder Danny Musqua to myself from within the context of traditional Bear Clan ceremonies and practices. This thesis documents my journey to understand these teachings and in the process to arrive at a deeper understanding of self. This is done within the context of Bear Clan culture and within the context of my relationship with Elder Danny Musqua. This thesis relates my struggle to make meaning of these teachings on a personal level and how these teachings have affected my life.<p> Narrative Inquiry is the methodology employed in this study. Through a reliance on narrative as the research methodology, the oral tradition of the Bear Clan and its traditional methods of knowledge transmission are honoured. The methodology utilized in this study is relatively unstructured in that no formal questioning process is utilized. Instead, it relies upon the relationship between the Elder/teacher and the son/learner in which to transmit knowledge. This process stresses the relationship between Danny and myself and emphasizes trust and respect as important elements of learning. In this relationship, knowledge was transmitted through participation in the sweatlodge, the learning lodge and through conversations with Danny. This approach to research respected the implicit nature of the oral tradition and allowed for me to make meaning of Danny's teachings in their original context and interpret them at a level appropriate for my own personal development.<p> This thesis struggles to define traditional healing and the role that the healer, the one oppressed by illness and the spiritual realm play in the healing process. This thesis may prove valuable in educating and informing those who do not have an understanding of concepts of First Nations' healing. It may also serve as an invitation to all people, Aboriginal and non-Aboriginal, to expand their notions of healing or to search out a similar path in life.

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<p>Bilaga: 1 CD</p>

This thesis explores the representation of Heimat in Stephan Thome’s novel Grenzgang (2009). The concept of Heimat is a subjective and therefore challenging idea, as a result there is no generally accepted definition of Heimat. Thus notions that contribute to the conception of Heimat – nostalgia, womanhood, the triad of province-city-world as well as nationhood and tradition – are analysed in the present work. Far beyond the cliché of an idyllic Heimat as a place to escape from real life, Grenzgang demonstrates a more modern version of the concept. The inhabitants of the Hessian town Bergenstadt, especially the protagonists Thomas and Kerstin, have to deal with the harsh reality of their lives. Since the Hessian countryside is caught up in the processes of globalization, its inhabitants have new opportunities, but they have to come to terms with new threats as well. The result is increasing insecurity, which in turn is partly buffered by the existing tradition of the “Grenzgang,” i.e. walking along the limits of the town in order to re-establish its borders. That tradition is the connecting element in this novel, causing the inhabitants of Bergenstadt to experience a feeling of security and identity in the traditional community. Furthermore, they build up a relationship with their rural environment and their history. The novel Grenzgang demonstrates that Heimat can be acquired actively through social relations even if this Heimat is threatened by insecurity. The thesis stresses the progressive character of the individual acquisition of traditions while its special focus is on the subjectivity of the concept of Heimat: Each character has to find his or her own form of Heimat and by extension his or her identity. Grenzgang shows that this can be successfully experienced in the present day. Furthermore the novel's realistic treatment of the countryside differs from the positively-transfigured, negative or ironic representations of previous Heimat novels.

The Saulteaux Nation is comprised of 7 major clans the larger of which is the Bear Clan. This thesis examines the holistic philosophy of the Saulteaux world view and the oral teachings of the Bear Clan. The teachings, which emphasize the nature of healing and personal growth, were related by Elder Danny Musqua to myself from within the context of traditional Bear Clan ceremonies and practices. This thesis documents my journey to understand these teachings and in the process to arrive at a deeper understanding of self. This is done within the context of Bear Clan culture and within the context of my relationship with Elder Danny Musqua. This thesis relates my struggle to make meaning of these teachings on a personal level and how these teachings have affected my life.<p> Narrative Inquiry is the methodology employed in this study. Through a reliance on narrative as the research methodology, the oral tradition of the Bear Clan and its traditional methods of knowledge transmission are honoured. The methodology utilized in this study is relatively unstructured in that no formal questioning process is utilized. Instead, it relies upon the relationship between the Elder/teacher and the son/learner in which to transmit knowledge. This process stresses the relationship between Danny and myself and emphasizes trust and respect as important elements of learning. In this relationship, knowledge was transmitted through participation in the sweatlodge, the learning lodge and through conversations with Danny. This approach to research respected the implicit nature of the oral tradition and allowed for me to make meaning of Danny's teachings in their original context and interpret them at a level appropriate for my own personal development.<p> This thesis struggles to define traditional healing and the role that the healer, the one oppressed by illness and the spiritual realm play in the healing process. This thesis may prove valuable in educating and informing those who do not have an understanding of concepts of First Nations' healing. It may also serve as an invitation to all people, Aboriginal and non-Aboriginal, to expand their notions of healing or to search out a similar path in life.

Det här arbetets syfte är att belysa svenska keramikers beskrivning av begreppet tradition och deras eget förhållningssätt till det. För att nå reliabla informanter användes kooperativet Konsthantverkarna i Stockholm. Genom en enkät, skickad via e-post, fick keramikerna anknutna till kooperativet Konsthantverkarna svara på följande två frågor: - Vad betyder tradition för dig som keramiker? - Är tradition synlig i ditt egna keramiska arbete; och om så, på vilket sätt? Enligt informanternas utsagor innefattar tradition flera olika områden. Hantverket har en central roll i begreppet, med betoning på materialet och teknikerna inblandade i det keramiska arbetet. Tradition innehåller för informanterna en historisk anknytning som är förankrad långt tillbaka i tiden. I informanternas utsagor framgår det att tradition också betyder en trygghet i form av en grund att arbeta ut ifrån. Traditionen tillåter att användas och appliceras på flera olika sätt inom det keramiska arbetet. En förutsättning för att kunna använda traditionen som ett stöd, eller en grund, är att vara medveten om den och ha kunskap om vad den innebär. Form och färg ges av informanterna mindre anknytning till begreppet än vad teknik och material ges. I informanternas svar nämns också flera olika typer av traditioner, exempelvis svensk lergodstradition, bränningstradition samt formgivningstradition vilket tolkas som att tradition är ett dynamiskt begrepp med underkategorier och innehåll som kan variera mellan individer. Den keramiska traditionen behandlas som någonting normativt av informanterna och blir den måttstock som keramiska objekt bedöms utifrån, ett samlingsbegrepp för allt som gjorts tidigare inom fältet. Traditionen innebär för informanterna möjligheter, en grund att relatera sina egna verk till och använda sig av. Mellan informanterna så varierar förhållningssättet och det råder konsensus om att tradition är något som kan utnyttjas i arbetet med keramiken och inom formgivning av föremål. Skillnaderna är synliga i hur informanterna hanterar denna möjlighet. I enkätsvaren uttrycks hur flera informanter upplever en stark koppling till traditionen, hur de är bundna till den. Den ofrånkomligheten som beskrivs i informanternas utsagor och identifierar tre olika sätt att förhålla sig till den. Det första sättet är ett accepterande och bejakande. Det andra förhållningssättet är ett rent accepterande av traditionen där personen inte lägger vikt till traditionen, men inte heller försöker avsäga sig den. Detta förhållningssätt tolkas som ett uttryck om en önskan att inte binda sig själv till en dogm, eller ett visst sätt att arbeta, men fortfarande vara nära traditionen och kunna utnyttja den. Det tredje förhållningssättet, är att acceptera att det finns en tradition, men att ta avstånd från den.

Alasdair MacIntyre is one of the key philosophers in contemporary revival of virtue ethics, and often labeled as a representative of communitarianism in liberal-communitarian debate. The purpose of this thesis is to provide a narrative of the development of MacIntyre's philosophy, from his early Marxist thought to the later virtue ethics, and to examine the continuities and discrepancies between different stages of his philosophy. This thesis argues that the central theme of MacIntyre's philosophy is a diagnosis of the crisis of modernity and the ways through which we can overcome the predicament of alienation. In other words, MacIntyre's critique of capitalism and liberalist individualism shows the sophistication of his political thought and therefore cannot simply be described as "communitarian." To demonstrate MacIntyre's analysis of the crisis of modernity, this thesis focuses on four sets of binary concepts that constitute the foundations of his critiques, that is, "is-ought", "theory-practice", "individualism-holism", and "philosophy-history". The key to his theory of overcoming alienation, in this interpretation, is to understand the dialectic relations within each set of binary concepts respectively. This thesis illustrates how young MacIntyre tried to combine Marxism and Christian theology to answer these problematics, as well as how the later MacIntyre turned to Aristotle and Aquinas for theoretical inspirations. Aside from re-articulating the role of virtues in ethics, other MacIntyre's important theoretical innovations include transcending modern instrumental rationality by elevating the significance of teleological rationality and reconstructing the dynamic relations between rationality and traditions.

This study explores how the unique history, culture, and traditions of Texas A&M University shape students’ perceptions and understandings of diversity and diversity programs. I examine these issues through participant observation of Texas A&M’s football traditions and in-depth, semi-structured interviews with members of the student body. In response to increased media scrutiny, public pressure, and scholastic competition, the current administration has embraced a number of aggressive initiatives to increase diversity among members of the student body. The collision between decades of tradition and the administration’s vision for the future has given rise to tension between members of the student body and the administration, which I argue is due, at least in part, to the culture that began developing at Texas A&M during the middle of the twentieth century as students began reacting to the prospect of change. I conclude that this historical and cultural context continues to impact modern campus life through students’ dedication to tradition. In addition, I suggest that current students tend to assign different meanings and values to the concepts of both tradition and diversity than either faculty members or administrators do, creating tensions that have not been comprehensively examined or understood within the context of the Texas A&M community. Based on these findings, I suggest that proponents of diversity can improve the diversity project at Texas A&M University by giving students more responsibility for diversity programs, emphasizing the process (rather than the results) of diversification, attempting to eradicate all forms of intolerance and injustice on campus, and insisting on a policy of mutual respect.