108 resultados para Kultur
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Det tysta kunnandet utgör en stor del av kunskapsresursen både hos oss som individer och i arbetsorganisationerna. Trots att vi omger oss med böcker, manualer och databaser, som alla är exempel på explicit kunskap, så är det ”den rätta känslan”, erfarenheten och våra färdigheter som avgör om och hur vi klarar av våra uppgifter. Dessa begrepp är alla relaterade till den tysta dimensionen av kunskap. En dimension som traditionellt karaktäriserats som abstrakt, individuell, omedveten, praktisk, erfarenhetsbaserad och framför allt svår att uttrycka. Alla dessa är karaktärsdrag som ställt speciella krav inom kunskapsforskning och -ledning. Resultatet av detta är att både forskning och ledning av det tysta kunnandet har åsidosatts till förmån för forskning och ledning av explicit kunskap. Ett bidragande problem har varit bristen på lämpliga metoder för att ur ett företagsekonomiskt perspektiv studera och leda tyst kunnande. Ett annat problem har varit oklarhet i begreppet tyst kunskap. Detta har lett till brist på förståelse och/eller missförstånd. För att råda bot på svårigheten att uttrycka vårt tysta kunnande har människan utvecklat olika begrepp som i vår vardagskommunikation symboliserar tyst kunnande. Begrepp som intuition, människokännedom, förhandlingsförmåga och kultur används vanligt och med dem uttrycker vi den tysta dimensionen av kunnande. Dessa begrepp utgör även grunden för den intervjumetod som utvecklats för att empiriskt studera eller i ledningssyfte kartlägga tyst kunnande. Metoden använder dessa ”Epitet för Tyst Kunskap” (ETK) som bas för stimuluskort-intervjuer. Intervjuer som visat sig öka möjligheten att utforska och kartlägga tyst kunnande i organisationer oberoende av om man är forskare eller företagsledare.
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A short article summarizing the most visible streams of Mexican music along the last century. Special attention is paid to the intellectual and idiosyncratic components which are considered as elements of authenticity in Mexican culture.
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This article explains how Nono's Il canto sospeso (1956), for solo voices, choir and orchestra, is structured in a logic of counterbalances for each musical action, overlapping a harmonic or ‘intuitive’ geometry, with a contrasting or ‘anti-intuitive’ plot. Unlike the typical relationships with the golden ratio, found in many musical examples in which it appears ‘naturally’ (see Tatlow 2001), intervals in the prime numbers series here are perceived as ‘counter-rhythm’; as a form of a counterintuitive distribution, or, as Jameson (2003:vii) suggests, as “a very irregular way” of apparent distribution.
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This article explores aesthetic and historical aspects of Antonio Vivaldi's (1678- 1741) Motezuma (1733), in three acts, to celebrate this opera revival after the score's discovery and its first premiere at De Doelen theatre, Rotterdam (2005). Particular attention is paid to cultural aspects, regarding the European interpretation of the Conquest of Mexico.
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In Aztec mythology and religion, Xipe Totec ("our lord the flayed one") was a life-death-rebirth deity, god of agriculture, vegetation, the east, disease, spring, goldsmiths, silversmiths and the seasons. The music used for his worship has been described by a diversity of documents (carved stones, depicted codices, and chronicles made by the first European friars arrived to Mexico). This article explores the symbolic content of these descriptions, especially in association with Xochipilli Macuilxochitl, master of music and poetry.
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Lecture about the teponaztli (a specific type of slit drum), traditionally used by the Aztec (or Mexica) people, and its associated repertoire. Special attention is paid to the usage of this instrument in the Cantares Mexicanos (a song compilation from the 16th century) accompaniment.
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Soon after the Bolshevik Revolution of 1917, a three-year civil war broke out in Russia. As in many other civil wars, foreign powers intervened in the conflict. Britain played a leading role in this intervention and had a significant effect on the course of the war. Without this intervention on the White side, the superiority of numbers in manpower and weaponry of the Bolsheviks would have quickly overwhelmed their opponents. The aim of this dissertation is to explain the nature and role of the British intervention on the southern, and most decisive, front of the Civil War. The political decision making in London is studied as a background, but the focus of the dissertation is on the actual implementation of the British policy in Russia. The British military mission arrived in South Russia in late 1918, and started to provide General Denikin s White army with ample supplies. General Denikin would have not been able to build his army of more than 200,000 men or to make his operation against Moscow without the British matériel. The British mission also organized the training and equipping of the Russian troops with British weapons. This made the material aid much more effective. Many of the British instructors took part in fighting the Bolsheviks despite the orders of their government. The study is based on primary sources produced by British departments of state and members of the British mission and military units in South Russia. Primary sources from the Whites, including the personal collections of several key figures of the White movement and official records of the Armed Forces of South Russia are also used to give a balanced picture of the course of events. It is possible to draw some general conclusions from the White movement and reasons for their defeat from the study of the British intervention. In purely material terms the British aid placed Denikin s army in a far more favourable position than the Bolsheviks in 1919, but other military defects in the White army were numerous. The White commanders were unimaginative, their military thinking was obsolete, and they were incapable of organizing the logistics of their army. There were also fundamental defects in the morale of the White troops. In addition to all political mistakes of Denikin s movement and a general inability to adjust to the complex situation in Revolutionary Russia, the Whites suffered a clear military defeat. In South Russia the Whites were defeated not because of the lack of British aid, but rather in spite of it.
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After Gödel's incompleteness theorems and the collapse of Hilbert's programme Gerhard Gentzen continued the quest for consistency proofs of Peano arithmetic. He considered a finitistic or constructive proof still possible and necessary for the foundations of mathematics. For a proof to be meaningful, the principles relied on should be considered more reliable than the doubtful elements of the theory concerned. He worked out a total of four proofs between 1934 and 1939. This thesis examines the consistency proofs for arithmetic by Gentzen from different angles. The consistency of Heyting arithmetic is shown both in a sequent calculus notation and in natural deduction. The former proof includes a cut elimination theorem for the calculus and a syntactical study of the purely arithmetical part of the system. The latter consistency proof in standard natural deduction has been an open problem since the publication of Gentzen's proofs. The solution to this problem for an intuitionistic calculus is based on a normalization proof by Howard. The proof is performed in the manner of Gentzen, by giving a reduction procedure for derivations of falsity. In contrast to Gentzen's proof, the procedure contains a vector assignment. The reduction reduces the first component of the vector and this component can be interpreted as an ordinal less than epsilon_0, thus ordering the derivations by complexity and proving termination of the process.
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The Legacy of Poverty. A Study of the substance and continuity of cultural knowledge in Finnish biographical and proverbial texts The study focuses on the idea of the cultural knowledge and shared understanding that ordinary people, folk , have of the concepts and ideas about rural based poverty in Finland. Throughout 19th century and well into 20th century, the majority of the population remained agrarian and poor. By the 1950s, most people still lived in rural areas and a majority of them earned their living primarily from agriculture and forestry. Urbanization proceeded rapidly from the 1960s onwards. Even though the Nordic welfare state was firmly established in Finland by the 1970s, old forms of agrarian poverty still remained in the culture. The source material for the study consists of 99 biographies and 502 proverbs. Biographical texts include written autobiographies and interviewed biographies. A primary analyzing concept is called a poverty speech. The poverty speech has been analyzed by providing answers to the following three questions: What connotations do people attach to poverty when they speak about it? What sort of social relations arise when people speak about poverty? How is the past experience of poverty constructed in the present and in the welfare state context? Cultural knowledge is a theoretical and analytical tool that enables people to categorize information. The three questions stated above are crucial in revealing the schematic structure that people use to communicate about agrarian poverty. Categories are analyzed and processed in terms of cultural themes that contain the ideals and stereotypes of spoken motif and sub-themes. The application of theoretical and analytical premises to the poverty speech has shown that there are four cultural themes. The first theme is Power. The social connotations in the poverty speech are mostly in relation to the better-off people. Poverty does not exist without an awareness of welfare, i.e. the understanding of a certain standard of welfare above that of one's own. The second theme is about family ties as a resource and welfare network. In poverty speech, marriage is represented as a means to upgrade one's livelihood. Family members are described as supporting one another, but at the same time as being antagonists. The third theme, Work represents the work ethic that is being connected to the poverty. Hard working as a representation is attached to eligibility for `a good life´ that in Finland was to become an owner-occupier of a cottage or a flat. The fourth theme is Security. The resentment of unfair treatment is expressed by using moral superiority and rational explanations. The ruling classes in the agrarian society are portrayed as being evil and selfish with no social conscience because they did not provide enough assistance to those who needed it. During the period when the welfare benefit system was undeveloped, the poor expected the wealthier people to make a contribution to the distribution of material wealth. In the premises of cultural knowledge, both oral and written traditions are about human thinking: they deal with topics, ideas and evaluations that are relevant to their bearers. Many elements expressed in poverty speech, such as classifications and customs derived from the rural world, have been carried over into the next generation in newer contexts and a different cultural environment. Keywords: cultural knowledge, cognitive categorization, poverty, life stories, proverbs
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Jatkosodan aikana kerättiin Suomen valtaamalta alueelta Itä-Karjalasta tuhansittain museoesineitä Suomen museoihin. Kansallismuseon kokoelmiin kerättiin esineitä lähinnä suomenheimoisilta mutta myös isovenäläisiltä. Tämän tutkimuksen kohteena on lähes 400:n esineen kokoelma, joka toimitettiin Kansallismuseoon vuosina 1941 1944 ja merkittiin kansallisuudeltaan venäläiseksi. Näistä venäläisistä esineistä suurimman osan keräsi alikersanttina palvellut Väinö Tuomaala. Tutkimukseni tarkastelee Väinö Tuomaalan kokoelmaa ja etsii syitä siihen, miksi kokoelma on sellainen kuin se on, miksi se ja koko venäläisten esineiden kokoelma syntyi ja mitkä seikat vaikuttivat Tuomaalan esinevalintoihin. Tutkimuksen teoria rakentuu museologisen kirjallisuuden varaan. Tutkimuksessa tarkastellaan Väinö Tuomaalan kokoelman keräyskonteksteja. Keräyskonteksteihin kuuluvat kokoelman kerääjä, keräysajankohta ja -paikka sekä yhteenkuuluvat esineet, eli muut venäläiset esineet. Kerääjän tarkastelussa huomioidaan hänen henkilöhistoriansa ja etsitään mahdollisia keruuseen vaikuttaneita tekijöitä. Keräysajankohdan tarkastelussa huomio kiinnittyy keruuympäristöön, eli vallitseviin olosuhteisiin ja aatteelliseen ilmapiiriin, joiden vaikutuksen alaisena keruu suoritettiin. Primääriaineisto koostuu Kansallismuseon alaisen Kulttuurien museon yleisetnografisten esineiden kokoelmaan kuuluvista 198:sta Väinö Tuomaalan keräämästä esineestä verifikaatteineen, jotka ovat osa 393 esinettä käsittävästä venäläisestä kokoelmasta. Aineisto sisältää myös eri arkistojen materiaalia. Kansallisarkiston Sörnäisten toimipisteestä, entisestä sota-arkistota, löytyneitä sotapäiväkirjoja ja Tuomaalan kantakorttia on tutkimuksessa käytetty jatkosodan tapahtumien esittämiseen. Museoviraston hallinto-osaston arkiston kirjeet ja pöytäkirjat ovat antaneet tietoa kulttuurikeruun organisoinnista. Väinö Tuomaalan arkistokokoelma Seinäjoella sisältää Tuomaalan keräämää perinneaineistoa, hänen puheitaan, lehtikirjoituksiaan ja kirjeenvaihtoaan. Myös Evijärven kunnantalon kotiseutuarkistosta löytyneet kirjeet ovat valottaneet Tuomaalan jatkosodan aikaista keruutoimintaa. Suomalaisen Kirjallisuuden Seuran arkistot ovat tarjonneet materiaalia jatkosodan aikaisesta kulttuurikeruusta. Koko venäläisten esineiden kokoelma syntyi sattumalta ja organisoimattoman toiminnan tuloksena, jossa aktiivisia toimijoita olivat yksittäiset kerääjät. Intohimoisesta suhtautumisesta kansatieteellistä keruuta kohtaan johtuen, Tuomaala olisi todenäköisesti kerännyt museoesineitä missä päin Itä-Karjalaa tahansa. Väinö Tuomaalan Itä-Karjalassa keräämä esinekokoelma oli luonnollinen jatke hänen kotiseudullaan aloittamalleen keräystoiminnalle. Tuomaalan jatkosodan aikana keräämä kokoelma on kerääjän mieltymysten mukainen yritys kerätä vanhaa itäkarjalaista, kansallista talonpoikaiskulttuuria. Tuomaala pyrki keräämään klassista kansatieteellistä aineistoa monipuolisesti kansankulttuurin eri elämänalueilta. Tuomaalan esinekeruussa näkyi vahvasti talonpoikaiskulttuurin ihannointi ja halu pelastaa osa siitä tuleville sukupolville. Yrityksen onnistumiseen vaikuttivat sodanajan olosuhteet sekä aatteellinen ilmapiiri. Esineiden saatavuudella oli merkittävä osa kokoelman muodostumiseen, samoin Tuomaalan käsityksillä heimokansoista, Suur-Suomesta ja venäläisistä. Keruuvalintoihin ja keruun jatkumiseen vaikuttivat myös Kansallismuseon henkilökunta ja työstä saatu tunnustus.
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The image of Pietism a window to personal spirituality. The teachings of Johann Arndt as the basis of Pietist emblems The Pietist effect on spiritual images has to be scrutinised as a continuum initiating from the teachings of Johann Arndt who created a protestant iconography that defended the status of pictures and images as the foundation of divine revelation. Pietist artworks reveal Arndtian part of secret, eternal world, and God. Even though modern scholars do not regarded him as a founding father of Pietism anymore, his works have been essential for the development of iconography, and the themes of the Pietist images are linked with his works. For Arndt, the starting point is in the affecting love for Christ who suffered for the humankind. The reading experience is personal and the words point directly at the reader and thus appear as evidence of the guilt of the reader as well as of the love of God. Arndt uses bounteous and descriptive language which has partially affected promoting and picturing of many themes. Like Arndt, Philipp Jakob Spener also emphasised the heart that believes. The Pietist movement was born to oppose detached faith and the lack of the Holy Ghost. Christians touched by the teachings of Arndt and Spener began to create images out of metaphors presented by Arndt. As those people were part of the intelligentsia, it was natural that the fashionable emblematics of the 17th century was moulded for the personal needs. For Arndt, the human heart is manifested as a symbol of soul, personal faith or unbelief as well as an allegory of the burning love for Jesus. Due to this fact, heart emblems were gradually widely used and linked with the love of Christ. In the Nordic countries, the introduction of emblems emanated from the gentry s connections to the Central Europe where emblems were exploited in order to decorate books, artefacts, interiors, and buildings as well as visual/literal trademarks of the intelligentsia. Emblematic paintings in the churches of the castles of Venngarn (1665) and Läckö (1668), owned by Magnus Gabriel De la Gardie, are one of the most central interior paintings preserved in the Nordic countries, and they emphasise personal righteous life. Nonetheless, it was the books by Arndt and the Poet s Society in Nurnberg that bound the Swedish gentry and the scholars of the Pietist movement together. The Finnish gentry had no castles or castle churches so they supported county churches, both in building and in maintenance. As the churches were not private, their iconography could not be private either. Instead, people used Pietist symbols such as Agnus Dei, Cor ardens, an open book, beams, king David, frankincense, wood themes and Virtues. In the Pietist images made for public spaces, the attention is focused on pedagogical, metaphorical, and meaningful presentation as well as concealed statements.
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This study deals with how ethnic minorities and immigrants are portrayed in the Finnish print media. The study also asks how media users of various ethnocultural backgrounds make sense of these mediated stories. A more general objective is to elucidate negotiations of belonging and positioning practices in an increasingly complex society. The empirical part of the study is based on content analysis and qualitative close reading of 1,782 articles in five newspapers (Hufvudstadsbladet, Vasabladet, Helsingin Sanomat, Iltalehti and Ilta-Sanomat) during various research periods between 1999 and 2007. Four case studies on print media content are followed up by a focus group study involving 33 newspaper readers of Bosnian, Somalian, Russian, and 'native' Finnish backgrounds. The study draws from different academic and intellectual traditions; mainly media and communication studies, sociology and social psychology. The main theoretical framework employed is positioning theory, as developed by Rom Harré and others. Building on this perspective, situational self-positioning, positioning by others, and media positioning are seen as central practices in the negotiation of belonging. In support of contemporary developments in social sciences, some of these negotiations are seen as occurring in a network type of communicative space. In this space, the media form one of the most powerful institutions in constructing, distributing and legitimising values and ideas of who belongs to 'us', and who does not. The notion of positioning always involves an exclusionary potential. This thesis joins scholars who assert that in order to understand inclusionary and exclusionary mechanisms, the theoretical starting point must be a recognition of a decent and non-humiliating society. When key insights are distilled from the five empirical cases and related to the main theories, one of the major arguments put forward is that the media were first and foremost concerned with a minority actor's rightful or unlawful belonging to the Finnish welfare system. However, in some cases persistent stereotypes concerning some immigrant groups' motivation to work, pay taxes and therefore contribute are so strong that a general idea of individualism is forgotten in favour of racialised and stagnated views. Discussants of immigrant background also claim that the positions provided for minority actors in the media are not easy to identify with; categories are too narrow, journalists are biased, the reporting is simplifying and carries labelling potential. Hence, although the will for the communicative space to be more diverse and inclusive exists — and has also in many cases been articulated in charters, acts and codes — the positioning of ethnic minorities and immigrants differs significantly from the ideal.
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Self-similarity, a concept taken from mathematics, is gradually becoming a keyword in musicology. Although a polysemic term, self-similarity often refers to the multi-scalar feature repetition in a set of relationships, and it is commonly valued as an indication for musical coherence and consistency . This investigation provides a theory of musical meaning formation in the context of intersemiosis, that is, the translation of meaning from one cognitive domain to another cognitive domain (e.g. from mathematics to music, or to speech or graphic forms). From this perspective, the degree of coherence of a musical system relies on a synecdochic intersemiosis: a system of related signs within other comparable and correlated systems. This research analyzes the modalities of such correlations, exploring their general and particular traits, and their operational bounds. Looking forward in this direction, the notion of analogy is used as a rich concept through its two definitions quoted by the Classical literature: proportion and paradigm, enormously valuable in establishing measurement, likeness and affinity criteria. Using quantitative qualitative methods, evidence is presented to justify a parallel study of different modalities of musical self-similarity. For this purpose, original arguments by Benoît B. Mandelbrot are revised, alongside a systematic critique of the literature on the subject. Furthermore, connecting Charles S. Peirce s synechism with Mandelbrot s fractality is one of the main developments of the present study. This study provides elements for explaining Bolognesi s (1983) conjecture, that states that the most primitive, intuitive and basic musical device is self-reference, extending its functions and operations to self-similar surfaces. In this sense, this research suggests that, with various modalities of self-similarity, synecdochic intersemiosis acts as system of systems in coordination with greater or lesser development of structural consistency, and with a greater or lesser contextual dependence.