We want Moshiach now! : understanding the Messianic message in the Jewish Chabad-Lubavitch movement

Då man rör sig i New York eller Jerusalem är det inte ovanligt att man stöter på judiska "missionärer" - ett fenomen som annars är ovanligt inom judendomen - och får ett traktat i sin hand som säger "Moshiach är här" eller "Welcome Moshiach". Det är den ultra-ortodoxa rörelsen Chabad-Lubavitch som har blivit känd för sitt utåtriktade missionsarbete och för att ha proklamerat sin ledare, Rabbi Schneerson som messias. Trots att han har varit död sedan 1994 och man från judiskt håll säger att en messias inte kan dö, lever förväntningarna på Rabbi Schneerson kvar inom rörelsen. Den akademiska forskningen har gjort gällande att denna messiastro, som tar sig ett så aktivt uttryck, är en produkt av den existentiella hopplöshet som lägrade sig över det judiska samfundet i och med Förintelsen, därför att väntan på messias omedelbara ankomst ingav livshopp. Dessutom har forskningen från ett religionssociologiskt perspektiv frågat hur en religiös rörelse överlever en så stor besvikelse som att ens ledare inte uppfyller de profetior som talats ut. Avhandlingen "We Want Moshiach NOW!" ifrågasätter den tidigare forskningen genom att påvisa de starka messianska förväntningar som fanns redan på 1700-talet vid rörelsens tillkomst. Avhandlingen tar upp vilka förväntningar som framkommer i det litterära verket "Tanja", författad av rörelsens grundare, och jämför dem med den moderna litteraturen. I "Tanja" ges även förklaringsmodeller till varför en person som man trodde var messias inte är det. Avhandlingens tes är att forskningen inte har beaktat utsagorna i "Tanja" tillräckligt mycket då man försökt förstå den samtida messiastron och de uttryck den tar.

Skill Development in Music Reading. The Eye-Movement Approach

This dissertation examined skill development in music reading by focusing on the visual processing of music notation in different music-reading tasks. Each of the three experiments of this dissertation addressed one of the three types of music reading: (i) sight-reading, i.e. reading and performing completely unknown music, (ii) rehearsed reading, during which the performer is already familiar with the music being played, and (iii) silent reading with no performance requirements. The use of the eye-tracking methodology allowed the recording of the readers’ eye movements from the time of music reading with extreme precision. Due to the lack of coherence in the smallish amount of prior studies on eye movements in music reading, the dissertation also had a heavy methodological emphasis. The present dissertation thus aimed to promote two major issues: (1) it investigated the eye-movement indicators of skill and skill development in sight-reading, rehearsed reading and silent reading, and (2) developed and tested suitable methods that can be used by future studies on the topic. Experiment I focused on the eye-movement behaviour of adults during their first steps of learning to read music notation. The longitudinal experiment spanned a nine-month long music-training period, during which 49 participants (university students taking part in a compulsory music course) sight-read and performed a series of simple melodies in three measurement sessions. Participants with no musical background were entitled as “novices”, whereas “amateurs” had had musical training prior to the experiment. The main issue of interest was the changes in the novices’ eye movements and performances across the measurements while the amateurs offered a point of reference for the assessment of the novices’ development. The experiment showed that the novices tended to sight-read in a more stepwise fashion than the amateurs, the latter group manifesting more back-and-forth eye movements. The novices’ skill development was reflected by the faster identification of note symbols involved in larger melodic intervals. Across the measurements, the novices also began to show sensitivity to the melodies’ metrical structure, which the amateurs demonstrated from the very beginning. The stimulus melodies consisted of quarter notes, making the effects of meter and larger melodic intervals distinguishable from effects caused by, say, different rhythmic patterns. Experiment II explored the eye movements of 40 experienced musicians (music education students and music performance students) during temporally controlled rehearsed reading. This cross-sectional experiment focused on the eye-movement effects of one-bar-long melodic alterations placed within a familiar melody. The synchronizing of the performance and eye-movement recordings enabled the investigation of the eye-hand span, i.e., the temporal gap between a performed note and the point of gaze. The eye-hand span was typically found to remain around one second. Music performance students demonstrated increased professing efficiency by their shorter average fixation durations as well as in the two examined eye-hand span measures: these participants used larger eye-hand spans more frequently and inspected more of the musical score during the performance of one metrical beat than students of music education. Although all participants produced performances almost indistinguishable in terms of their auditory characteristics, the altered bars indeed affected the reading of the score: the general effects of expertise in terms of the two eye- hand span measures, demonstrated by the music performance students, disappeared in the face of the melodic alterations. Experiment III was a longitudinal experiment designed to examine the differences between adult novice and amateur musicians’ silent reading of music notation, as well as the changes the 49 participants manifested during a nine-month long music course. From a methodological perspective, an opening to research on eye movements in music reading was the inclusion of a verbal protocol in the research design: after viewing the musical image, the readers were asked to describe what they had seen. A two-way categorization for verbal descriptions was developed in order to assess the quality of extracted musical information. More extensive musical background was related to shorter average fixation duration, more linear scanning of the musical image, and more sophisticated verbal descriptions of the music in question. No apparent effects of skill development were observed for the novice music readers alone, but all participants improved their verbal descriptions towards the last measurement. Apart from the background-related differences between groups of participants, combining verbal and eye-movement data in a cluster analysis identified three styles of silent reading. The finding demonstrated individual differences in how the freely defined silent-reading task was approached. This dissertation is among the first presentations of a series of experiments systematically addressing the visual processing of music notation in various types of music-reading tasks and focusing especially on the eye-movement indicators of developing music-reading skill. Overall, the experiments demonstrate that the music-reading processes are affected not only by “top-down” factors, such as musical background, but also by the “bottom-up” effects of specific features of music notation, such as pitch heights, metrical division, rhythmic patterns and unexpected melodic events. From a methodological perspective, the experiments emphasize the importance of systematic stimulus design, temporal control during performance tasks, and the development of complementary methods, for easing the interpretation of the eye-movement data. To conclude, this dissertation suggests that advances in comprehending the cognitive aspects of music reading, the nature of expertise in this musical task, and the development of educational tools can be attained through the systematic application of the eye-tracking methodology also in this specific domain.

I hälsans spelrum : lek på vårdandets scen

With caring science as its foundation and by means of the perioperative dialogue, the intended contribution and overall aim of this present thesis is to describe what play is and could be in the caring reality, an ideal model. The perioperative dialogue is the nurse anaesthetists’ pre-, intra- and post-operative dialogues with the children they care for in connection with anesthesia. The thesis is composed according to Schopenhauer’s notion that the road to science presupposes the world seen as performances, and has an all-pervading hermeneutic approach. The performances of the thesis are: the performance of all performances, the empirical performance, the transcendental performance and the universal performance. The performance of all performances originates in the theoretical perspective of the thesis and describes what play and its characteristics are. This performance is realized through the hermeneutic interpretation of the etymology and original meaning of the word play along with texts from caring science, philosophy, anthropology and the history of religion. The empirical performance originates in four empirical studies where caring is organized as a perioperative dialogue. In study I, the material was collected with the help of participating observations and semi-structured interviews, in study II, with the help of the critical incident method and in study III, with the help of conversation interviews. In study IV, play develops into a clinical caring science research method. The research participants consist of children with special needs, children with a pronounced fear of anaesthesia, parents of children with severe autism and nurse anaesthetists. The empirical performance relates in what way play manifests in a perioperative child context by interpreting the results from the empiric in the light of the characteristics of play. The transcendental performance is enacted in the playhouse of health and presents a picture of the essence of play, the playing. In the playhouse of health, the light, winged movement of play is actualized when what was previously too difficult, too heavy and pinioned instead is as easy as anything. The eye of love and compassion knows the art of deciphering the secret script where the Other’s holiness resides, even if mere glimpses of it appear. The universal performance depicts three caring acts where the entrance consists of entering play, the ideal of which is realized in the unmasked openness face to face, that which protects the playing human being against encroachment and an unwanted audience. In the second caring act, entering play plays on to the finely-tuned interplay between human beings in the winged play of beauty and dignity. In the third caring act, the world’s deepest plays are staged on the stage of caring, in the sense that the innermost being of each individual, the universal will joins in and allows individuals to live as playing human beings who are at home with themselves and the world. The captivating, graceful and friendly play works from within itself, as long as it illumined by the light of claritas can play undisturbed on the stage of caring where it – like an unclouded mirror of its own ideal watches over children’s health.

Laser cladding with scanning optics

Scanning optics create different types of phenomena and limitation to cladding process compared to cladding with static optics. This work concentrates on identifying and explaining the special features of laser cladding with scanning optics. Scanner optics changes cladding process energy input mechanics. Laser energy is introduced into the process through a relatively small laser spot which moves rapidly back and forth, distributing the energy to a relatively large area. The moving laser spot was noticed to cause dynamic movement in the melt pool. Due to different energy input mechanism scanner optic can make cladding process unstable if parameter selection is not done carefully. Especially laser beam intensity and scanning frequency have significant role in the process stability. The laser beam scanning frequency determines how long the laser beam affects with specific place local specific energy input. It was determined that if the scanning frequency in too low, under 40 Hz, scanned beam can start to vaporize material. The intensity in turn determines on how large package this energy is brought and if the intensity of the laser beam was too high, over 191 kW/cm2, laser beam started to vaporize material. If there was vapor formation noticed in the melt pool, the process starts to resample more laser alloying due to deep penetration of laser beam in to the substrate. Scanner optics enables more flexibility to the process than static optics. The numerical adjustment of scanning amplitude enables clad bead width adjustment. In turn scanner power modulation (where laser power is adjusted according to where the scanner is pointing) enables modification of clad bead cross-section geometry when laser power can be adjusted locally and thus affect how much laser beam melts material in each sector. Power modulation is also an important factor in terms of process stability. When a linear scanner is used, oscillating the scanning mirror causes a dwell time in scanning amplitude border area, where the scanning mirror changes the direction of movement. This can cause excessive energy input to this area which in turn can cause vaporization and process instability. This process instability can be avoided by decreasing energy in this region by power modulation. Powder feeding parameters have a significant role in terms of process stability. It was determined that with certain powder feeding parameter combinations powder cloud behavior became unstable, due to the vaporizing powder material in powder cloud. Mainly this was noticed, when either or both the scanning frequency or powder feeding gas flow was low or steep powder feeding angle was used. When powder material vaporization occurred, it created vapor flow, which prevented powder material to reach the melt pool and thus dilution increased. Also powder material vaporization was noticed to produce emission of light at wavelength range of visible light. This emission intensity was noticed to be correlated with the amount of vaporization in the powder cloud.

Urvilja : när livet är människans hem

This caring science study explores ‘Will’ as an ontological concept. The aim is to deepen the understanding of the essence of Will, and to highlight the manifestations of Will and how Will becomes evident in clinical caring. Will is ontological and universal. Will is connected with the essence of the human being, and manifests in the human being as will. The approach is inspired by Gadamer’s philosophical hermeneutics. The study’s horizon of understanding consists of Eriksson’s caritative theory and the caring science-tradition. The study’s research questions are as follows: What is the essence of Will? What are its manifestations? How does Will become evident in clinical caring? The hermeneutic interpretative movement is initiated by the material, which consists of the philosopher Arthur Schopenhauer’s texts, letters from experts and dictionaries. Meaning-bearing substance fragments in the material are intertwined with the original horizon of understanding through hermeneutical reading, hermeneutical interpretation and concept analysis in an oscillating interpretive movement. An abstraction occurs when the new substance is illuminated by the caring science ontology. The oscillating interpretive movement results in a reinterpreted horizon of understanding, which in turn provides the findings of the study. The reinterpreted horizon of understanding is presented in the form of a theoretical model and abductive theses. The essence of Will is represented in the theoretical model as the lifeaffirming and the loving force. Life and love are Will’s origin and destination. Will’s manifestations (its diversity) hold conditions and chance occurrences that obstruct Will. Hence the will of the human being does not necessarily appear in a way that is in tune with ontological Will. Will represents the lifeblood of ethos, and in this lifeblood love flows. Will acts by virtue of itself, and gives ethos its force. Will manifests in a way that ethos can affirm. When Will is affected by caring its force is active in the service of life and love. Being a caregiver entails acting as a world-eye, which means recognizing Will in diversity. For caregivers, being a world-eye means observing fragments of Will as it manifests in its original form in the real reality, and acting as the mirror of life. The human being who is able to perceive the fundamental values of life and to live according to these has understood the laws of life and entered upon the human calling. The human being then lives according to the fundamental order and has found a home in life.