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Kva er drivkreftene bak namnet Johan?
No full textBruken av namnet Johan har grunnlag i døyparen Johannes i Bibelen. Variantar av namnet Johannes kom til Noreg med kristendommen. I mellomalderen var Jón mest brukt, men òg Jóan. Skriftforma Johan kom i bruk frå 1400-talet frå tysk Johann. Bruken auka mykje i og etter kong Karl Johan si regjeringstid 1818–1844, som idoloppkalling. Namnet nådde 1.-plassar rundt år 1900. Ut over 1900-talet sokk bruken, og Johan blei helst brukt sist i dobbeltnamn, som vidareføring av tradisjon og oppkalling. Namnet blei igjen litt meir brukt som første førenamn på 2000-talet, på ei tid då mange namn brukte rundt år 1900 og hundreåret før kom i bruk. På 1000-talet var namnet Jóan uttala med trykk på den første stavinga og med å-lyd. Seinare blei det o-lyd. Uttale med trykk på den siste stavinga og ei uttale av h-en har auka sidan midt på 1900-talet. Ei opphavleg høgare sosial uttale tek såleis over for ei folkeleg
Språk og stril: Om språkleg og lokal identitet i Fjell
No full textDenne artikkelen handlar om tilhøvet mellom språkleg identitet og stadidentitet blant ungdom i alderen 13–16 år, og har nemninga stril som utgangspunkt. Artikkelen byggjer på historiske data, ei spørjegransking og kvalitative forskingsintervju blant ungdomsskuleelevar i tidlegare Fjell kommune utanfor Bergen, tradisjonelt ein del av strilelandet, i dag prega av press mot nynorsken og dialektnivellering. Målet med artikkelen er å drøfte strileomgrepet og identifisere nokre moglege samanhengar mellom identitetskategorien stril og rapportert bruk av dialekt og nynorsk. Analysen tyder på at strilenemninga er relevant for å forstå språkval, språkbruk og språkleg identitet hos ungdomane. Det visar seg vidare å vere ein samanheng mellom hovudmål, kjønn, lokal geografi og foreldrebakgrunn for om ein kategoriserer seg som stril. Viktigast er vekselverknaden mellom hovudmål og kjønn
Håndteringen av koronapandemien i Norge
Get PDFDette forskningsprosjektet tar for seg håndteringen av Koronapandemien i Norge i tidsrommet 21. februar 2020 til 4. november 2021. Ved kvantitativ forskningsmetode har data om Covid-19 i hele den norske befolkningen blitt innhentet fra Folkehelseinstituttet og analysert. Analysen av dataene viser at vaksinering og strenge nasjonale regler har vært effektive tiltak i arbeidet mot å hindre innleggelser på sykehus som følge av Covid-19 i Norge
Students\u27 expressions of resistance in supervisory conversations
Get PDFArtikkelen handler om praksisstudenters uttrykk for motstand i veiledningssamtaler mellom sosionomstudenter og sosionomer som var praksisveiledere for studentene. Data ble innhentet gjennom delvis deltakende observasjon av femten veiledningssamtaler, og det ble foretatt etterfølgende intervjuer med studentene for å kvalitetssikre inntrykkene fra observasjonene. Artikkelen bidrar med ny kunnskap om hvordan studenter kan uttrykke motstand i veiledningssamtaler. Funnene fra den kvalitative innholdsanalysen viser at motstand i veiledningssamtaler forekom sjeldent. De eksemplene på motstand som er identifisert ble uttrykt både åpent, skjult og uvitende. I artikkelen argumenteres det for at studenters uttrykk for motstand kan ha en sammenheng med asymmetri og resonans i veiledningsrelasjoner, samt forekomst av agens hos studenter. Det å gjenkjenne og forstå motstand vil være en forutsetning for å oppnå hensiktsmessig veiledning i praksis.The article is about social work students\u27 expressions of resistance in supervisory conversations between social work students and social workers who had the role as field instructor and supervisor for the students. Data were obtained through partial participatory observation of fifteen supervisory conversations. Individual interviews with the students were conducted after the observations to ensure the quality of the researcher\u27s impressions from the observations. The article contributes with new knowledge about how resistance is expressed from students during supervision. The findings from the qualitative content analysis show that resistance in supervisory conversations were rare. The examples of resistance that were identified were expressed openly, covertly and ignorantly by the students. In the article, we argue that students\u27 expressions of resistance can have a connection with asymmetry and resonance in supervisory relationships, as well as the occurrence of agency among students. Recognizing and understanding resistance will be a prerequisite for achieving good supervision in field placements
NORAS UTVIKLING MOT «JÆVN NATURSANDHED»: Utviklingen av realistisk skuespillerkunst sett gjennom Henrik Ibsens Nora: Utviklingen av realistisk skuespillerkunst sett gjennom Henrik Ibsens Nora
No full textAbstract
Henrik Ibsen’s dramaturgy, physical score and knowledge of theatre changed the way actors work to portray a character. This historiographic article addresses the development of acting methods seen through Henrik Ibsen’s Nora and Ibsen’s revolutionary renewal of drama and female representation. From Betty Henning created the first Nora in Copenhagen in 1879 three main traditions can be traced: A Nora with roots in melodramatic acting, a Nora as a political icon and a Nora portrayed through psychological realism. The three categories mix together in a complex loom. This article will reflect on how Ibsen’s Nora required that actresses made their characters life-like and credible to the audience through what he called being continuously true to reality, "jævn natursandhed" (Ibsen 1878). By doing so he changed the very concept of acting
Es waren einmal Geschichten: Eine Feier der schwarzafrikanischen Folklore
No full textEach culture appears to have the phenomenon of storytelling. In some cultures, storytelling has taken the form of writing. While writing is an amiable enterprise, freely spoken stories have an import that cannot be capture in words on a piece of paper with ink. In most traditional Africa, we are faced with a clash of cultures, evidently resulting from the continent\u27s colonisation. We sit with the push for literary advancement. Academic advancement has added permanence to some of our folklore. What we lose in such progress is the plasticity of artful storytelling. While Africa is as such striding towards physical archiving of stories in books partly due to rapid urbanisation and social changes, most of the continental culture continue to gather around a fire for tales that answer mystical questions of origin why we are here. The purpose of this paper is to honour those stories and story holders. Apart from situating myth and story, this paper is a pure celebration of my heritage. I am celebrating the interrelation of music and musical tales. My early initiation into musical legends influences how I encounter music therapy as folklore. If music therapy were folklorist in Africa and similar cultures, participants would benefit from more than the medicalisation of music, but the imaginal\u27s swell provides sound grounding for all being.In jeder Kultur scheint es das Phänomen des Geschichtenerzählens zu geben. In einigen Kulturen hat das Geschichtenerzählen die Form des Schreibens angenommen. Während das Schreiben ein liebenswertes Unterfangen ist, haben frei gesprochene Geschichten eine Bedeutung, die sich nicht in Worte auf einem Stück Papier mit Tinte fassen lässt. Im traditionellen Afrika sind wir mit einem Zusammenprall der Kulturen konfrontiert, der offensichtlich auf die Kolonialisierung des Kontinents zurückzuführen ist. Wir haben es mit dem Drang nach literarischem Fortschritt zu tun. Der akademische Fortschritt hat unserem kulturellen Erbe eine gewisse Beständigkeit verliehen. Was wir bei diesem Fortschritt verlieren, ist die Plastizität des kunstvollen Geschichtenerzählens. Während Afrika als solches auf die physische Archivierung von Geschichten in Büchern zusteuert, was zum Teil auf die rasche Urbanisierung und den sozialen Wandel zurückzuführen ist, versammelt sich der Großteil der kontinentalen Kultur weiterhin um ein Feuer, um Geschichten zu erzählen, die die mystischen Fragen nach dem Ursprung beantworten, warum wir hier sind. In diesem Beitrag geht es darum, diese Geschichten und ihre Träger*innen zu würdigen. Abgesehen von der Verortung von Mythos und Geschichte ist dieser Beitrag eine reine Feier meines Erbes. Ich feiere die Wechselbeziehung zwischen Musik und musikalischen Erzählungen. Meine frühe Einführung in musikalische Legenden beeinflusst, wie ich der Musiktherapie als Folklore heute begegne. Wäre die Musiktherapie in Afrika und ähnlichen Kulturen folkloristisch, würden die Teilnehmenden nicht nur von der Medikalisierung der Musik profitieren, sondern die Musik wäre vielmehr, über den Schwellwert des Vorstellbaren hinaus, eine solide Grundlage allen Seins
Video-based Reflective Practice (VRP): A Practical Methodology for Reflective Practice in Music Therapy Training and Clinical Supervision
No full textIn der Musiktherapie wurden verschiedene Formen der reflektierenden Praxis, einschließlich des Schreibens von Tagebüchern und Selbsterfahrungen, erforscht. Es gibt jedoch nur wenig Literatur über praktische Methoden, die beschreiben, wie man über Sitzungen reflektiert. Die Autorin stellt eine praktische Methodik vor, die den Prozess der reflektierenden Praxis in der klinischen Musiktherapieausbildung leiten kann. Die Methodik umfasst die Selbstbeobachtung durch Videoaufzeichnungen von Sitzungen, eine Reihe von Fragen zur Selbsteinschätzung, die Bewertung klinischer Situationen in den von den Auszubildenden identifizierten Bereichen und die Identifizierung von Stärken, Schwächen und zukünftigen Aktionsplänen. Dieses Rahmenwerk hat Auswirkungen auf die musiktherapeutische Aus- und Weiterbildung, da es (a) Studierende und Praktikumsbetreuende mit praktischen Richtlinien für die Reflexion von Sitzungen unterstützt; (b) das Wachstum und die Entwicklung der Studierenden durch selbstgesteuertes Lernen und die Anerkennung von Stärken und Entwicklungschancen erleichtern kann; und (c) einen kognitiven Rahmen bietet, der zur Entwicklung von Metakognitionsfähigkeiten beitragen kann, die entscheidende Komponenten des Lernens während und nach der klinischen Ausbildung darstellen.Various forms of reflective practice, including journal writing and self-experiences, have been explored in music therapy. However, there is limited literature on practical methodologies that articulate how to reflect on sessions. The author introduces a practical methodology that guides the process of reflective practice in music therapy clinical training. The methodology includes self-observation through video-recorded sessions, a set of questions designed for self-assessment, evaluation of clinical situations of trainee identified areas, and identification of strengths, weaknesses, and future action plans. This framework has implications in music therapy education and training in that it (a) supports students and practicum supervisors with practical guidelines about how to reflect on sessions; (b) may facilitate student growth and development through self-directed learning and acknowledgement of strengths and working points; and (c) provides a cognitive framework that may help develop metacognition skills which are crucial components of learning during and post clinical training
I, a Ngwazla
No full text“I, a Ngwazala” is a cross-examination of the Ngwazla caste of Mafa society. It gives valuable insight into the lives of blacksmiths and how their culture is currently exposed to rapid transformation. This documentary presents Zayadai our key character who although trained as a blacksmith by his father, was able to study. And on the death of his father, he abandoned his studies to practice the profession of blacksmith, a profession passed down from father to son. Helped by his three young brothers, he exercises his art in order to meet the demand of the inhabitants of Djinglia Kongoche and by extension to meet the needs of his wife, his mother and his 11 brothers. Thus it gives access to important transformation processes in the Mafa society. Although the old strict separation of the Ngwazla is still present, but the increased contacts with the outside world and the influences of locally established institutions, such as the modern school system, Christian mission and Islam, are revealing new identities of Ngwazla . The Ngwazla are proud of their identity and are trying to reshape it in line with the rapid societal transformation underway
We are Together
No full textJean Louis, a Central African living in the Cameroonian city of Ngaoundéré, is in search for a better life condition for him and his family. Ascanio is an Italian studying abroad, who is working to become a visual anthropologist. What will come out from this encounter, when they are both striving to achieve their aims?
The film is a reflexive account on how the object of the research, patron-client relations – so the practice of establishing relationships based on trust and mutual solidarity with more resourceful persons -, became impossible to disentangle from the researcher’s identity and subjective experience, once this was put into the same dynamics of togetherness that he was studying
Whose "Power of Music"? Questioning and Problematizing aspects of Language and Power in Music Therapy Practice within Mainstream Primary Schools in the UK
No full textMusic therapists have long worked in specialist and mainstream school settings and their practice, therefore, has been influenced by discourse used in both education and therapy. Parts of the discourse from both fields tends to pathologize children and focus on individual problems and treatment. In the same space, critical frameworks seek to challenge this by advocating for language and practice that is inclusive and context sensitive. By focusing on the complex nature of a mainstream setting, this article will highlight how music therapy practice might serve to strengthen or challenge deficit-based discourse around children within their school environments. I propose that, within school communities, there is much to be learned from paying closer attention to people\u27s voices and expertise regarding their own practices and knowledge of both music and health. By illustrating day-to-day school life, I reflect on how particular approaches, choices of language and practice might impact how music is experienced and how this relates to health and wellbeing.