Marx and Heidegger on the Technological Domination of Nature

The thesis comprises studies of the marine Pleistocene sediments of the Wanganui Basin, North Island, New Zealand. Part I deals with the chronology of the sediments and correlation of horizons within and outside the basin, by dating glass shards from tephra horizons using the fission-track method. Correlation to similar tephras from Hawke's Bay, to deep-sea cores taken 1000km east of New Zealand and to the central North Island volcanic district is attempted. These fission-track ages fill a dating gap that previously existed in the New Zealand marine Quaternary sequence. Thirteen tephras were examined in the Wanganui Basin and were found to range in age from 1.50 [plus or minus] 0.21m.y.B.P. (Ohingaiti Ash) to 0.28 [plus or minus] 0.05m.y.B.P. (uppermost Finnis Road Ash). These tephras record major rhyolitic eruptive phases in the central volcanic region. The most significant eruptive phase began 1.06 [plus or minus]0.16m.y.B.P. with the deposition of the Makirikiri Tuff sediment...

Journal of Educational Administration and Foundations

Traces the different paradigmatic pathways followed by educational sociology and educational administration. Educational sociology has followed ideostructural, interpretive, and psychosocial paradigms, with emergent holistic critical perspectives and sociobiological materialism. Educational administration has had one dominant tradition, structural-functionalism, with interpretist, radical humanist, and radical structuralist strands. A postparadigm research era is dawning.

1993

2019

In this study, a survey on quality of school sites and locations of Lagos State public schools was carried out with specific focus on the level of availability of the facilities with reference to UNESCO prescriptions for school facilities supplemented with Commonwealth Department of Education. Two research questions were raised for the study. Forty-six (46) Schools were randomly sampled from 2 purposively selected educational districts of Lagos State. The study adopted a descriptive survey design because it was concerned with what was on ground and how they conformed to the standards expected of the facilities. The instrument used to collect data and establish the standard and quality of available of school sites/ locations in the sampled schools was Checklist of the Existing School Location and Site (CESLS), whose reliability was found to be 0.83. The data collected were analysed using simple percentages. The findings showed that 97.8% of Public Junior Secondary Schools in Lagos St...

中央音乐学院学报 = Journal of the Central Conservatory of Music, 2019

Chinese objects were throughout the eighteenth century the most admired and desired items by the European collectors of the highest rank, and many aristocratic palaces included a Chinese room or a garden pavilion. In these places the true Chinese and the fictional Chinese crossed path. While the Prussian royal palace in Berlin included one room with original Chinese lacquer paneling, and another full of genuine Chinese porcelain of the highest quality collected since the late seventeenth century, King Friedrich der Grosse (1712–86) built between 1755 and 1864 at his summer palace in Potsdam a tea pavilion in an entirely fictional Chinese style. A short supply of true Chinese objects and strong interest for them created an artistic space for the creation of fictionalized imagery of China (chinoiseries). Just like the Chinese porcelain, European collectors were fond also of the Chinese musical instruments. There have been so far identified nine collectors of Chinese musical instruments in Europe before 1800. The French collector Marquis Christophe-Paul de Robien (1698–1756) owned a qing and sheng (today partially preserved at the Musée des Beaux-Arts, Rennes); the English trader Henry Talbot (b.1700) owned a Chinese gong; Jean-Benjamin de La Borde included in his Essai sur la musique ancienne et modern (1780) a picture of four instruments from the “cabinet de M. le Duc de Chaulnes”; one of the most prominent rococo painters who produced incalculable Chinese scenes, Francois Boucher (1703–1770), owned Chinese instruments and other objects, and was also in touch with Jean Denis Attiret (王致誠; 1702–1768), painter to the Qianlong Emperor, who was sending him from Peking images of Chinese objects; the French statesman, secretary of state under Louis XV, and lieutenant general of the Paris police Henri-Léonard-Jean-Baptiste Bertin (1720-1792) created a collection of instruments which was sent to him from Peking by the Jesuit Joseph-Marie Amiot (錢德明; 1718–1793); Charles Burney has acquired a number of instruments from China, which served as a basis for his article on Chinese music in Abraham Rees’s Cyclopaedia (1819); the Dutch proto-Sinologist Jean Theodore Royer (1737-1807 collected a number of instruments, along with a series of twelve gouache paintings depicting 76 musical instruments of the Chinese, accompanied by the indication of their names. We also know about the two earliest Chinese musicians traveling in Europe: Michael Alphonsius Shen Fu-Tsung 沈福宗 (ca. 1658–1691) traveled in Europe from 1865 until his death, and Francesco Bianchini in his De tribus generibus instrumentorum musicae veterum published a picture of the sheng Shen played in Rome in 1865. London's Gentleman's Magazine for January 1757 published “Chinese air, with some account of the Mandarine, now in London”. The Mandarine was Loum Kiqua who performed on the south Chinese fretted lute qinqin (秦琴).