The making of a cultural historical exhibition usually involves the collaboration of two categories of professionals: the curator, in charge of the exhibition content, and the designer. From these positions, representing content and form, the team is in charge of cooperating towards a shared goal – the exhibition – which is the spatial expression of ideas.

This MA thesis is based on my work experience as a designer of cultural historical exhibitions. By means of situations where my perspective collided with that of the museum curators’, I examine our different concepts on a number of issues: the meaning of an exhibition; the process; and the perception of what our respective roles are. Since the experiences that I am concerned with were acquired some time ago, the collisions are laid out in the thesis as a dialog between me and a partly fictional colleague. Apart from my experiences of exhibition production I also link the discussion to an analysis of two exhibitions that I visited while writing the thesis: Sápmi at Nordiska Museet in Stockholm and Everything You Can Think of is True – the dish ran away with the spoon shown at the Royal Library in Copenhagen (Det Kongelige Bibliotek).

The curator and the designer often represent diverging views of the exhibition medium. In my work experience, a central aspect of these different viewpoints has been represented by the role and use of authentic artifacts in the exhibition. In the thesis I examine the use of such artifacts from the point of view of their ability to communicate to viewers and the possibilities I have as a designer to mould them into expressions in the exhibition. From this practical phenomenological design horizon and I take the museological critique of Gundula Adolfsson, Eilean Hooper-Greenhill, Camilla Mordhorst and Kitte Wagner further, and argue that the conventional use of authentic artifacts can inhibit the development of the exhibition medium. With the theoretical support of relational aesthetics in contemporary art installations I continue to discuss the concept of an exhibition as a language and a construction, and how it relates to reality.

The thesis concludes with a normative section where I, with the aid of a cultural semiotic perspective, propose a process for the two perspectives of form and content to be intertwined. I further examine what the consequences of such a convergence of interests could imply for the perspectives of both curator and designer, and for the production of exhibitions.

The purpose of this essay is to highlight the conceptions that exist in school towards homosexuality. My overall essay questions are: What rules does the school have to apply concerning homosexuality? What approach do the professors have towards young lesbian women and kind of support is offered to the group? In order to answer these questions I interviewed a professor and a young lesbian female. One of the surveys that has been made, as a normative order, about heterosexuality in the last decade is known as queer theory.

One of the theories that in surveys investigates homosexuality as a normative order is known as “queer theory” and it is the one I decided to use in this essay.

Inspired by feminist research, gay and lesbian studies and the poststructuralist theory, the queertheory focuses on some peoples way of organizing sexuality is privileged, sanctioned and is perceived as normal, while others are seen as deviant, abnormal and therefore unwelcome. The method chosen for this essay is qualitative with focus on interviews and life stories. The result indicates that there is no specific plan based on the schools fundamental values concerning how homosexuality should be included in teaching.

This essay explores how artwork in the public space can be analysed, conceptualized and described by bringing attention to site. Through an analysis of artworks in the yearly art exhibition of Fittja Open 2011, the essay draws attention to site-specific art and structures of power. The principal aim is to present not only the exhibition of Fittja Open 2011 but also other artwork in the public sphere in Fittja, a suburb to Stockholm. From this point of departure other interests evolve that concerns the "image" of Fittja. The analysis, based on research in art history, architecture, ethnology and philosophy as well as qualitative interviews, also focuses on understanding the role of site and the relations between art practice, institutions and site.

The result shows that there are problems with a ruptured interface between the artwork and site. The claim made throughout the thesis is that artwork in the public sphere of Fittja need to be sensitive to the conflicted issue of public space in order not to reproduce stereotypes. Despite the knowledge and insight about its local art situation, the study also points out certain insensibility on behalf of Botkyrka konsthall as regards social status and class.

The purpose of this paper is to analyze the project Knitting House using art and architectural theories to question the forms of the project as well as the town planning in the area of Husby, a suburb to Stockholm. In order to stress the architectural issues in the area of Husby, the thesis examines the aim and intention of the project Knitting House. The project explores the standardized architectural form that was used and built under the Miljonprogrammet, through the years of 1960-1970 in the neighborhoods of Järvafältet. The thesis will also investigate some of the problems that arise when attempting to discuss knitting as a method used to perform Knitting House.

 This paper explores the relationships between public and private spaces, the areas in between them and how they interact. The claim made throughout the thesis is that Knitting House can function as a political catalyst by presenting a combined perspective of art, architecture and politics to address the social and ethnic segregation in suburbs like Husby. 

The aim of this essay is to discuss the meaning of the human and its possible overcoming in Friedrich Nietzsche’s doctrine of the eternal recurrence of the same, with Martin Heidegger’s readings of Nietzsche as point of departure.

According to Heidegger, Nietzsche’s doctrine of the eternal recurrence of the same represents the end of occidental metaphysical thinking. The thought concludes a thinking of being as the presence of beings, where the original question of being was never developed out of its own ground.

But at the heart of this interpretation, often considered “violent”, lies the question of whether man is able to think being out of his finitude. This is the question I will unfold, through a reading of Nietzsche’s thought of the eternal recurrence of the same, as it is presented in his Thus spoke Zarathustra, as an attempt to think beings in their being beyond a “humanization” of them, expressed in transcendental aims, purposes and categories. This attempt, I argue, is essentially bound up with a comportment toward the human self as the finite and the corporal. In this sense the human being in its finitude and corporeality is thefocus and the basis for the search for “the overman”.

But this focus on man, as he who can overcome himself, is at the same time a focus that canbe said to lead man away from himself, in not asking the deeper question about what it means to be this human being.

I will furthermore consider the tragic as the theme where this question of the overcoming of the human comes to the fore; the dionysic-tragic reveals both a view of man as the being that is mastered by the abyss that underlies this world, and therefore mastered by his finitude - and as the being who can master this same abyss, in thinking it as one with the human self.

The purpose is not to take a position for or against Heidegger’s reading, but to develop a discussion between Heidegger and Nietzsche about the human self as always being both the closed and the open, and about the ways in which human thinking can approach this.

In this study, I will discuss Hegel’s words on the death of God as they are stated in his Phenomenology of Spirit and Faith and Knowledge. I will present a reading of what I consider to be the two different usages of these words, and relate their meanings to each other. Focus lies on what Hegel refers to as the “unhappy consciousness” and its experience of a disenchantment of the world, and on Christianity as the answer to this position. The discussion will be grounded on Hegel’s dialectical understanding of the concept of God. The divine and the human nature, must, according to him, be grasped as one and the same. The abstraction of the Christian deity must die, so that the notion of the unity of God and man, that actually constitutes the heart of Christianity, may be revealed beyond its spatial and temporal representations. I conclude that this for Hegel is the only way of escaping the situation of the unhappy consciousness. 

Uppsatsens övergripande syfte är att utröna huruvida ett specifikt samtida populärkulturellt verk – den amerikanska filmen John Q (2002) – i representationen av sina karaktärer befäster en kolonialistisk diskurs eller om dessa gestaltas på ett sätt som skiljer sig från denna diskurs representationsmönster. Med kolonialistisk diskurs avser jag här en diskurs som fundamentalt gror ur de idémönster som var verksamma under den egentliga kolonialismen. Utifrån ett poststrukturalistiskt perspektiv med teoretiska analysinstrument från diskursteori och postkolonialism analyseras kvalitativt filmens karaktärer som indelas i fyra subjektspositioner; icke-vit man/kvinna och vit man/kvinna. Dessas identiteter undersöks i analysen utifrån fem huvudsakliga aspekter; 1/ funktion/roll i narrativet, 2/ personlighet och icke-fysiska egenskaper, 3/ agerande och förehavanden, 4/ utseende och slutligen 5/ eventuellt tydligt intertextuellt förhållande till den skådespelare som representerar honom/henne.

Analysen visar att filmen John Q i upprättandet av en gynnad dikotomi mellan människa och system konstruerar karaktärernas identiteter på ett sätt som nästintill fullständigt följer den kolonialistiska diskursens representationsmönster. Icke-vita gestaltas på för diskursen typiskt stereotypa sätt och bland filmens vita karaktärer representeras de som intar en god narrativ roll i enlighet med den kolonialistiska diskursens vita ideal. Samtidigt tillskrivs de vita karaktärer som manifesterar en ond gestalt en systemidentitet som får funktion av förklaring till deras misslyckande att fullgöra vithet. Det fåtal försök till diskursiv förändring i vissa karaktärer undergrävs effektivt genom ett framhävande av andra aspekter i karaktären ifråga som gestaltas på för diskursen typiska sätt. Endast en karaktär skiljer sig härvidlag från de övriga och upptar en paradoxal och diskursivt icke-tillsluten position.

Många utländska personer som flyttar till Sverige, eller som är födda i Sverige och har föräldrar som har invandrat, kan komma att uppleva någon form av identitetsproblem, det vill säga att man inte riktigt vet var man kommer ifrån eller är osäker på var man tillhör. Mitt intresse för det här ämnet har ökat alltmer efter att ha läst en del om mediernas konstruktion, om hur medierna skildrar bilden av invandrare, gränsdragningen mellan ”vi och dem”, men samtidigt som jag själv personligen upplevt det som kallas för identitetsproblem. Jag vill i denna studie knyta samman dessa två ämnen och ta reda på hur personer med utländsk bakgrund upplever och betraktar sig själva utifrån det som medierna konstruerar, och inte om hur medierna konstruerar och skildrar invandrare. Jag kan tänka mig att det här ämnet är intressant för många utländska personer som upplever, eller har upplevt, någon form av identitetsproblem. Men jag tror att även svenskar kan finna detta intressant då man lättare kan förstå det som många utländska personer upplever när de kommer till ett nytt land, vilket i sin tur kan leda till att en förförståelse och samhörighet kan komma att skapas de emellan. Som en utav mina intervjupersoner sa till mig under intervjun:

”…det finns ju många svenskar som är lite så här, de åker på semester och säger att nu vet jag hur det känns att vara invandrare. Det är en helt annan sak att leva hela sitt liv med den känslan, än att känna sig lite utstött när man är på semester…”

Frågeställningarna är:

» Är identitet något centralt och medvetet i utländska personers vardag/medietillägnelse?

» På vilket sätt bidrar medierna till att utforma utländska personers identitet?

» Skiljer sig tankarna om mediers inflytande på identitetsskapandet mellan utlandsfödda och personer som är födda i Sverige?

Det jag kom fram till i min studie är att alla intervjupersonerna ansåg det vara viktigt att kunna bekräfta sin identitet, att veta var man står, men det hade ingen central roll i deras liv. Däremot hade medierna mer eller mindre en betydande roll, kanske lite mer för vissa än hos andra. En del av de intervjuade hävdade att medierna kan påverka människor, men de var osäkra på om de själva blev påverkade. Det fanns dock de som kände att medierna påverkade deras identitet genom de negativa skildringar som ges av invandrare och utländska personer. Tankarna om mediers inflytande på identitetsskapandet mellan utlandsfödda och personer som är födda i Sverige skiljer sig, tankarna är åtskilliga, och det från individ till individ.

Det här är en bok om praktisk kunskap i äldreomsorg. Boken inleds med sju reflekterande berättelser skrivna av omsorgspersonal om dilemman de möter i sitt arbete. Dilemman i den mening som ges i texterna är svårbedömda situationer där det inte finns några enkla lösningar och där författaren själv är involverad som handlande aktör. Under flera års tid samarbetade vi lärare och forskare vid Centrum för praktisk kunskap vid Södertörns högskola i en serie vidareutbildningar med anställda i äldreomsorgen i Huddinge kommun. De flesta var undersköterskor eller vårdbiträden som inte tidigare kommit i kontakt med högre utbildning, men deltog gjorde också arbetsterapeuter, sjukgymnaster, sjuksköterskor, administratörer och en enhetschef. Deltagarna kom från ett brett spektrum av verksamheter; korttidshem, dagvård, gruppboende, ålderdomshem och hemtjänst.

Att uppmärksamma och undersöka praktisk kunskap är att rikta blicken mot handlingar med kraft att göra skillnad i enskilda människors vardag. Praktisk kunskap kommer ur de erfarenheter vi gör i livet och hur vi förhåller oss till och ansvarar för dem. Det är kunnande som bottnar, och som utvecklingsarbeten och omtankar kan ta avstamp i. Praktisk kunskap äger rum i ett specifikt sammanhang och uttrycks i handling. Ett av de språk som kan förflytta den till andra rum är berättelsen. Genom berättelser och exempel som gestaltar kan handlingskunskap och erfarenhet bli synlig och reflekteras till nytta för de handlande personerna själva, men också för andra som bryr sig om och vill lära av erfarenheter från äldreomsorg. Ur de enskilda exemplen kan vi förstå och se nya saker i vår egen praktik, men också få syn på det allmängiltiga. Men alla berättelser har inte denna kraft bara för att de är berättelser. Att reflektera över berättelser om handlingssituationer på ett sätt som blir meningsfullt förutsätter ett blottläggande av den egna erfarenheten med dess brister och möjligheter som kräver mod, men också ödmjukhet.

This study is concerned with the description of the semantic and pragmatic characteristics of the attributive adjective self-proclaimed, employing corpus-linguistic methodology to explore its meaning from user-based data. The initial query provided the material from which a lexical pro-file of the target word was constructed, systematically describing collocational data, semantic preferences, semantic associations and discourse prosodies. Qualitative analysis of sample con-cordances illustrated the role of the target word in expressing different kinds of meaning-bearing stances. The results demonstrate the importance of context and communicative functionality as constraints determining meaning, determining the discourse prosodies of self-proclaimed as one of either negation; accepted-positive and accepted-negative. Further, the analysis of self-proclaimed as a stance marker indicates the linking evaluative meanings of extended lexical units to the project of linguistic description of intersubjective stancetaking as a possibly fruitful venue for research

This text deals with the shooting of a movie comedy. The author of this text was script writer as well as director. The film was extremely dependent upon the interpretation of the role of the leading female character, but the director and the leading actress, in spite of their willingness to cooperate, were unable to understand each other, and no creative meeting ever occurred.

The film dealt, in amused distance, with male and female strategies and shortcomings, but the lack of understanding between the director and the leading actress caused the subtleties of the text disappear, so that when the film was ready it was possible to interpret it in a way that partly opposed its intentions.

From the director’s point of view different aspects of the situation are investigated: what could she /should she have done? What are the obstacles for a better understanding? Is ”understanding” dependant only upon that which is verbal? Should the director not only be a director but also a kind of therapist? What is professional and what is private? Could a director who wasn´t also the script writer have seen other solutions? And how does it affect you as a female director never to have role models, only a very clear idea of what you don’t want your professional role to look like.

The director thought she was being constantly compromising, but finds out she was not, she had only a different, and in appearance, friendly but manipulative strategy in trying to reach her goal: that of enforcing and implementing her personal interpretation of the script.

The role of director is also a role, and must be played. Men and women often do it in very different ways. Much more is permitted for men, in the name of”art.” The role of the artist is as such, defined by men. Women are expected to be reasonable and the (their) stage for action appears to be more limited. This is what is expected of them, and is also what many women try to live up to, often in direct conflict with their own interests. It is important to become a less reasonable but clearly defined person.  This often requires training. To become a good director you need knowledge, empathy and experience gained through many mistakes, and not least, you need what Aritsoteles calls fronesis.

Mitt syfte med uppsatsen är att studera hur ett blogginlägg på en blogg vid namn Klamydiabrevet, som uppmärksammades i samband med valet 2010, påverkade dagordningen i de traditionella medierna. Mina frågeställningar rör hur blogginlägget påverkade de traditionella mediernas agenda, hur och varför den uppmärksammades samt hur denna uppmärksamhet kan tolkas utifrån dagordningsteorin samt om det går att utläsa hur giltig är denna teori är idag? Jag har genomfört kvalitativa intervjuer med representanter från olika medier samt med en mediestrateg som är insatt i sociala medier. Jag har haft min teoretiska utgångspunkt i “agenda setting”-teorin och “gatekeeping”-teorin samt i en utveckling av den senare som kallas “gatewatching”. Jag har även studerat blogginläggets uppmärksamhet kopplat till nyhetskriterier.

Genom att intervjua de olika medierepresentanterna har jag kommit fram till att alla de medier som representeras i uppsatsen har valt att rapportera om blogginlägget och låtit det vara en del av deras agenda. En anledning till detta kan vara att detta fall var starkt knutet till en politisk kontext. Klamydiabrevet kan ses som ett exempel på hur de nya nätoffentligheterna kan påverka vad som sätter dagordningen i den stora medieoffentligheten. När det gäller mediernas dagordning har jag funnit tecken på att man kanske snarare bör tala om “intermedia agenda setting” då det kan vara svårt att urskilja vem det är som sätter agendan. Detta då nya och traditionella medier använder varandra som källor i en så kallad källcykel och på så sätt influerar varandras agenda.

Purpose – The purpose of this paper is to better understand the world-view of cultural consumers who download and share copyrighted content for free.

Design/methodology/approach – By utilizing a critical discourse analysis of the arguments given by file-sharers in online forums and in interviews, focusing on the arguments which arise for justifying certain everyday uses, and contrasting these with their material and structural conditions, a critical approach is sought, inquiring on the validity of certain tropes. Particularity was achieved by making a geographically delimited case study.

Findings – The case study helps to conceptualize online sociality, with wider application than this geographical setting only. As BitTorrent technology makes every downloader share his/her files while downloading, file-sharing is found to accommodate individual opportunism, and a world-view that puts the consumer at the centre of agency, in turn reinforcing the civic idea of cultural access and diversity as a human right.

Research limitations/implications – Previous findings have correlated heavy file-sharing with heavy consumption of culture. However, given the greater ability of previewing material and of acquiring more obscure content, how have the habits and consumption patterns changed among media consumers who routinely file-share? More detailed studies are needed, on how individual users come to question their own role, and the impact of their own actions – and what the level of awareness actually is (in different geographical/demographic settings) of the conditions for cultural production, distribution and consumption. A range of potential new research areas and scenarios is listed.

Practical implications – Given the common constituents seen in the world-views of file-sharers, this civic approach to intellectual property could prompt professional producers, distributors, rights holders and regulators to consider the actual visibility of potential impacts of file-sharing. The civic approach suggests that file-sharers can reconcile with individual authors or artists, as long as these are found to have precarious economic conditions, and not be affiliated with an industrial mode of reasoning. Cultural producers that are seen to adhere to a civic (amateur- or fan-like) mode of reasoning – rather than an industrial (professional) one – are met with more sympathy among consumers.

Originality/value – The paper is of interest for media sociology, cultural studies, and policymaking within the cultural industries.

If it is possible to speak of a coherent file-­sharing movement in Sweden, what are the principal societal factors shaping it? This paper contextualises the recent history of Swedish peer­-to-­peer­-based file­sharing as forming part of a wider shift in politics towards a late-modern collective ethic. Everyday file-­sharers operate as ‘occasional activists’, as pirate institutions not only speak for, but also run and build the networks. Such institutions ­ The Pirate Bay, Piratbyrån, and The Pirate Party ­ cannot be explained by invoking market logics, online communitarianism, or political motivation alone. The cyberliberties activism animating these hubs is connected to the larger framework of balancing utilitarianism, nationalism, individual autonomy and collectivism in Sweden. Further, the emergent Swedish file­-sharing justificatory regime hinges on a general view of what the internet is, what it is good for, and how it should look in the future, as the file-­sharer argumentation rests on the inevitability of unrestricted file exchange on the internet, while the industrialist concerns of the cultural industries emphasize instead how exchange should be regulated and sanctioned by accountable providers.

This article conceptually outlines P2P-based file-sharing as a totality, a mass utility, and a backdrop to everyday cultural life. It elaborates on a recent study of Swedish file-sharers to sketch some important constituents of what would constitute a "piracy culture." It shows that the actual file-sharer argumentation is not fully synonymous with established notions of "piracy" but rather reveals the complexity of the phenomenon and how the discourse invoking it relies on modes of justification that are not entirely commensurable. Moreover, the file-sharer rhetoric is contingent on a range of entities and infrastructures that condition actual usage. Noting the institutionalized, semi-anonymous, and depersonalized elements to file-sharing, I propose a different interpretation than regarding it as a "gift economy" like the tight-knit communities Mauss described in 1923. Instead, I propose a metaphor borrowed from Titmuss' example of blood donors that acknowledges the perceived "need" for culture and the associated "right" to access content that file-sharers are exercising.

Det övergripande syftet med denna uppsats är att försöka förstå hur unga kvinnor upplever att ha ett digitalt jag på den sociala medieplattformen Facebook. För att få en förståelse av deras upplevelse har jag valt att dela upp teoriavsnittet i två större delar. Den första delen syftar på att förklara konsekvenserna av att leva i en värld som präglas av medier. Utgångspunkten ligger i McLuhans välkända begrepp ”The medium is the message” (1964/2001) för att förstå hur de nya sociala medierna blir en förlängning av den egna fysiska kroppen och Thompsons interaktionstyper (1995/2001).

Det andra teoriavsnittet behandlar hur man kan försöka förstå människors upplevelse av att leva i en värld som präglas av medier. Här har jag valt att utgå från Sherry Turkles teorier (1995/1997) om hur Internet har blivit en plats där människor kan laborera med olika konstruktioner av jaget. Jag har valt att komplettera detta med Jenny Sundéns teorier i hennes avhandling Material virtualities (2002) samt med fenomenologin som avser att studera upplevelsen av ett fenomen.

Den fenomenologiska metoden använder sig av kvalitativa undersökningar och jag har i min studie utfört fem kvalitativa, semistrukturerade intervjuer med unga kvinnor mellan 24-30 år.

Resultatet av undersökningen visar att unga kvinnor upplever sitt digitala jag som en förlängning av det verkliga jaget, men även begränsat då Facebook endast återger en begränsad bild av jaget. Det fanns även en medvetenhet kring att de framställde det egna jaget positivt genom att de var selektiva i vilken information de publicerade om sig själva. Detta påverkade också tilltron till andras digitala jag.

Vidare upplevde kvinnorna att de till viss mån var begränsade i kommunikationen på Facebook i relation till kommunikationen ansikte mot ansikte. Facebook upplevdes dels som ett fysiskt rum där de kunde vara (med sina sinnen). Det framkom också att kvinnorna upplevde att detta rum hade en egen tid som fortlöpte även då de själva inte var där.

This dissertation analyses social critique, communication critique and aestheticalcritique in television produced by artists. Theoretically it draws on researchon alternative media, TV studies, especially genre analysis and narratology,and media aesthetics. It conducts a text-production study of three examplesof alternative television from the period 2004-2008: ContemporaryArt Center TV (CAC TV): A show produced by the CAC in Vilnius, Lithuaniaand aired on a commercial TV-channel; Good TV who aired video art ona local public access channel in Stockholm, Sweden; and Candyland TV, apirate transmission from an art gallery in central Stockholm.Empirically it builds on TV-texts, web sites and documents, as well asinterviews with participants. Through a study of form and stylistics, relationto conventional genres and modes of narration, it engages in a discussionabout the features of a critical, alternative media text.The study shows how these televisions work in a tradition of alternativetelevision and connects them to tactics and aesthetical forms as found inhistorical examples, but also how this type of formalist media critiquemight inform an understanding of alternative media. From the analysis ofrelations between social and formalist aspects of alternative television, adistinction between alternative as ”alternative worldview” and as ”alternativeexpressions” is suggested, a distinction that contributes to the developmentof theory in the study of alternative media.

Linus Andersson belyser relationen mellan medier och samhällets unga medborgare i denna text. Han menar att aktivister förhåller sig till medier på ett annat sätt idag än vad de gjorde för ett fåtal decennier sedan. Nu finns mer oberoende förhållningssätt där egna mediekanaler har fått en utökad betydelse. Proteströrelser kan genom dem ta en aktiv del i den politiska offentligheten.

This article was written in order to contribute to a discussion about a critical definition of alternative media. Askingwhat role alternative media could play in challenging neoliberal discourse in an age where capitalism have become immune to criticism, it elaborates on the concept of “the alternative” and the media through three sections. The first section discusses neoliberalism and the connection between neoliberal doctrine and mainstream media. This connection is described as promoting “public amnesia”, financialization and economization of news journalism. The second section discusses alternative media from the perspective of new social movements and symbolic resistance, claiming that the symbolic resistance framework undermines the critical potential of alternative media, it also comments on some recent critical literature on neoliberalism and capitalism. The third section takes examples from artistic explorations of capitalism and television to propose how a distinction between social and formalist aspects of “the alternative” could inform a critical notion of alternative media.

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.

Purpose: To investigate how new technologies and new media possibilities are converging into older forms of mass media and examine the flow of cross platform communication and its implications with gatekeeping.

Questions at Issue: How is gatekeeping involved in the process of broadcasting the internet discussion? How do television gatekeepers pre-mediate and script the online discussion? Is the convergence process allowing access for the participatory culture, making televised information less hierarchical?

Theory: Gatekeeping controls the flow of information distributed through media to its audience. Gatekeeping is a selective process, using different mechanisms to filter information.

Method: A semi-structured interview was conducted with an editor at the Swedish TV4 program Nyheterna. Additionally, through a content analysis proceeding the comments found on the TV4 forum submitted by participants of the convergence process were collected and compared to the comments broadcast in television.

Results: The material showed that out of 319 comments, in total, 39 where broadcast; only 19 of the 39 comments could be traced back to the forum. The comments had also been manipulated in the convergence process. Despite new technologies traditional gatekeeping mechanisms control the flow of information.

Summary: Further research needs to be done to fully investigate the impact of new technologies and explore whether their participants have influence during the gatekeeping process.

There are shortcomings when it comes to recent studies by a Roma perspective on Roma culture and traditions. The purpose of this paper is to understand how the Roma present themselves in eight articles with an emphasis on culture, language and identity. The questions are as follows:

First, how the Roma articles manufactures the Roma culture and what do these articles say about culture, identity and language from a Roma perspective? Second, how can the Roma preserve and develop their culture and be a part of Swedish society in accordance with Articles?

Some of the findings are that the Roma language, Roma clothing and Roma music is part of the Roma culture. Similarly, social codes and traditions such as International Roma Day, which is a Romani celebration. Family dinners and celebrations such as weddings, funerals and other occasions is something that strengthens the Community and the identity of the Roma.

Modern Romani Chib today is a multifaceted language where there are multiple words for the same concept. Romani Chib has been developed in countries where it is spoken and had influences from the majority languages and thus has developed different varieties of the language. The result also shows a need for the Roma to organize. Moreover, the school's importance to Roma identity in which Roma classes are considered creating security within a cultural community, which in turn facilitates learning. In conclusion, the results also show that the mutual use of an intercultural perspective, the Roma minority and the majority could come closer together.

The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.The aim of this thesis is to expand the understanding of 16th century Flemish art by approaching paintings by artists Pieter Aertsen (1508-1575), Joachim Beuckelaer (1533-1574) and Pieter Bruegel (c. 1525-1569) from a different perspective. This is done by extending the discourse of art history, into a discourse of literary history and primarily 16th century novels by authors such as François Rabelais and Miguel de Cervantes. The paintings are studied in relation to these 16th century novels, by comparison and as a testament of this specific time period. A widening contextualization is also constructed in which a connection to the expression of the carnivals ambivalent form, as well as the notion of lower classes is explored.       These alternative readings utilize a theoretical basis in Michail Bachtin, Svetlana Alpers and Walter Gibson, among others. The thesis also sets out from a hermeneutic point of view as well as a critical analysis of the discourse of art history. The general understanding of these paintings, formed through the discourse of art history, is questioned and revaluated in the meeting and clash between art and literature. The thesis concludes that the ways these paintings have been viewed and understood, in studies of art history, have been too narrow to produce a full understanding of these diverse expressions of an equally diverse period in time. A foundation for a new conception of the renaissance is thereby formed; a conception that promotes further studies.

Syftet med denna uppsats är att undersöka vilket användningsområde journalister, som är anknutna till en redaktion, har att använda sig av bloggar och dess möjligheter. Vi vill undersöka bloggen som fenomen och då i synnerhet varför journalisten väljer att använda sig av denna alternativa medieproduktion, trots att han har möjlighet att genom sin redaktion kunna uttrycka sig och bli publicerad för en allmänhet som lyssnar till honom/henne. Vi kommer med hjälp av intervjuer, gjorda via mail, försöka att klargöra hur bloggen används av journalister och till vår hjälp kommer vi att använda Jürgen Habermas teori om offentlighet så som han har förklarat det i sin bok Borgerlig offentlighet.

Frågeställningen i uppsatsen är:

· Hur ser journalisten på bloggen i avseende på det offentliga och det privata?

· Vilket urval gör journalisten då han/hon skriver i sin blogg?

· Hur kan journalisten använda sig av bloggen?

Undersökningen grundar sig i två stycken mailintervjuer med journalister som själva bloggar. Dessa två är Anders Linder, ledarskribent på Svenska Dagbladet, som bloggar under Svenska dagbladets redaktionella flagg och Andreas Ekström, journalist på Sydsvenskan, som skriver i ett mer privat rum. Som metod har vi använt oss av strukturerade intervjuer för att få fram information att analysera. Detta har gett oss fakta som varit till hjälp vid besvarandet av frågeställningarna.

Vi har undersökt vilken användning journalister kan ha av bloggar och de möjligheter som kan finnas med att göra detta. Vi har i undersökning kommit fram till att journalisterna använder sig av bloggen i sitt dagliga arbete och att de har möjlighet att göra detta utifrån sitt eget intresse. Vi har sett att det finns en något annorlunda syn på bloggen, beroende på vem man frågar, i avseende på offentligt och privat. Dels ser de det som att de bloggar i det offentliga och att den är en del av den moderna offentligheten, samtidigt som det är i det privata som den författas. Slutligen har vi kommit fram till att det finns många sätt för journalisten att använda sig av bloggen. Dels som inläsning av andra journalister och dels som att kunna förmedla det som inte har plats i deras vanliga medium.