I Ingmar Bergmans filmer förekommer det ofta olika typer av konstnärer eller dess "likar", enligt Bergman (i form av t ex gycklare). Dessa rollfigurer belyser inte enbart konstnärliga spörsmål utan deras främsta uppgift är kanske att fungera som en slags "ställföreträdare" - eller en symbol för människan - eftersom just konstnärerna i hög omfattning tangerar mer djupa allmänmänskliga frågor i Bergmans filmer. Exempel på detta är kanske i första hand då konstnärerna frågar sig vad sanning är för någonting, samt hur detta sedan berör en metafysisk verklighet där Bergmans hela existentiella problematik verkade kretsa kring frågan om man överhuvudtaget kan vara sann; samtidigt som han då också verkar konstatera att en "riktig" verklighet inte verkade vara möjlig att inringa.Meningen med denna uppsats är att titta på vilken och vilka bilder Ingmar Bergman ger av konstnärerna i sina spelfilmer (fram till Fanny och Alexander), vilket då också berättar något om Bergmans egna existentiella problematik och hur den utvecklades under hans liv och skapande..

The following essay or thesis is a study over scientific endeavors in the fringe. It is a study of Riksorganisationen UFO-Sverige, whose proponents aim to make the UFO phenomenon (or phenomena) a subject of scientific scrutiny. To achieve this, the ufologists first have to redefine common concepts of ufology as pseudo science or religion, mainly by challenging definitions given by scientific sceptics on the one hand, and proponents of conspiracy theories or the new age environment on the other. Thus UFO-Sverige seeks to construct an alternative scientific identity in contrast to adversaries on both sides, each unwilling to give the UFO phenomenon any further examination. Following the work of Tomas Gieryn's sociological grip on questions of epistemology, especially concerning the social boundaries of science from other cultural categories through what has been labelled as epistemic boundary work, during which proponents of a particular field aim to achieve epistemic authority and thus the legitimate right to define what is and what is not science, I seek to analyze how questions of science and legitimacy are actualized in an intellectual environment or culture not broadly accepted as scientific.

This study examines a primary school teacher?s ambitions within science education and how those ambitions manifest in the classroom. This is being examined by interview with the mentioned teacher and by observations as a participant within four of the teacher?s science classes. The results of this study is categorized and analyzed with assistance of scientific literacy, vision I and vision II, fundamental scientific literacy and Roberts? curriculum emphases.

Vad som kanske kan kallas den traditionella förklaringsmodellen för metaforer inom filosofin, hänvisar till metaforisk mening, en mening som sägs uttryckas av metaforer parallellt med deras bokstavliga mening. Det har också gjorts försök att skissera system för hur den metaforiska meningen kan vaskas fram ur den bokstavliga.I ?What Metaphors Mean? kritiserade Donald Davidson sådana teorier och försök, och sa att man måste överge föreställningen om den metaforiska meningen. Metaforer, skrev Davidson, betyder inget utöver det de betyder bokstavligen, och alla effekter de har som ?vanligt? språk inte har, åstadkommer de med andra medel än de lingvistiska.

En sovjetisk rättskultur var delvis i teorin en del av en europeisk rättskultur men i praktisk tillämpning fanns det stora skillnader..

This essay describes my work as a director in a specialized orientation within psychodrama, surrealistic psychodrama. Using the language and performance techniques of theater and under the guidance of a director, psychodrama creates an improvised narrative or story. The essay describes several dramas I have directed, reflecting on my actions and choices as a director and group leader. I examine whether my working method has allowed me to be spontaneous and creative, which I believe the example of "The dangerous bear" demonstrates. The process enabled me to establish trust and receptivity so that a newly constituted group dared to investigate conflicts in symbolic ways associated with illness and death.

AbstractTitle: The Construction of Science in Television Crime Shows ? a Critical Discourse Analysis of CSI and Bones (Om konstruktionen av vetenskap i kriminalserier på TV ? en kritisk diskursanalys av CSI och Bones).Number of pages: 45 (50 including enclosures)Author: Lovisa SandbergTutor: Amelie HössjerCourse: Media and Communications Studies DPeriod: Spring 2006University: Division of Media and Communication, Department of Information Science, Uppsala UniversityPurpose/Aim: The aim was to explore the construction of science in the television crime shows CSI and Bones.Material/Method: The method used is critical discourse analysis based on the thoughts of Norman Fairclough. The analysis includes three episodes of CSI and three episodes of Bones,broadcast from between the 10th and 25th of April, in 2006 on Swedish television.Main results: The scientists in CSI and Bones are constructed as rational and calm; they are mainly concerned with finding the truth. On the surface, the truth is objective and reachable, although, in these TV-shows all observations are theory laden.Keywords: CSI, Bones, crime shows, television, science, discourse analysis..

The purpose of this study was to examine creativity in psychosocial work. The aim issues where to find out how creativity develops in social work, why the relation is important for the innovativeness and how the creativeness can change a person. Through a qualitative method with interviews of four persons in psychosocial work and with one man who's a professor in philosophy, four relevant themes were identified. The themes are about the relation, the meeting, the dialog and the changing. All four themes are related to creativity and I used existential, philosophic and also psychoanalytic theories when I analyzed the material.

The subject-matter of the following essay is to investigate the relationship between what is commonly called Deep Ecology or Biocentric Philosophy, as articulated by the co-founder of the Deep Ecology Movement, Arne Naess, and later proponents of the biocentric school of environmentalist thought. I contrast Naess? concept of Self-realization as founded in his Ecosophy T to the ideas of american conservationist and co-founder of the radical green movement Earth First! Dave Foreman, and to the controversial finnish environmentalist and ecofascist Pentti Linkola?s ideological agenda of population-reduction respectively.According to some critics of the movement, especially the social ecologist Murray Bookchin and French liberal philosopher Luc Ferry, the Deep Ecology ideology is essentially misanthropic and totalitarian in structure. A central idea among deep ecologists is that ecosystems and natural entities have intrinsic value in themselves, even outside a human social context. This idea is thought of among deep ecologists to create a philosophically sound basis for counteracting the environmental global crisis.

The purpose of this thesis is to investigate how teachers perceive that they work with science in preschool through aesthetic learning processes as tools both in the indoor and outdoor environment and make visible what the educators' underlying beliefs are that affect how they perceive aesthetic learning processes as tools used to deepen children's understanding of different scientific phenomena.This is an interview study using the phenomenographic approach as a means and method to make visible and report on teachers' views on how aesthetic learning processes can be used to extend preschool children's learning about science. The results are analyzed and discussed based on John Dewey's theoretical ideas about children's learning, aesthetics and science.The study clearly shows that teachers' views on aesthetic learning processes and how they can be used in the work whit science is very divided and in some cases unreflective. The most striking results are that teachers often are unaware that they make use of aesthetic learning processes because they have a more limited view of what it is than we have in the paper. All informants have science as a core subject. Their focus of the activity is located at the showing and visualizeing of scientific phenomena and some of them express that they submit the aesthetic learning processes to their colleagues or that they collaborate with someone who has training in some art form.

The aim of this thesis is to discuss selected parts of cataloguing both from a practical and a theoretical viewpoint. It presents the basic grounds for cataloguing of printed as well as non-printed materials. The focus lies on the main entry heading and its author/title problem concerning film. The thesis theoretical part consists of an analysis of central documents dealing with the author concept from both a library- and information science perspective and a film science perspective. The practical part consists of interviews from two Swedish public libraries, which have different approaches on presenting films.

Science center har visat sig vara en utmärkt plats för undervisning. Detta är en studie av på vilket sätt ett skolbesök på ett science center kan bidra till att målen för år 9 uppnås och om ett besök på ett science center kan utgöra ett komplement till den vanliga skolundervisningen. Särskilt studeras ämnesområdet astronomi och kosmologi (universum och vårt solsystem) i ämnet fysik. Undersökningen är gjord på Universeum i Göteborg. Metoden i undersökningen är intervjuer och observationer.

This paper deals with a partly new development in the Swedish law system, somewhere in the boundary between political science and jurisprudence. A new instrument -artbrott- has successively become more popular among lawyers and politicians. The new instrument -here translated to classified crimes- signifies that the perpetrator is sentenced to prison even though the seriousness of the crime committed is not in itself serious enough for such a consequence. The reason for this policy stance is to create a prevention against crime of that specific character among the public. The use of this instrument has grown considerably both concerning types of crimes as well as in application.

The aim of this thesis is to map the research area of scientific collaboration within Library and Information Science LIS. The purpose is to find out who is doing research in this area, who they cite and if they get cited by other scientists outside of LIS. Scientific collaboration is an interdisciplinary research area with researchers from different disciplines such as LIS, human-computer interaction, psychology and sociology. We have concentrated our study to North America, Ireland, Great Britain and Scandinavia. In order to find researchers, we visited the websites of all universities with library and information science faculties in the chosen countries.

Since studies points out declining interest in science among students in Swedish schools, I have in this paper chosen to examine how some students at the Social Science Programme are experiencing the lessons in Natural Science and how to make lessons more interesting according to these students.The purpose of this study was to gain a greater understanding of how teachers would develop new perspectives and tools to make lessons in Natural Science more interesting. I also wanted to investigate whether an intercultural perspective could be a possible tool to increase students? interest and motivation.As a theoretical framework, I have assumed Vygotskij's sociocultural perspective, Habermas's theory of deliberative conversations and an intercultural perspective. Through a qualitative approach, I conducted interviews with students and teachers. The main results showed that students felt that natural Science lessons were too theoretical and undemocratic and that they wanted to have more student interactions, such as discussions and group works.