This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman?s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research.

Via semantisk analys har förekomst och variation av KRAFTmetaforer i två olika typer av texter jämförts. Hypotesen är att kognitiva neurala nätverk som ansvarar för den abstrakta tanken är tätt sammanbundna med kognitiva neurala nätverk som representerar känsloerfarenhet baserat på sensoriska upplevelser. Analysen utfördes på två olika typer av texter. Resultatet visar på signifikant skillnad i förekomsten av antalet metaforer i de olika texterna. Ett antagande för undersökningen var att självbiografiska texter är mer förankrade i känsloerfarenhet baserat på sensoriska upplevelser än vad argumenterande texter är.

This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman?s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research.

The purpose with my essay was to investigate how genre pedagogy works in a practical manor? I wanted to reach a deeper understanding for the genre pedagogy and to find out if it fits all students. To investigate this issue I have asked following questions:What is genre pedagogy?How do teachers work with different genres in the genre pedagogy?For whom is the genre pedagogy?Is the critic right that Frøydis Hertzberg is proposing about the genre pedagogy formalism? I have been using qualitative methods, to gather my empirical data. I have been using two unstructured interviews and one unsystematically observation, in a third grade class in a school south of Stockholm, with 30% second language students.

The purpose of this thesis is to analyze DVD covers for the genre romantic comedy from the 2000s as a way to obtain patterns and codes provided by the genre. The theoretical framework consists of previous research that analyzed various posters, theories about semiotics, genre, and visual rhetoric.  These theories will help answer the main question and help with the analysis.The objects for observation are ten DVD covers from the genre romantic comedy and a qualitative content analysis is used for this thesis. The movies are from the US and they are all high in Box Office. Box Office stands for how many tickets were sold and how much money a film has earned.

Syftet med uppsatsen är att undersöka hur begreppen genre och texttyp används i gymnasieskolans nationella samt lokala styrdokument för kurserna svenska A och svenska B och att undersöka hur fem gymnasielärare i svenska tolkar begreppen och ser på begreppens roll i undervisning. Detta undersöks genom kvalitativa intervjuer med fem verksamma gymnasielärare i svenska samt genom textanalys av styrdokumenten: svenskämnets beskrivning, nationella kursplaner för svenska A och svenska B samt lokala arbetsplaner för samma kurser. Resultatet visar att lärarnas förståelse av begreppen genre och texttyp samt deras innebörd varierar vilket speglar forskningsläget. Lärarna har även en skiftande syn på huruvida begreppen är relevanta i undervisningen. En anledning till att genrekunskap anses väsentlig är att elever bör kunna förstå att olika texter har olika funktion.

This master's thesis in Library and Information Science examines how the genre division of the horror fictionis constructed at the children and youth department of a library by studying subject headings of the titles.The aim is to examine what is included in the genre, in the two labelings called vampire and nail-biter/spine-chiller, what separates them, and what difference there is between children and youth thrillers/horror fiction. Also the cover designs and how readers portray these books are studied. The study is made in order to develop the knowledge of the genre to help librarians and borrowers. The great popularity of the genre among borrowers and people in general, and the importance of having knowledge of things that borrowers are interested in, are the motivation of performing the study. The method is a case study and conducted with and based on genre theory which shows how a genre is defined, how it can be divided and what conventions there are for the horror fiction in particular.

AbstractSwedish tuition for immigrants (SFI) is a public adult education program in Sweden that was created in order to provide the immigrants with basic skills in Swedish. People with different backgrounds speaking different languages learn together how they should communicate in Swedish, both orally and in writing. For those who teach SFI it is important to know which factors have positive effects on the Swedish language acquisition. One of the questions to be asked is if the learning materials´ genre has any effect on the SFI students´ proficiency, in particular, oral proficiency. Scientists as von Franz, Vygotskiy and Bettelheim argued that fairy tales, as a genre consciously or subconsciously recognizable by all the people, present texts that are easy to acqiure.

This essay is a qualitative study that examines seven teachers ? views on argumentative texts. The aim is to examine how teachers work and discuss argumentative texts, and how they work to develop students ? writing. The main question is: What are the teachers experience, perception and attitude about working with argumentative text? Furthermore: What specific features are important when they mark this type of text? : How do teachers work with formative grading in terms of writing this type of text? Research shows that Swedish students ? ability to write argumentative texts are inadequate.

Via semantisk analys har förekomst och variation av KRAFTmetaforer i två olika typer av texter jämförts. Hypotesen är att kognitiva neurala nätverk som ansvarar för den abstrakta tanken är tätt sammanbundna med kognitiva neurala nätverk som representerar känsloerfarenhet baserat på sensoriska upplevelser. Analysen utfördes på två olika typer av texter. Resultatet visar på signifikant skillnad i förekomsten av antalet metaforer i de olika texterna. Ett antagande för undersökningen var att självbiografiska texter är mer förankrade i känsloerfarenhet baserat på sensoriska upplevelser än vad argumenterande texter är.

Today almost every artist has a music video. With today?s technology it has become a lot easier for smaller companies or amateur filmers to produce and distribute their work. But how important is an artist?s music video and where do people find their music these days? Other questions we wanted to answer were if there is a typical way a music video looks like based on its genre.

Via semantisk analys har förekomst och variation av KRAFTmetaforer i två olika typer av texter jämförts. Hypotesen är att kognitiva neurala nätverk som ansvarar för den abstrakta tanken är tätt sammanbundna med kognitiva neurala nätverk som representerar känsloerfarenhet baserat på sensoriska upplevelser. Analysen utfördes på två olika typer av texter. Resultatet visar på signifikant skillnad i förekomsten av antalet metaforer i de olika texterna. Ett antagande för undersökningen var att självbiografiska texter är mer förankrade i känsloerfarenhet baserat på sensoriska upplevelser än vad argumenterande texter är.

Via semantisk analys har förekomst och variation av KRAFTmetaforer i två olika typer av texter jämförts. Hypotesen är att kognitiva neurala nätverk som ansvarar för den abstrakta tanken är tätt sammanbundna med kognitiva neurala nätverk som representerar känsloerfarenhet baserat på sensoriska upplevelser. Analysen utfördes på två olika typer av texter. Resultatet visar på signifikant skillnad i förekomsten av antalet metaforer i de olika texterna. Ett antagande för undersökningen var att självbiografiska texter är mer förankrade i känsloerfarenhet baserat på sensoriska upplevelser än vad argumenterande texter är.

The focus of Broken Conventions is experimental cinema, that big body of film existing outside the limiting boundaries of the mainstream cinema industries. The goal is to provide a broad view of this abstract and hard-to-define area of film studies, by searching for an answer to the question; what is experimental cinema and can it be viewed as a genre of its own? In doing so, I will explore the theoretical discourse surrounding the topic, as well as provide case studies of several experimental films. I will also suggest a genre theory, as a way of determining whether or not experimental cinema can be seen as a genre, but more importantly to use it as a way of further examining the individual films and to deepen the understanding of this type of film. The topic at hand is however extremely subjective and there is no generally accepted definition, or term for that matter, concerning what experimental cinema really is.

The aim of this study is to describe how reviews of literature in Bonniers litterära magasin and Expressen changed during the period 1964-2004. The investigation is based on 20 reviews of novels and short stories, which are analysed with a method described in Hellspong and Ledin (1997) and inspired by Halliday. The theoretical frame of the investigation is founded on critical discourse analysis (Fairclough 1992 & 2001) and Habermas´social theory of the public sphere.The investigation shows, among other things, that the reviews became shorter and easier to read in both paper during the period. The investigation also shows that the genre´s style, composition and contents are relatively stable, and that current ideologies in society have a tendency to be reflected in the reviewers´evaluation of the books. To generalize, the reviews thus developed from a poetic genre in 1964, to become political in the 1970s, academic in the 1980s, feminist in the 1990s and finally an intermedial genre in 2004..