Arbetet behandlar Universals skräckfilmsproduktion under dess så kallat klassiska period, från ljudfilmens genombrott fram till USAs inträde i andra världskriget i december 1941. Det inleds med en kort historik av studions utveckling, främst under Laemmle-dynastins ledning, samt med korta tillbakablickar på stumfilmsperiodens skräckfilmer. Syftet är att beskriva hur skräckfilmen utvecklades, konstnärligt, företagsekonomiskt och produktionstekniskt, under denna period. Tyngdpunkten ligger givetvis främst på Universal, som snabbt blev kända som de främsta skräckfilmsproducenterna, ett rykte som man fortfarande upprätthåller.Vidare beskrivs alla Universals skräckfilmer från och med Dracula (1931) fram till och med The Wolfman (1941), som väl kan beskrivas som den sista riktigt stora skräckfilmen, innan bolaget förföll till mer eller mindre obegåvade uppföljare..

This essay studies stylistic differences as well as homage?s between four films produced in two different contexts, New Hollywood and alternative aesthetics today in America. This is done in order to answer the question how alternative Hollywood works against or with Classical Hollywood Cinema in cases like style and narrative. The Work is done by a theory of neoformalism and the definition made by them of Classical Hollywood Cinema. The essay finds small changes, although kind of important witch are mainly shown in editing and causal motivation.

I denna text diskuterar jag produktionen av Hearty Horrors, ett spel programmerat och designat helt i flash. Jag diskuterar svårigheterna för de olika delarna i att skapa ett spel. Tankar och jämförelser mellan onda och goda karaktärer och vad man, som speldesigner, bör och inte bör göra för att få spelare att känna sig manade att spela vidare. In this text I discuss the production of Hearty Horrors, a game programmed and designed completly in flash. I discuss the difficulties of diffrent parts in the making of a game.

I denna text diskuterar jag produktionen av Hearty Horrors, ett spel programmerat och designat helt i flash. Jag diskuterar svårigheterna för de olika delarna i att skapa ett spel. Tankar och jämförelser mellan onda och goda karaktärer och vad man, som speldesigner, bör och inte bör göra för att få spelare att känna sig manade att spela vidare. In this text I discuss the production of Hearty Horrors, a game programmed and designed completly in flash. I discuss the difficulties of diffrent parts in the making of a game. Thoughts and comparances are made between evil and good characters and what you, as a gamedesigner, should and should not do to make the player want to continue playing..

This essay focuses on the theory of classical realism from two points of views. Realism is often told to be quite immoral and cynical and only interested in the power relations among nations. In the first part I am arguing that this picture is wrong and should be revised. By using the ethical theories of deontology and utilitarianism I am arguing that both these perspectives can be used to analyse classical realism. By defining a value that should be guiding one can assert that realism is a good moral theory.

In this work I have examined how two violin students, who are used to the classical music tradition, think when they learn to play Swedish folk music, with focus on rhythm and beating the time with their feet. One of the students is studying on her first year to be a classical violin teacher and the other student is studying on her third year to be a classical musician, both are studying at Malmö Academy of Music. I had three lessons, one hour each, with these two students where I taught them some basics in how to play Swedish folk music. After the last lesson I interviewed the two students. I have done interviews with two teachers at Malmö Academy of Music; Wieslawa Szymczynska and Mats Edén.

The purpose of this study has been to examine how Afro-Cuban musical traditions and concepts are integrated in compositions for solo guitar by the Cuban guitarist and composer Ñico Rojas and how this can be expressed in the performance of his music by a classical guitarist. For this purpose a guide to Rojas music, which is included in this report, was written based on literature about Afro-Cuban music. Then a classical guitarist learned to play a piece by Rojas with help from the written guide. The result was examined using recordings of the guitarist's interpretations and an interview with him. The conclusion is that different aspects of the Afro Cuban musical tradition are present in Rojas? music, but that the concept of the clave was the most useful aspect for the classical guitarist that interpreted the music of Ñico Rojas in this study..

This study attempts to answer the question of whether the propaganda of the Swedish political parties ?Socialdemokraterna?, and/or ?Sverigedemokraterna?, used for the election to the European parliament 2009, are to be viewed as populistic. Furthermore, is the propaganda to viewed as included in the ?Classical populism?, the ?New populism?, both, or none of the above genres? With a theoretical approach deriving from earlier works on the subject Classical/New populism from a number of writers, the study uses empirical and qualitative text analysis to study the parties propaganda. For each of the two genres of populism an ideal type is set up, which is used to define their core elements.

The purpose of this essay is to examine what can be considered as obscene in the work of JoelPeter Witkin and Marc Quinn, what the similarities and differences are. The essay concerns thehuman body, the norms around it and the old vision of the ideal body. To get closer to myquestion I’ve been examine the meaning of anti-ideal, what it means and what kind of history ithas. The works I’ve been using to reach to my purpose are Marc Quinn’s sculpture Alison Lapper(2005) and Joel Peter Witkin’s photography Abundance (1997). Both of the works are taking theposition that use to belong to the classical beauty.

Title: How do music students with different genre backgrounds perceive the same music? In this paper I report a study about how music students with different genre background perceive the same music. I let twentyone classical music upper secondary school pupils and twentyone rock music upper secondary school pupils listen to ten short music pieces of different character and styles. While listening, they were asked to answer four questions about which instruments they could perceive, what they could tell about pulse, rhythm and beat in the music, which component they thought was the most important in the piece and what word they thought best described the feeling of the piece. All four questions had to be answered for each piece of music to facilitate analysis of differences connected to genre background in those answers.

The thesis contains mainly personal experiences relating to classical piano improvisation, based on the CD record Härlig är jorden, Piano improvisations in Various Classical Styles. Sex classics: Mozart, Stravinsky, Bartók, Chopin, Debussy and Liszt play the main roles in that record.The idea is (apart from aiming at stimulationg the styles as faithfully as possible) to look at the various classical styles as different musical rooms created by the composers for us to enter and use. It is also a personal pedagogical goal to structure my ideas, including formulating the strongest possible requirements on the quality of my improvisations. A leading theme manifesting itself in different quises (depending on the style used) is not only a means for improving quality further. The audience has shown a great interest in this form.

The intention with this essay is to investigate how the narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications.

According to tradition transcribed music is an important part of the repertoar for the classical guitar. Baroque music as well as compositions from the Spanish national romantic era are the two most important sources for transcriptions. My research is aimed at finding answers concerning the relevance of transcribing as well as playing different styles of music on the guitar. Are there any basic rules how these transcriptions should be made? I have chosen to take a closer look at the music of J S Bach as a representative of the baroque period because of the great legacy of his music being played on guitar and lute.

The neo-classical conception of the market place does not provide a framework to account for ethical or moral action. As a result, the neo-classical model is unable to explain the impact of ethical and moral issues on business sustainability present in the modern economy. To address this limitation, this thesis investigates whether theories of ethics can help explain the motivations and actions of stakeholders within the field of Corporate Social Responsibility (CSR). In addition, the thesis explores whether theories of ethics are presented differently within aspects of the stakeholder model. Semi - structured interviews were conducted with various stakeholders within the CSR sector, including a NGO, a commercial firm and a CSR consultancy firm.

This paper is an account of the inventory I've made of documents in the archive at Museum Gustavianum, Collections storage Husbyborg, relating to the excavations in Asine, Greece, in the 1920s. The aim of this inventory has been to establish which of the documents in the Husbyborg archives that belong to the department of Classical Studies at Uppsala University. Documents belonging to other archives have been found alongside the one mentioned above and those are the Original documentation (loan from Carolina) and the personal archive of Professor Axel W. Persson. The documents have been arranged according to the General Archive Scheme (Allmänna arkivschemat) seeing that the department of Classical Studies already had a series named Documents relating to the departments archeological collections, and the inventory I've made will be incorporated with that.