This paper examines difficulties that heirs to swedified sami persons experience when learning about how colonialism forced a lot of people to hide or dim their sami identity. The purpose is to examine what genealogy can mean for these people and how it differs from the ?regular? genealogy; what makes these heirs willing or not willing to call themselves sami and how the cultural traumas and family wounds can be understood as dark cultural heritage and how these can be resolved. With cultural heritage and history usage theories, Hall?s theories of hybrid identities, and Aarelaid-Tart?s trauma model, I have analysed material from six interviewees and some of my autoetnography to conclude that sami genealogy is an important factor in shaping a more complete and decolonized view of history and one?s identity, that descendants of samis won?t call themselves sami because of a lack of sami ?capital? but want to as a way of not letting colonialism win, and that cultural traumas and family wounds heal through talking about them ? not hiding from them. The dark heritage is a necessary part of the sami identity build. I have also concluded that sami identity have always been nuanced, there isn?t one correct way to be sami..

Operabyggnaden placeras längst ut på piren och tar hela dess udde i anspråk. Operan riktar sig mot staden. Byggnadens storlek och koncept kräver viss rymd och ljus runt sig varför valet av plats blev naturligt. Den stora operavolymen skärs itu i flera delar och de olika volymerna binds sedan samman av en stålkonstruktion som på vissa ställen fungerar som ett orangeri medan den på andra ställen är en öppen pergolastruktur. Växtligheten används som ett material och ger intressanta rum, skuggspel och klimat. Orangeriet/pergolan löper igenom och runt byggnaden och såväl personal som besökare rör sig på gångar genom orangeriet/pergolan och upplever olika typer av rum, på olika nivåer. En önskan med uppdelningen i flera volymer är dels för att få in ljus på ett vackert sätt i en annars djup och mörk byggnad, dels för att försöka bryta ner skalan, samt även för att kunna ge personalen bra arbetsmöjligheter.

Syftet med fo?religgande studie a?r att utifra?n nyhetsrapporteringen om Wikileaks och Julian Assange underso?ka hur Assange framsta?llts i tva? svenska tidningar 2010-2011. Underso?kningen analyserar i synnerhet hur Assange konstrueras i relation till Wikileaks och a?talet om sexualbrott i Sverige. Totalt analyseras 31 artiklar fra?n de tva? svenska tidningarna Dagens Nyheter och Aftonbladet, framtaget genom ett ha?ndelseorienterat urval.Uppsatsen utga?r fra?n teorier om nyhetsjournalistikens roll att konstruera en mediepersonlighet.

Uppsatsen undersökte en alternativ metod att kreditbetygsätta företagsobligationer. Metoden är baserad på en modell skapad av Hall & Miles (1990) och har tillämpats med viss framgång på banksektorn i tidigare studier. Modellen gör antagandet om effektiva kapitalmarknader och använder aktiekursinformation som enda informationskälla. Undersökningen utfördes genom att applicera modellen på 49 slumpvis utvalda amerikanska företag och ta fram en tio års lång kreditbetygshistorik. Denna kreditbetygshistorik jämfördes sedan med kreditbetyg på de 49 företagen satta av kreditvärderingsinstitutet Moody?s under samma period.

The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top;  one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez?s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right ? if that was the intention.

The Landscape Architecture Program at SLU, Ultuna provide several design courses. Within these courses, students are mainly introduced to one type of design process, a process based on the specific site and its conditions, known as Genius Loci. This report presents a course and a design methodology from Cornell University which aims to provide students with tools for a more conceptual way of thinking about design and architecture. The design method is presented in two stages. First an introduction to the course description and objectives.

This essay ? Discourse and Dissonance ? deals with Mary Shelley?s gothic novel Frankenstein; or, the Modern Prometheus (1818). The focal point is the construction of ?Them and Us?, as defined by scholars such as Stuart Hall, viewed in terms of the following categories: race, gender and family, class, and sexuality. Rather than applying an outside perspective, e.g.

The purpose of this essay is to look at how museums design their activities as tourist destinations through the dissemination of history. In order to research this problem we have posed the following questions: How do museums act in order to animate and interpret history? What does the future hold for the museums? In order to find the answers to these questions we have made a deep-going analysis of the activities of four museums, Nordiska Museet, Etnografiska Museet, Historiska Museet and Naturhistoriska Museet. These museums have been analyzed by means of interviews, observations and the study of documents. Our theoretical perspective is informed by a hermeneutic perspective as well as Foucault´s definition of museums as institutions, and the concept of storytelling.

The functionalism started in southern Europe after world war one and got its breakthrough in Sweden with the Stockholm Exhibition in 1930. Poverty caused many people living in overcrowded conditions which the functionalists wanted to change by using less expensive materials and giving healthier living conditions to the people. The industrialization brought new materials and working methods which made this possible. The Swedish functional style is recognised by its light plaster facing and nearly horizontal roofs. Also the garden design of that time was influenced by the functionalistic ideas. The garden was now introduced as a pleasure garden for not only the rich but for everyone.

The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism.The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s.In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden.The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions.

AbstractIn the heart of Paris, you will find Sweden?s only cultural center abroad. Since the early 70?s a wealth of cultural activities has been offered, and every year the center receives more than 100,000 visitors. The center is a branch of the Swedish Institute (Si), a public authority which promotes mutual relationships between Sweden and other countries through culture, education, science and business.

The Lugnetgymnasium in Falun has a graphic education that supplies a color printer, which is availablefor the students in their hall. The printer is a Ricoh AFC 6513 and it is a model that can handlevariable data. It was bought in the autumn of 2002. The teachers of the graphic education want to makeuse of the variable data function and procure a variable data software. The purpose of this project is toevaluate variable data software?s, so that the most suitable choice of software can be made for the graphiceducation.

The purpose with this qualitative interview study was to try to describe, through a phenomenological viewpoint, the meaning that Counter-Strike players put on there contemporary world. We started to explore this Game World with field research studies on the world?s biggest Game exhibition Dreamhack in the city of Jönköping. This helped us to develop our main question for this study.The thirteen participants of the interview were selectively chosen from a Game Café in the city of Karlstad. They were interviewed with five questions that dealt with their experiences of playing Counter-Strike and their experience of time perception in their world.

The purpose of this work is to develop and test a design process where quick decisions and model building has a prominent role. The goal is to develop a number of products and build prototypes to be shown during the Carl Malmsten Furniture Studies spring exhibition 2012. I?m also writing a report describing my work.To reach my goal I have each day during the first phase conducted a short research and found a concept based on that days name day. Then I have continued in the workshop and worked with three-dimensional models.

The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top;  one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez?s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right ? if that was the intention.