Is it possible, and suitable, to use multimedia in classic literature studies at Swedish upper secondary school? What alternatives are there?  Is there any foundation in the curriculum for an expanded conception of text as in multimedia?  Will the conception literacy support use of multimedia in classic literature studies, and in what ways? How do we generally look upon the definition text, is it only printed letters, or something more? To get an answer to the questions we decided to examine a number of theories, Gardner?s theory about the different intelligences, the conception literacy and the expanded text concept. In these three theories we took our starting-point for the following work. The main subjects became two interactive sights on Internet and one CD-ROM, all containing classic literature. Our previous knowledge in this subject field was very meager.  This work has given us an opportunity to discover some of the multimedia that is available, and the result we have come to is that multimedia absolutely belongs in studies of classic literature as well as in other subjects.

Redan tidigt då jag besökte North Kingdom kom det upp förslag på studier som skulle kunna vara av intresse. Flera förslag fick man stryka direkt då de var mer programmeringsinriktade. Men det som fastna var förslaget att göra en teaser trailer. Tillsammans med Tomas Hillergren tog vi på oss den uppgiften, att skapa en teaser trailer till en fiktiv film eller ett spel. Då vi hade fria händer (det var inte kommersiellt) valde vi ett science fiction tema, inspirerat av The King In Yellow, en samling noveller av Robert W.

This paper deals with the problems that can occur during the move of an entire collection. Thecollection discussed is located at the Gothenburg Maritime Museum and it has beenconsidered to move the collection to a storage where the other collections of the museum iskept. No decisions are taken but this is a suggestion of how it could be done. The collectionwhich is studied contains of different kinds of objects like for example paintings, work onpaper and photographs. The whole moving project is looked into and all the different parts areanalyzed.

The aim of   the study has been to examine the duality that I seemed to find in Karin   Broos works, primarily on the basis of her renditions of nature. The   objective is to study the duality on various plans and to examine which   traces of Intertextuality that may exist.In the study of the duality   I have taken note of how nature is presented in terms of style and form, as   well as that I have seeked cultural references pictorial and symbolic. I have   also examined the images with reference to Intertextuality. The following   questions has been applied during the work:  How is nature produced in the paintings?  What place occupies nature in relation to the people, in the works?  What is being communicated by nature's participation in the works?As a method, and as a   tool for analysis and interpretation of selected works, I have chosen to use   Panofskys iconological interpretative method. As a guide to seek relations of   intertextuality the theories of  Julia   Kristeva has been useful, which  includes thoughts  that new images are created or re-created   in relation to other images all the time and in new contexts.As a result of the   study I have found some kind of expression of balance, though it did not   seemed to look that way from the beginning.

The aim of this thesis is to examine the possibilities and challenges facing an archive, Svenskt barnbildarkiv (SBBA), if to publish its material online. Our context for this study is image indexing. Our main questions are: How can SBBA index their pictures for a possible publication on the Internet? Are there any pros or cons in the determination of topics in children?s images, and in that case, which? What search paths are important when indexing children?s pictures, and why are they important? To answer these questions, the thesis is built on a wide study of interdisciplinary literature. But also on SBBA: s own handbook for image ?registration?, and on interviews with the persons working at the archive SBBA, in Eskilstuna.

The main aim of this research is to survey the general colour scheme for private dwellings inVisby, built 1860?1930. During this period the visual appearance of the town of Visby changedsubstantially, since the increased local production of lime led to the plastering of many woodenbuildings. Which colour schemes were chosen for the different building types of the historic centreof Visby, and which colours came to dominate the time period? The methods used for answeringthese questions have partly been field studies on site and sampling of selected buildings, andpartly critical reading and observation of iconographic material (paintings, drawings, aquarelles,postcards and photographs).

The body that is? You have to take care of the body is an ethnological study of how children look at body and health from their own perspective. During five weeks I did a field work in a school in Uppsala, Sweden. Ten fifth grade students and two teachers were interviewed. They were also participants in observations and did paintings.

Do our imaginations of real landscapes get affected by works of art such as paintings, myths and literature? They often give very colourful descriptions in words as well as pictures. Do they actually change our feelings for the landscapes we are in and carry around as images inside? Close your eyes and take a few deep breaths. Imagine that you are leaning against a wooden fence a mild summer evening.

?Claiming the right to space? is an argument frequently used by street artists for justifying illegal art in the public space. The public city space as a room of democracy and right to free speech is by some people considered threatened by commercial interests, and street art has become a way to demonstrate disapproval towards this. Street art is illegal and often anonymously performed in our cities. It developed in the late 1970s from the urban graffiti scene in America, and has therefore a lot in common with the graffiti movement.

Lining techniques such as nap bonding and mist lining were developed in the late 20th century and have gained popularity alongside with the increased use of acrylic emulsions as adhesives. The ability of the adhesive to create a nap bond to the canvases without penetrating the fibers has shown advantages regarding reversibility. In addition, the use of moisture, heat and pressure is reduced, which can be advantageous for more sensitive paintings. These lining techniques have been included in several studies where reversibility, minimal intervention and respect for the individual requirements and problems of each object have been the focus. The adaptability of the methods has been confirmed and to further explore the adaptability, this study consists of three simpler application techniques with the adhesive Lascaux 303 HV on mockups.

In the early 80s, several new synthetic materials have come to be used in the treatment of canvaspaintings, among them Plextol D 360, Plexisol P 550 and Beva 371. Today, many conservatorsfind the information about the long term sustainability of these binding mediums to beincomplete. Evaluation of synthetic materials is mostly done through clinical research, sometimesartificial aging is simulated. The correlation between artificial and natural aging is however notestablished, useful information can therefore be gained through evaluations of actualconservation treatments. The intention of this study is to find out more about how thementioned products perform over time in normal museum conditions.

This study aimed to evaluate the levels of formaldehyde and organic acids that can build up within enclosed spaces. Another goal was to compare two types of paints that can be used as coating barriers within showcases and in turn compare them to the modern, and by many highly recommended, material of Marveseal®. A low volatile waterborne alkyd/acrylate paint and a two component polyurethane paint was compared to Marveseal® in two series of experiments. One series measured the level of formaldehyde, and thus the effectiveness of the three chosen barriers, and the other series measured the level of volatile organic acids, both the acids emitted from the paint itself, and that of the wood. One box in each series were not treated at all and was used as a reference.The fact that different types of materials emit volatile organic compounds have long been known.

An inquiry into the post-war European aesthetic and political landscape should take the international organization Unesco?s colour reproductions and travelling exhibitions of paintings into consideration. In these, the organization implements André Malraux? idea of the ?imaginary museum? as a framework for a future cosmopolitical, aesthetic (and utopian) community. During the late 1940?s, the Swedish government also discusses the need for raising an ?aesthetic awareness? amongst their citizens as a consequence to a poor knowledge in the fine arts.

Sports facilities are a highly unexplored field, and as of the autumn 2008 no research is being conducted about sports fields at Swedish architecture universities. Very few people recognize the sports field as an area for the architecture profession, and to gain more information about sports fields I have discussed the subject with people with connections to architecture and/or sport. The sports field represents a type of sports facility, a permanent football and/or bandy field surrounded by running tracks with appropriate measurements. Like the city?s physical environment, the sports field is a public place, where outdoor activities take place.

My aim of this investigation has been to study Delacroix relation to the Orient, based on a number of key questions:What was specific for Delacroix oriental works?How did his oriental painting change and mature over time?How was Delacroix relation to the oriental discourse?The paper is divided into three parts: the time before his trip to Morocco in 1832, the trip to Morocco and the period after Morocco.Although many have wanted to see Delacroix as a revolutionary, he worked the whole time within, and dialogue with, the classical tradition. In Delacroix quest for renewal of history painting, the oriental works play an important role. In the period before his trip to Morocco the literary sources dominated. He constructed his own Orient in his studio.It is clear that Delacroix did not stood outside the oriental discourse.