This is an analysis of the music in the television-series The Tudors (2007 ? 2010). The opening credits and how death is portrayed musically in the last episode are analyzed. My question is what functions the music has. The method used is Michel Chion?s masking-method.

The subject for this thesis is to examine the portrayal of the local farmer in four different museums in Scania. The purpose is to examine these two questions: 1. Which narrative and museal strategies are used in the portrayal of the local farmer by the local history societies? 2. How do the actors of the local societies relate to the living conditions and hierarchies of the rural society of Scania? The source material consists of guided tours and text material from the museums. The theoretical fields consists of history culture, use of history, historical narrative, museology and rural science act as our theoretical fields. Peter Aronsson, Anna Eskilsson and Maria Bjo?rkroth act as our main theoretical framework. Our research presents two central discourses in the portrayal of the local farmer.

The aim of this master?s thesis is to examine the discourses about Malmö public library that can be identified in several documents published by the library, articles, and various WebPages. Furthermore, our intention is to study the relation between the library?s identity, image and profile. The questions posed in the study are: Which identity discourses are Malmö public library giving expression for? What kind of conflicts between these discourses can we find? How is the identity, image and profile of the library in relation to one another? How does Malmö public library profile and market itself as a non-profit organization? Our theoretical and methodological building ground is in the discourse analytical field, with Enesto Laclau?s and Chantal Mouffe?s theories about discourse and society, as a starting-point.

In Sweden there has been a surge of interest in the films classified as pilsnerfilms, i.e. comicalfilms produced for little money in the 1930's and containing a more working class and/or ruralsetting then the so called "champagne comedies" from the same era. The concept"pilsnerfilm" is how ever a little vague and although the main focus of this paper ispilsnerfilms, it will also cover other types of comical films made in Sweden between the1930's and 1940's.This paper examines the now-existing network of people interested in these types of movies.It will do so by interviewing seven of the most prominent fans of movies made during the1930's and 1940's. Most of them are living in Stockholm. The paper discuss how through theconsumption of these types of films, a nostalgic gaze is created.