This paper is written to take a close look at teaching methods used at the Summer Academy (SHS), which is held at Södertörns Högskola in Stockholm. SHS is a subdivision of the institution of teaching education, which annually, during summertime, offers an eight-day program for pupils between 13-15 years of age, from different schools located in socio-economically disadvantaged suburbs of Stockholm. The intention of SHS is to give the participating pupils an insight into higher education, especially that of university. The purpose of the activities, such as field trips, guided tours and corporate visits, is to make pupils aware of their own responsibility for their educational situation through different methods of knowledge transfer, to diversify the means of the education, and to bring awareness to the array of possibilities which they have access to within the Swedish system of tertiary education.The study is based on six deep-interviews, three with pupils and three with student mentors. Together with 131 surveys from the course given during the summer of 2014, and theories of John Dewey on ?Learning-by-doing?, the results show that pupils participation in SHS give them a better understanding for, and knowledge about their own educational responsibility.Another question this paper seeks to address is how significantly the SHS program is changing the pupil?s experience of education in general and their view upon higher education specifically.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

This paper originates in a study of Community Gardens in the United States. An overview of how and why the gardens have emerged, their functions today, and their effects and problems is presented. The reader will also be introduced to a selection of Swedish movements that correspond with the phenomenon of the American Community Garden. These are as follows; The Allotment Garden, the Swedish term Stadsdelsträdgård (a metaphor for a Community Garden in a Swedish urban context), Mykorrhiza Malmö Stadsodlare and The Allotment Plot. None of the above-mentioned Swedish movements can be described as an exact equivalent of the American Community Garden, but they all contain elements witch constitutes parts of the phenomenon.

This essay concerns the fantastic and its position in narration. The fantastic's defintion is based on Martin Horstkotte's defintion in The Postmodern Fantastic and the essay focuses on the noncontextual aspects such as the clash between two incompatible fictional worlds and the absence created. Instead of the ordinary identification of the established fictional world with realism and our reality it is suggested that both of the colliding fictional worlds are fictive and that the established one not necessarily need to be realistic. Exampels on how the fantastic takes place on the syntagmatic level in a narration is drawn from the short story ?Samvetets fantasi? by Clas Livijn when analysed with Peter Brooks' closurebased narratology theory in Reading for the Plot.

Syftet med denna uppsats har varit att skapa en debattkring det viktiga ämnet medarbetarsamtal, vilket är ett ganska populärtfenomen idag. Vi ville också att denna uppsats skulle ge upphov ochinspirera till reflektion kring detta ämne. Vi har använt oss av en narrativmetod för att försöka fylla vårt syfte. Delvis på grund av vårt val av metodhar vår uppsats inte den traditionella vetenskapliga struktur som man kanskeförväntar sig av en uppsats av denna typ. Vi har istället använt oss av enstruktur som fyller vårt syfte bättre och av den anledningen väljer vi att inteavslöja för mycket i denna sammanfattning.

This project was about the creation of a shorter computer animated film. Thegoal of the project was to explore a different technique of the visual outcomethat should not rely on photorealistic rendering and how to find new interestingways to use 3d-graphic for visuals. A big part of the project was also toincorporate music to create a chosen atmosphere and impact on the viewer butalso to help the story forward and questions such as; ?How can you create anexpression for the feeling you want to transmit?? were formulated. The scenewas built up in a 3d-application consisting of a house and surrounding garden,which within an character was animated to tell the plot.

This report intends to analyze the difference between the original rules and a modification of the rules for the Scandinavian version of the world famous dice game yatzy (yahtzee). Several works are made previously existing strategies for yatzy and Yahtzee.The study was conducted using the optimal strategy calculated and implemented in the programming language Java. The execution of the application to create the file containing the optimal strategy was running on leased powerful servers from Amazon and took just over six hours each.A simulated player played 100,000 games based on the strategy, to obtain data which then was used to plot graphs and analyze the expected score and its standard deviation. The expected value (mean) and standard deviation of the score for the possibility of three or four throws were 233.00 ± 44.82 and 280.07 ± 41.25.In view of the results drawn the expected conclusion that the four possible throws provides increased probability of getting a high score, unlike the case where the player may only be able to throw the dice three times. The fact that the variance is lower in the case of four throw session is equivalent to that the likelihood to get close to the expected value increases..

The research on Ingmar Bergman is comprehensive, however, there is one aspect of his artistry that has been regrettably neglected ? his use of music. Music always played a huge part in Bergman?s life, and it was also a great source of inspiration. The music was a structural component in the creating process and he often referred to his films as pieces of music and his actors as musical instruments.

Quality Control is a term often used within production and is referring to managing processes so they produce capable products. Within Quality Control, process capability index is a common measure to oversee processes. Safety Region Plots were introduced to do this graphically. In Albing & Vännman (2010) the concept of Safety Region Plots is expanded to incorporate an elliptical shape. The method of Elliptical Safety Region Plots assumes a normally distributed data.