The aim of this thesis is to examine user experience and engagements in interactive cinema.A great deal of the research that is conducted today involves creating interactive films, toexplore and examine film structures. In this study, we build on this research by comparingthree different interactive film structures. To carry out our study, we have categorized threedifferent interactive films after three different models to define their narrative structureand interface. To examine the experiences of those structures we have performed anexperiment where we have collected data from the three different sources; interviews,observations and surveys.It is difficult to draw conclusions about how an interactive film should be constructed asdifferent structures apply to different narratives. Based on our research the conclusion canbe made that the combination between the narrative structure, the narrative content, theaesthetics, the implementation of interactivity and how the film?s interface is constructed ismore important than building a specific structure for an interactive film.

The purpose of this study was to examine how some young mothers, who previously have been in foster care or residential care, describe the way motherhood has affected their lives and identities. Narrative interviews were conducted with three teenage mothers and one mother aged 23. As tools for analyzing the narratives, theories about narrative psychology and how people present themselves through story-telling and language were used. The results of the study show that becoming a mother was life-changing in a positive way, according to the young mothers. They described how they, since becoming mothers, had become more mature and now lived less risk-full lives.

The present study investigated free narratives in 72 children between 3;11 and 9;0 years. Participants were recruited from a multilingual environment in eastern Gothenburg. The children were instructed to make up their own stories after being provided with openings, ?Story stems?. The stories were then transcribed and analyzed on micro- and macro level and narrative evaluation.

The purpose of this study was to examine the narrative skill of sixyear-olds in terms of macrostructure and cohesion, and its relation tonarrative content, auditory attention, auditory short-term memory and threemeasures of word retrieval. A group comparison of macrostructure andcohesion was also performed between children with and without epilepsy.The material consisted of audio recordings of 44 children (18 with epilepsyand 26 from a reference group) retelling the story Nelli-sagan (Holmberg &Sahlén, 2000). No correlation was found between content and macrostructureor cohesion, but several between the latter two. Auditory short-termmemory and word retrieval without pictures showed several correlationswith macrostructure as well as cohesion. No differences in macrostructure orcohesion were found between the children with epilepsy and the referencegroup.

This was a project of creating an animated music video for Anna vonHausswolffs song Something is missing. By working with animation Iwanted to broaden my expertise in visual communications. This hasbeen an exploratory work in how I could translate my illustrations tomoving images in the program Adobe Aftereffects. I have formed myown narrative by creating a storyboard. I worked with illustrated setdesign, created an atmosphere in the film and experimented with howto tell a subtle story.

Narratives about life-changing events like cancer have become more common in today?s society. The purpose of the present study was to investigate whether gender patterns in society can also be found in pathographies about cancer, and further to investigate how gender is expressed in these cancer related narratives. Questions were posed on characteristics of the autobiographical cancer narratives, how gender is constructed by the authors of these narratives, and what these narratives say about gender structures? liability to change in the individuals affected by this disease.

The aim of the study was to investigate how four pupils in sixth grade use language when writing narrative texts, examined in relation to the typical structure and linguistic features of a narrative text. Another aim was to explore the similarities and differences between texts which received an A or B grade and texts with a D or E grade. The pupils? texts are analysed from a systemic-functional perspective on language and on the basis of the typical structure and language of a narrative text, with the focus on expressions of time, processes, descriptions and nominal groups (cf. Johansson & Sandell Ring 2012).

The title of the study is: "Stories about helpful conversations - a narrative study of active processes in therapy and treatment." The purpose of this study was to examine clients' stories of what has been helpful to them in therapy / treatment. The study has been made in light of the ongoing discussion in society about the requirements for empirical studies within welfare areas. The choice to make a narrative study comes from the desire to have clients' own stories at the centre of what has been helpful in the therapeutic process. The author has interviewed and talked with four people (clients) who told us about their experiences of therapy / treatment. Narrative research methodology is based on people's life stories.

The objective of this paper is to examine narrative techniques used by the Swedish author Stig Claesson, especially his transformations of texts out of the own authorship into new stories. In order to achieve my objective, I will specifically study two novels; Rosine (1991) and Efter oss syndafloden (2002) and the method practiced will be intentional reading, as described by H. Porter Abbott. For the analysis I will, with the complementary support of Abbott and Beata Agrell, turn to Gerard Genette and his theories concerning transformation and transtextuality, in particular its sub idiom hypertextuality. As a result of my analysis, various subgroups of transformation used by Claesson are identified, but also proven is how Claesson, largely by utilizing two of them; transvocalisation and transvaluation, provides the reader with the implied author of his own choice.

In a school for children from 6-9 years in a small town in the southeast of Sweden, is areading activity program in progress since 8 years. The original purpose of this program wasto enhance the student?s reading interest. All of the students read at least one book a week andthen they review the book in front of the class.The purpose of the present study was to examine vocabulary, word retrieving, narrative skillsand grammatical abilities in children in this school. The objectives were to investigate if thechosen language abilities in these children were different compared to normative data andearlier studies in children at comparable ages.

What is the relation of image and word, of sentences and pictures? What kind of message does this combination produce when juxtaposed on a single material plane? And how do we read its ?infinite? relation? These are the questions at the center of this inquiry. My main interest concerns the exact nature of the relation between photographic images and textual elements of poetic language when these are juxtaposed in what I call Phototext poetry.The thesis calls into question the conventional reading habits of the conjunction of photographs and texts, and seeks to understand the more complex connections intrinsic to the relation image/word and its material and perceptual play in poetic works. Does a text always ?anchor? the multiple meanings of an image, as Roland Barthes argues? What if the alterations of an image could ?anchor? certain fractions of a poetic, polysemantic textual construct? Is a photograph indifferent to the visual, material permutations of texts that certain contemporary poetic practices produce?I discuss phototextual works and collaborations of various kinds, from Molin fontän [?Molin?s fountain?] (1866) over classic surrealist poetry to language-oriented writing.

Natt i marknadstältet is considered as one of Lars Ahlin?s most significant works of fiction. The novel is complex in structure and meaning, containing numerous stories and characters entangled with the main story. One of these stories is the subject of this essay:?Berättelsen om Hedvig och hennes son?.

The purpose of this study was to examine the narrative skill of sixyear-olds in terms of macrostructure and cohesion, and its relation tonarrative content, auditory attention, auditory short-term memory and threemeasures of word retrieval. A group comparison of macrostructure andcohesion was also performed between children with and without epilepsy.The material consisted of audio recordings of 44 children (18 with epilepsyand 26 from a reference group) retelling the story Nelli-sagan (Holmberg &Sahlén, 2000). No correlation was found between content and macrostructureor cohesion, but several between the latter two. Auditory short-termmemory and word retrieval without pictures showed several correlationswith macrostructure as well as cohesion. No differences in macrostructure orcohesion were found between the children with epilepsy and the referencegroup.

AbstractIn this essay I discuss narrative in the reconstruction of national identity. I discuss exclusion as a side effect in thick identities. That means that thick national identities always exclude another part. From this I´ve discussed the Swedish identity and its effects in the European co-operation. Identity is a discourse that reconstructs linguistically.

In this essay different aspects of the motif of the criminal have been traced in Lotta Lotass?s Min röst ska nu komma från en annan plats i rummet and Vladimir Nabokov?s Lolita. By seeking its representation in the texts, the intention was to show how themes, stylistic patterns and narrative functions interrelate in the construction of the motif. The perpetrator?s position within the narrative structure and its consequences have also been assessed.By discussing the meta-fictive aspects of the novels I stressed the importance of the reader?s function, arguing the reader?s participation in the construction of the motif..