In this paper, I have examined if and how Saul Bass adapts his title sequences to the respective film in the matter of genre, plot, milieu, feeling and appearance. Saul Bass was really a graphic artist who has made himself a long career in film production, foremost as a creator of title sequences. Of all the films Bass has created title sequences to, I?ve chosen six films, whose title sequences I analyse more thoroughly. I do this to point out the differences between them and thus also show how Bass adapt them to the individual work.

Felix Saul (1883-1942) var verksam som körledare, musikskribent och musikpedagog, och undervisade främst i sin egen musikskola, Stockholms privata konservatorium (SPK). Syftet med studien är att undersöka den pedagogik som Felix Saul tillämpade i sin musikundervisning i barngrupper på SPK. Empirin utgörs av intervjuer med Sauls tidigare elever, och av hans egna artikelserier om musikpedagogik. Materialet har analyserats utifrån ett övergripande kulturpsykologiskt perspektiv. Resultatet visar att Sauls undervisning som syftade till att utveckla elevernas musikalitet i stor utsträckning följde Tonika-do-metoden som den beskrivs av samtida litteratur, men att han lade större vikt vid ackordfunktioner och rytmikövningar, och att lek var en central del av undervisningen.

The story of Jonathan and David is a part of the deuteronomical view of Israels history from the occupation of the holy land all the way to the exile in Babylon. I am aware of that this is not true history, but it is nevertheless interesting to ask oneself: Why are those people a part of the deuteronomical history? What was the meaning in telling the story in this way?Exegetes and researchers are trying to give the relationship between Jonathan and David a place in the political realm, but here I have used several sources to show that it is not only a political story, but a loveaffair, where Jonathan is pictured as a submissive woman and thereby excludes himself from the throne of Israel. David on the other hand, acts as the perfect man, who is in command in spite of his youth. He does not break the rules of the patriarchal society, where the relation between two men was accepted as long as the older one did not play the womans role.

Studien behandlar, den av myndigheten Forum för levande historia utgivna boken ?om detta må ni berätta?, av Stéphane Bruchfeld och Paul A. Levine. I studien analyseras olika förklaringar till Förintelsen, som mer explicit eller implicit kan skönjas i texten. Det hela relateras till vad några andra författare och förintelseforskare, beskriver, och kommit till för slutsatser angående de olika förklaringarna dessa representerar, i den av mig utvalda litteraturen.

Studien behandlar, den av myndigheten Forum för levande historia utgivna boken ?om detta må ni berätta?, av Stéphane Bruchfeld och Paul A. Levine. I studien analyseras olika förklaringar till Förintelsen, som mer explicit eller implicit kan skönjas i texten. Det hela relateras till vad några andra författare och förintelseforskare, beskriver, och kommit till för slutsatser angående de olika förklaringarna dessa representerar, i den av mig utvalda litteraturen.

 In his book Wittgenstein on Rules and Private Language (1982) Saul Kripke claims that Wittgenstein argues for a certain form of scepticism in his book Philosophical Investigations (1953), namely a new form of philosophical scepticism, a result of Wittgenstein´s idea of language as language games. Nihilism, scepticism of meaning or of concept, constitutive scepticism are other commentators´ different names of the same phenomenon. The philosophy of Wittgenstein accounts for how our words, including the words of mathematics, have no meaning and there are no a priori justified objective facts as to what I mean about a word. We follow the rules blindly and without justification. We are unable to find any facts against this proposal.

 In his book Wittgenstein on Rules and Private Language (1982) Saul Kripke claims that Wittgenstein argues for a certain form of scepticism in his book Philosophical Investigations (1953), namely a new form of philosophical scepticism, a result of Wittgenstein´s idea of language as language games. Nihilism, scepticism of meaning or of concept, constitutive scepticism are other commentators´ different names of the same phenomenon. The philosophy of Wittgenstein accounts for how our words, including the words of mathematics, have no meaning and there are no a priori justified objective facts as to what I mean about a word. We follow the rules blindly and without justification. We are unable to find any facts against this proposal.

 In his book Wittgenstein on Rules and Private Language (1982) Saul Kripke claims that Wittgenstein argues for a certain form of scepticism in his book Philosophical Investigations (1953), namely a new form of philosophical scepticism, a result of Wittgenstein´s idea of language as language games. Nihilism, scepticism of meaning or of concept, constitutive scepticism are other commentators´ different names of the same phenomenon. The philosophy of Wittgenstein accounts for how our words, including the words of mathematics, have no meaning and there are no a priori justified objective facts as to what I mean about a word. We follow the rules blindly and without justification. We are unable to find any facts against this proposal.