De symboler som en gång upplevdes som autentiska har blivit globaliserade och den traditionella Souvenirens autenticitet ifrågasätts därför i dagens samhälle. Det finns således skäl till att diskutera hur giltiga de existerande definitionerna av Souveniren verkligen är bland dagens och morgondagens resenärer ? åttiotalisterna.Syftet med denna uppsats var att undersöka Souvenirens mening och innebörd bland åttiotalister.Med en kvalitativ metod genomfördes, med hjälp av snöbollstekniken, tio enskilda djupintervjuer med personer födda mellan 1982 och 1985. Dessa intervjuer tolkades från en hermeneutisk ansats. Åttiotalisters syn på Souveniren överrensstämmer inte med de existerande definitionerna. Istället för att se en Souvenir som ett föremål med uppenbar och synlig koppling till platsen har den emotionella aspekten blivit viktigare.

The inhuman element in Djuna Barnes?s works has been widely acknowledged. So far the research has, however, concerned itself primarily with animality, thus neglecting the importance of things and thingliness in her texts. In this essay I outline a new way of approaching Barnes were things are taken into account as a vital element in her literary world, using theories on prostheses, fetishes and Souvenirs. In Nightwood and four of the short stories, ?A Night Among the Horses?, ?Aller et Retour?, ?Cassation?, and ?The Grande Malade?, I examine clothing, interiors, collections, statues and dolls as objects that in different ways harbour meaning, dream, riddle, memory, history, longing and desire.

It is increasingly important for cities to attract visitors, potential new residents and businesses. Jönköping is one of the cities working with place marketing, a strategy that intends to mediate a positive image of the city, in order to accomplish just that.People often have a need to preserve the memory of a trip into something tangible. Anyone visiting Jönköping encounters a Souvenir choice, much like the one in many other cities. Linked to the idea of positive place marketing, our work aims to investigate how we as product developers can create a product that en¬hances the image of Jönköping based on the thought that all residents are con¬sig¬nors. Accordingly, we develop three different products from the residents' own image of the city.Our research questions are:Based on the photographs, what image of Jönköping do the ambassadors mediate of their own city?As designers, what in Jönköping's history versus the image of Jönköping today, can we seize in order to give products for visitors a sense of authenticity?As designers, how can we use knowledge of place branding in the development of Souvenirs?We performed interviews within three different aspects: history, Souvenirs and place branding, all focused on the city of Jönköping.

Today the common people begin to understand the impact of a package. Many choose brand or product with great emphasis on how the outside looks, both in a good and a bad way.The company Gotlands Grafiska gave me the task to create a small basic selection of packages. The target group that the project was based on was craftsmen in the Gotland region. Based on analysis of the market and consumers to develop a range of packages covering a wide range of products sold on the island.During the project a clear theme was the desire to highlight a product and create some sort of exclusivity. It was important to understand how consumers and businesses think about packaging and its function.The result was five different packages, which together cover much of the need for the Gotland crafts and Souvenir market.

Bakgrund:Älgen, ett av våra högvilt i de svenska skogarna, är inte längre bara ett jaktbyte och trafikfara. Älgen har idag kommit att i allt högre grad kommersialiseras och användas som en turistisk resurs på olika sätt, vilket vi ser som intressant att belysa.Syfte:Syftet med denna uppsats är att beskriva hur älgen används som en resurs för turism.Metod:Med en kvalitativ metod och en induktiv ansats genomfördes, med hjälp av ett selektivt urval, sex intervjuer med egenföretagare som driver älgparker, turistbyrårepresentanter och en representant för Jägareförbundet.Slutsats:I uppsatsen presenterar vi hur älgen används som turismresurs i form av fyra dimensioner, som involverar både den rent fysiska älgen och den återgivna. Vi presenterar älgen som symbol, i älgpark, som Souvenir och som föremål för jaktturism. Den huvudsakliga bakomliggande orsaken till intresset för älgen är dess storlek, karisma och att den för vissa nationaliteter utgör ett exotiskt djur. Älgturismen är en relativt ny form av turism som vi hävdar har en viss utvecklingspotential..

I meet in my work as art teacher many students of different descent, were they, or their parents, have different school experience than the Swedish. This, in combination with therecent discussion after the Muhammad caricatures about the banning of images in Islamic religion, made me curious to study what art education in a Muslim country looked like. I went to visit the Maramra Egitim Köyü school in Istanbul, Turkey, and especially their art classesfrom grade five to eight, which are the same age of students that I have been working with thelast ten years. This was my first visit to Turkey.The question I ask is: What does the practice of Turkish art education look like, using the Marmara school as an example. Which discourses can I identify in the art teacher practice? What surprised me the most was the frequent visual exposure of the founder of the Turkishstate, Kemal Atatürk.

I meet in my work as art teacher many students of different descent, were they, or their parents, have different school experience than the Swedish. This, in combination with therecent discussion after the Muhammad caricatures about the banning of images in Islamic religion, made me curious to study what art education in a Muslim country looked like. I went to visit the Maramra Egitim Köyü school in Istanbul, Turkey, and especially their art classesfrom grade five to eight, which are the same age of students that I have been working with thelast ten years. This was my first visit to Turkey.The question I ask is: What does the practice of Turkish art education look like, using the Marmara school as an example. Which discourses can I identify in the art teacher practice? What surprised me the most was the frequent visual exposure of the founder of the Turkishstate, Kemal Atatürk.