O objetivo desta tese é basicamente problematizar quatro questões: quais são os sentidos e os significados que estão em jogo para o termo periferia; qual é a influência da atuação dos coletivos artísticos da periferia na formulação de um novo significado para o termo periferia; por que houve uma explosão de atividades culturais na periferia nos últimos vinte anos e; qual o caráter e o alcance da ação política desses coletivos artísticos. Para tanto, o texto parte do contexto social da década de 1990, quando as periferias de São Paulo sofriam os desdobramentos do neoliberalismo e um alto índice de homicídios. Logo, o texto aponta algumas mudanças ocorridas nas últimas duas décadas nessas periferias. Algumas delas são o aumento do número de coletivos artísticos nesses bairros, tema principal desta tese; o crescimento evangélico e a presença do PCC. Também se discorre sobre o aumento da atuação de ONGs e do poder público nas periferias. Por fim, o texto conceitua a obra do grupo de rap Racionais MC´s como sendo a narrativa legitimada por essa população para contar sua história e discorre sobre uma nova subjetividade surgida na periferia e centrada no orgulho dessa condição. O indivíduo que passa a agir politicamente a partir desse orgulho é denominado neste trabalho como sujeito periférico. O texto discorre também sobre como três campos discursivos obtiveram a preponderância para definir o que seja periferia em distintos tempos históricos. Estes campos discursivos são: o discurso acadêmico, os coletivos artísticos da periferia e a indústria do entretenimento. Logo, realiza uma aprofundada análise histórica, social e política da obra dos Racionais MC´s tentando entender por que o discurso enunciado por esse grupo causou tanto impacto nas periferias e criou uma nova forma de entendimento sobre o que seja periferia para o todo da sociedade, além de influenciar a própria auto-imagem que os moradores da periferia passaram a possuir de si mesmos. Entrelaçado a esse fenômeno, o texto discute como nos últimos vinte anos houve um alargamento do significado do termo periferia, que já não passa a ser definido somente pelo binômio pobreza e violência, mas também pelos elementos cultura e potência. No entanto, esta potencialidade da população periférica pode ser utilizada para sua afirmação política ou para fins mercadológicos, expressos em uma certa celebração dos pobres visualizada na atualidade que por um lado esvazia o caráter crítico do termo periferia e por outro celebra a denominada Classe C. Por fim, esta tese apresenta os resultados de pesquisas etnográficas realizadas em coletivos artísticos da periferia de São Paulo discutindo como estes coletivos influenciaram na ressemantização do termo periferia. Também se problematiza neste trabalho o labor estético e fundamentalmente político desses coletivos, em um contexto de crise das formas clássicas de mobilização política. / The aim of this thesis is basically to discuss four issues: what are the senses and the meanings that are at stake for the term periphery; what is the influence of the periphery artistic collective action in formulating a new meaning to the term periphery; why has there been an explosion of cultural activities in the periphery in the last twenty years; which is the character and scope of the political action of such artistic collectives. Therefore, the text starts off from the social context of the 1990s, when the periphery of São Paulo suffered the consequences of neoliberalism and a high murder rate. Soon, the text indicates some changes which have happened within the last two decades in these peripheries. Some of those are the increasing number of cultural collectives in these neighborhoods, the main theme of this thesis; the evangelical growth and the presence of the PCC. It also discusses the increased presence of NGOs and public authorities in the periphery. Finally, the text defines the work of the rap group Racionais MC\'s as the narrative legitimized by this population to tell their story and discusses a new subjectivity emerged in the periphery and centered on the pride of such condition. The individual who starts to act politically from that pride is termed here as a peripheral subject (sujeito periférico). The text also discusses how three discursive fields obtained the preponderance to define what periphery is in different historical times. These discursive fields: the academic discourse, the artistic collectives of the periphery and the entertainment industry. Therefore, it conducts a thorough historical, social and political analysis of the work of the Racionais MC\'s trying to understand why the discourse produced by this group has caused such an impact on the peripheries and has created a new way of understanding what periphery is to the whole of society, while influencing the very self-image that periphery dwellers have of themselves. Intertwined with this phenomenon, the paper discusses how, in the past twenty years, there has been a modification to the term periphery, which no longer comes to be defined only by the binomial poverty and violence, but also by the elements culture and potential. However, this potential of the peripheral population may either be used for their political statement or for marketing purposes, expressed in a certain celebration of the poor which is currently observed and which on the one side empties the critical nature of the term periphery and on the other side celebrates the so-called \"Class C\". Finally, this thesis presents the results of an ethnographic research conducted with artistic collectives in the periphery of São Paulo by discussing how these collectives influenced in the resemantization of the term periphery. In addition, this paper discusses the fundamentally political and aesthetic work of these collectives in the context of a crisis of the classical forms of political mobilization.

Este trabalho analisa a inserção de um grupo de músicos e compositores que surge no final da década de 2000 em São Paulo, denominado Nova MPB, num arranjo de forças que constitui o campo da música popular brasileira. Trata-se de caracterizar a estrutura de sentimento, definindo princípios implícitos e explícitos que permeiam a formação da Nova MPB, cristalizada na sua produção musical. Partindo do pressuposto de que a produção musical é uma produção social, o enredamento que sofrem esses artistas, tanto ao se inserirem num arranjo de forças em curso, quanto nas relações que mantém internas ao grupo, tem efeitos nos seus posicionamentos e composições. O objetivo deste trabalho é problematizar os processos sociais que envolvem a produção musical deste grupo enfocado. Dadas as novas formas de produção, distribuição e divulgação arranjadas pelos artistas, valendo-se de avanços tecnológicos, a Nova MPB colocase como protagonista de uma nova produção musical independente, de maneira autônoma e empreendedora. Os artistas formam uma rede colaborativa abrindo caminhos alternativos aos instituídos pela indústria fonográfica. Ademais, o pertencimento à fração artística da classe média intelectualizada e a proximidade da sonoridade de suas composições, ainda que com algumas exceções, reforçam os valores e princípios que conformam o grupo. Os artistas da Nova MPB se relacionam com a tradição da música brasileira de forma peculiar, se aproximando de figuras consagradas e enaltecendo nomes e momentos da história da música popular brasileira que foram obscurecidos pela atuação da indústria fonográfica. Os novos artistas intentam reescrever a história da música brasileira à sua maneira, incorporando gêneros e nomes antes desconsiderados. Por meio de homenagens, parcerias e releituras, eles se aproximam de figuras icônicas, consagradas ou em vias de consagração. A exaltação de momentos do passado dessa história pode ser interpretada como um dos princípios implícitos que compõe a estrutura de sentimento da Nova MPB. / This study aims at analyzing the insertion of a group of Brazilian musicians and composers, collectively known as Nova MPB, in the popular music field, understood here as a power structure. Our purpose is to understand the processes of collective construction of the symbolic positions within this field. The structure of feeling of the Nova MPB group is characterized by both the explicitly and the implicitly principles that guide its formation, which is crystalized in the musical production. Taking for granted that any musical production is a social production, we consider the artists suffer an entanglement as they are inserted in an undergoing power arrangement and as they build relations inside of the group. This entanglement affects their positioning and their compositions. The purpose of this study is to problematize the social processes involved in the musical production of the Nova MPB. Given the new forms of production, distribution, and diffusion proposed by the artists with the help of the new technologies, the Nova MPB, in an autonomous and entrepreneurial way, places itself as the protagonist of a new and independent musical production. A collaborative web is formed as the artists try to find alternatives to the imperatives of the phonographic industry. Although there are a few exceptions, the fact that the artists in general come from an intellectualized middle class and have a similar music style helps the creation of this notion of group. The Nova MPB artists have a peculiar relationship with the Brazilian music: they approach famous and recognized artists, as well as they praise obscure artists and musical movements that the phonographic industry has despised. The new artists intend to rewrite their history by means of the incorporation of long forgotten genres and artists. They approach the already renowned artists and the ascending ones as they organize tributes, produce new versions of their songs, and propose partnerships. The celebration of past moments of the Brazilian popular music history can be interpreted as an implicit principle that compose the structure of feeling of the Nova MPB.

<p> </p><p>Denna studie intar ett perspektiv mellan de två motsatsparterna <em>social konstruktion</em> och en <em>individualistisk</em> syn på individers konstruktion av sig och sin värld. Begreppet existentiellkonstruktivism hänvisar till att omgivningen alltid gör intryck på individen men att den yttre världen först måste filtreras genom individen för att ha en inverkan på bilden individen skapar sig av sig själv och världen. Vår neomoderna tidsålder har en säregen inverkan på denna relation mellan omvärlden och individen och ökar tendensen för individer att infinna sig i tilldelade identiteter. Institutioner spela här en stor roll. Utifrån denna tes ska denna studie se på vilka värderingar som Malmö Stads integrationsarbete går in i arbetet med sina objekt, det vill säga invandrare. Genom en analys av stadens dokument analyseras arbetets ideologiska och teoretiska premisser vilka borde ha en avgörande betydelse för hur institutionerna hanterar invandrare, och därför hur invandrares liv och självbild präglas av dessa premisser. De resultat som analysen av Malmö Stad når fram till sätts i förhållandet till studiens existentiellkonstruktivistiska utgångspunkter. Studien hoppas kunna ställa Malmö Stads syn på individen gentemot en existentiellkonstruktivistisk individsyn och resonera hur detta förhållande kan sättas i samband med samtida problem inom den etniska dimensionen.</p><p> </p>

Vapstenskonflikten

<p>Denna rapport är en jämförande studie av utvalda konsolidanter som används till att stabilisera nedbrutet insektsangripet trä. Av de trägnagande skadeinsekter vi har i Sverige är det främst<em> </em>den<em> </em>strimmiga trägnagaren som är intressant i möbelsammanhang. I rapporten beskrivs den strimmiga trägnagaren, en liten skadeinsekt<strong> </strong>som kan åstadkomma stor skada om den får verka ostörd. Insekten finns utspridd i hela Europa och är ett stort problem då den angriper alla typer av träslag. Nedbrutet insektsangripet trä<strong> </strong>förlorar sin styrka och kan behöva konsolideras genom att injicera konsolidanter in i träet. Studien är tänkt att jämföra styrkan på de vanligast förkommande och använda konsolidanterna. Urval av dessa har dels gjorts genom att intervjua konservatorer i Sverige, Norge och Danmark, dels utifrån tillgänglig litteratur och forskning. I studien injiceras de utvalda konsolidanterna in i provbitar av artificiellt konstruerat insektsangripet trä som sedan utsätts för hållfasthetsprover. Provbitarna är utformade i kuber av björk, 45x45x45 mm och är borrade med 2 mm stora hål för att efterlikna angripet trä. Två olika typer av hållfasthetsprov har använts för att mäta styrkan hos de olika konsolidanterna, tryckhållfasthet tvärsfiber och skjuvhållfasthet. Resultaten av hållfasthetsproverna visar inga tydliga tecken på att de injicerade konsolidanterna gett någon direkt styrka till provbitarna. I tryckhållfasthets tvärsfiber finns en dock en tendens tillförhöjda värden. För att kunna dra någon slutsats bör ytterligare studier genomföras.</p> / <p>This report is a comparative study of a chosen set of consolidating agents used to stabilize wood suffering from the infestation of wood boring insects. When considering furniture, the most common wood boring insect in Sweden is the Furniture Beetle. This report discusses the Furniture Beetle, a small insect which if left alone, achieves a great amount of damage. This particular beetle can be found in all of Europe and is a sizable problem, since it can attack all species of wood. Infested wood is destabilized by the beetles boring a web of internal tunnels throughout, which results in a loss of strength. This wood is then commonly injected with a consolidation agent to compensate for its internal weakness. The study is made to compare the strength of the most commonly used consolidating agents. These lection of agents was determined by interviewing conservators in Sweden, Norway and Denmark, as well as from accessible literature and research. In the study the selected consolidating agents are injected into trial pieces of artificially compromised wood which are in turn exposed to strength testing in a laboratory setting. The trial pieces are squares of birch wood measuring 45x45x45mm which have several 2mm holes drilled into them lengthwise, to simulate the beetle's pathways. Two types of strength testing were carried out to test the consolidation agents and their effect. One testmeasures the strength by compression across the grain, while the other puts pressure on either side, forcing the piece to fail along the grain. The results of the testing do not distinctively show that the consolidating agents impose any significant strength to the trial pieces. There is however a tendency of increased strength shown in the cross grain compression tests. To draw any firm conclusions, additional research is required.</p>

<p>Jag vill undersöka och ge några exempel på hur människor genom sin egen personliga symbolvärld kan komma i kontakt med den omedvetna kunskapen om sig själva och världen. Jag vill även belysa några sätt på vilket människan kan göra detta och hur hon i så fall kan praktiskt gå till väga.</p><ul><li>Hur kan den personliga symbolvärlden bidra till att människor förstår sig själva, sin miljö och omgivning bättre?</li><li>Hur kan man komma i kontakt med denna värld?</li></ul><p>Jag kommer att titta närmare på några aspekter av dessa frågor, några olika perspektiv på hur symbolvärlden kan vara till nytta för människor. Jag kommer sedan att ha delfrågor som ytterligare tar upp några exempel på detta tema, alla leder de fram till de övergripande svaren.</p><ul><li>Vad är symboler?</li><li>Hur kan symboler vara ett verktyg för utveckling?</li><li>Vad är drömmar?</li><li>Hur kan vi använda oss av drömmar?</li><li>Vilka andra metoder finns det för att utforska symbolvärlden?</li></ul>

<p>Syftet med denna C-uppsats är att belysa, beskriva och förstådramapedagogisk grundsyn,</p><p>synligöra ett yrkeskunnande samt bidratill ett annat sätt att samtala och reflektera om/kring</p><p>dramapedagogisk grundsyn. Metodenär fokussamtal med informanter bestående av</p><p>yrkesverksamma dramapedagoger. Undersökningsfrågan är:</p><p><em>Hur kan berättelser om dramapedagogiska misstag synliggöra dramapedagogisk grundsyn?</em></p><p>Undersökningen är kvalitativ och ansatsen är hermeneutisk/ fenomenologisk. Analysen är</p><p>fenomenologisk där meningskärnor söks för att sedan pröva detta mot hermeneutisk tolkning.</p><p>Bakgrundsmaterialet berör dramapedagogik samt pedagogisk grundsyn, tyst kunskap och</p><p>förförståelse.</p><p>Resultatet i denna undersökning kopplas till Christer Stensmos fem aspekterkring filosofiska</p><p>frågor. I den fenomenologiska analysen hittas tre av de fem aspekterna: Människosyn,</p><p>samhällssyn och kunskapssyn. Efter att en hermeneutisk tolkning gjorts hittades ytterligare två:</p><p>Etik och syn på den pedagogiska situationen. Undersökningen når fram till följande resultat:</p><p>Dramapedagogisk grundsyn handlar om personlig utveckling, relationer, sociala värden och</p><p>demokratiprocesser.</p>

<p>Denna studie har för avsikt att fokusera på den äldre litteraturen som en resurs för en turistisk verksamhet i Värmland. Studiens syfte och frågeställningar ämnar undersöka om den äldre litteraturen som kulturarv används som en resurs för en turistisk verksamhet, hur den i</p><p>så fall är uppbyggd och om/hur man arbetar för att upprätthålla verksamheten. Studien kommer också att undersöka vilken betydelse litteraturen har för Värmlands symbolvärde och identitet, då litteraturen representeras av Gustaf Fröding och Selma Lagerlöf i denna studie. Jag undrar fortsättningsvis om litteraturen som symbol och identitet av Värmland används i ett marknadsföringssyfte. Avslutningsvis kommer uppsatsen fokusera på den värmländska</p><p>litteraturturismens eventuella problem och möjligheter för att undersöka dess varaktighet i framtiden. Genom kvalitativa intervjuer med representanter från Alsters Herrgård, Mårbacka, Länsstyrelsen Värmland, Region Värmland, Värmlands Turistråd och Länsbiblioteket</p><p>Värmland kommer studien att ge ett inifrånperspektiv av kultur- och litteraturturismen i Värmland.</p>

<p>The purpose of my one year master’s thesis is to add a documentation of a data processing-process of photo- graphs to the administration of archives. The thesis is written from an archival science perspective which is to be seen in my choice of literature, method and questions at issue. To be able to form a documentation of a data processing-process I studied DiBiS, a company specialized in digitalizing old photographs and publish them on a online database. I also added a chapter where I studied how archival institutions used to handle their old photo- graphs in a traditional manner so the reader of this thesis will be able to understand and see the differences be- tween traditional and modern photograph management. Following the chapters describing traditional and modern management I formulated some questions at issue about the data-processing-process. Those questions I studied and analyzed in chapters about advantages and the complex of problems surrounding the subject. I came to the conclusion that there are a lot of advantages surrounding the data processing-process, especially from an ar- rangement- preservation and access point of view. I also came to the conclusion that the problems with data processing is the exaggerated focus on the photographic subject, the mistake of thinking that a digital copy of the subject can replace the original photograph and that retouch might distort the original outcome and therefore not live up to  archival science standards. To my assistance I had Katarina Nordin, archivist at Arkiv Gävleborg and, among others, Ingrid Fallström, ar- chivist at DiBiS. Specialist technical literature used during my work with this thesis have been Anna Dahlgrens and Pelle Snickars (red.) I bildarkivet om fotografi och digitaliserings effekter, Hege Oulies Digitalisering av fotosamlinger, Project Minervas Good practices handbook, Wolfgang Ernsts Sorlet från arkiven – ordning ur oordning and Anna Christina Ulfsparres (red.) Arkivvetenskap.</p>

The purpose of my one year master’s thesis is to add a documentation of a data processing-process of photo- graphs to the administration of archives. The thesis is written from an archival science perspective which is to be seen in my choice of literature, method and questions at issue. To be able to form a documentation of a data processing-process I studied DiBiS, a company specialized in digitalizing old photographs and publish them on a online database. I also added a chapter where I studied how archival institutions used to handle their old photo- graphs in a traditional manner so the reader of this thesis will be able to understand and see the differences be- tween traditional and modern photograph management. Following the chapters describing traditional and modern management I formulated some questions at issue about the data-processing-process. Those questions I studied and analyzed in chapters about advantages and the complex of problems surrounding the subject. I came to the conclusion that there are a lot of advantages surrounding the data processing-process, especially from an ar- rangement- preservation and access point of view. I also came to the conclusion that the problems with data processing is the exaggerated focus on the photographic subject, the mistake of thinking that a digital copy of the subject can replace the original photograph and that retouch might distort the original outcome and therefore not live up to  archival science standards. To my assistance I had Katarina Nordin, archivist at Arkiv Gävleborg and, among others, Ingrid Fallström, ar- chivist at DiBiS. Specialist technical literature used during my work with this thesis have been Anna Dahlgrens and Pelle Snickars (red.) I bildarkivet om fotografi och digitaliserings effekter, Hege Oulies Digitalisering av fotosamlinger, Project Minervas Good practices handbook, Wolfgang Ernsts Sorlet från arkiven – ordning ur oordning and Anna Christina Ulfsparres (red.) Arkivvetenskap.