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How do artists scare us? Horror filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audiences. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the genre. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre.

Raggare is a unique and rather understudied subculture within Scandinavia that emerged in the 1950s and has been vibrant since. They are noted for their affection towards 1950s American aesthetics and, most importantly, American vintage cars. In Sweden, these cars are known as raggarbilar, and I contend these vehicles are central to how social interactions occur between raggare. The purpose of this thesis is to examine how cars create social bonds by looking at raggarbilar through the lens of raggare and in this way investigating how and why the cars fascinate people. I use sensory methodology to examine how cars are approached and embraced by raggare, arguing that sensuous experiences are fundamental to the perception of the materiality of cars. Theoretically, I use materiality and material culture as guidelines for how objects enforce cultural and social significance. More specifically, Alfred Gell’s notion of the technology of enchantment is utilized to understand the effects and social agency of artefacts and I develop this notion further with what I call the sensory enchantment of materiality. During ten weeks of ethnographic fieldwork that took place in different garages in Västernorrland county, along with semi-structured interviews and the usage of visual instruments, I explored the interconnectedness between cars, people, and environment to investigate how cars are objects capable of enchantment and persuasion to raggare. Overall, raggarbilar are multi-sensory objects that are perceived as different from other cars and create certain phenomenological experiences that are shared between raggare, and thus, bring the subculture together.

This essay aims to explore and analyze Ukraine’s democratic development over time. This will be done within two time periods from 2007 to 2014 and 2014 to 2019 to enable drawing reasonable conclusions regarding what challenges prevent further democratic development and what similarities and differences can be seen between the periods. Democracy is often described as a complex concept that can vary between being defined minimalistic and maximalistic. This essay will study the maximalistic perception through the theory of Linz and Stepans four arenas of democratic consolidation, political society, civil society, the rule of law and state bureaucracy and be doing so as a qualitative theory consuming diachronical comparative study. The arenas will in turn be broken down into statements to make them easier to measure. This essay concludes that both periods have had democratic problems regarding all arenas. The widespread corruption remains as a main problem through both periods as do the low institutional trust, although in the second period the Crimea-conflict becomes the bigger political priority which affects the ongoing democratic process. Despite this civil society has remained strong and forced forward change when needed. To conclude there has been improvements but Ukraine still faces large democratic challenges.

This essay aims to investigate and analyse the extent to which there are conditions in Guatemala and Honduras to introduce liberal democracy, how the countries conditions differ and to draw conclusions about which country  that has the most conditions and thus is the most likely to introduce liberal democracy. The theoretical framework that this essay is based on is Juan J. Linz and Alfred Stepan's four arenas; civil society, political society, the rule of law and the state bureaucracy. In order to reach the purpose, a comparative case study was done. The  conclusions  of  this  essay shows that both countries have, to some extent, conditions to introduce liberal democracy, however they also lack conditions within other areas.

Interview mit Alfred Pompe

1998 wurde Psycho neu verfilmt; und das Besondere an diesem Remake war nicht, dass (wie bei Remakes eigentlich üblich) ein anderer Regisseur den Stoff neu interpretiert. Vielmehr sollte sich dieses Remake als nahezu exakte Replik des Originals herausstellen und rief damit kontroverse Diskussionen unter Filmkritikern hervor. Die Idee, ein so werkgetreues Remake zu produzieren, ist einzigartig in der Filmgeschichte. In dieser Studie soll der Fragestellung nachgegangen werden, ob und in welchem Maße das Remake als exakte Replik auch den gleichen thrill wie das Original bieten kann.

Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.

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This study aims to demonstrate the reasons why there is a prevailing difference in democratization between the south American countries Chile and Peru. By applying democratization researchers, Juan Linz, and Alfred Stepans framework: The Five Arenas of a Consolidated Democracy, and a causal mechanism. I discover an institutional and civil pattern which when functional, contributes to democratization. In the case of Chile, the results show that a strong rule of law and states apparatus, institutionally makes democracy the only game in town in Chile. However, in the case of Peru, the weak state apparatus and rule of law allows undemocratic forms of action which in part, can explain the difference in democratization. The results that emanate from the civil society, show that both countries suffer from weak connection to the political arena which in turn affects the economical arena. This also gives implications to the remaining democratizing challenges for Chile and Peru. The results however are affected by the strengths and shortcomings of Linz & Stepans framework which is also discussed in this study.