This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness. / English Studies / M.A. (English)

Uppsatsens syfte är att analysera och diskutera vad som legat till grund för organisering av arméns insatsförband insatsorganisations år 2009 (IO 09). Hur ser organisationsstrukturen ut och vilka faktorer har påverkat organiseringen av IO 09? Uppgiftens komplexitet innebar att jag närmade mig problemformuleringen från olika perspektiv. Studien omfattar därmed en mångsidig kvalitativ analys av data från både styrdokument och intervjuer. Studien visar att det framförallt är de klassiska ”byråkratiska teoretiska” perspektiven som dominerar organisationsdesignen inom arméns insatsorganisation 2009. Vidare förefaller det finnas en arketyp för hur ett förband i armén skall vara organiserat. Denna arketyp omfattas sannolikt av en organisationsstruktur om fyra ledningsnivåer och ett kontrollspann om fyra eller fem enheter i alla nivåer. Signifikant för maskinbyråkratimodellen, vilken identifierats i nio av tio organisationsstrukturer i IO 09, är att denna organisationsdesign underlättar tydliga och klara ledningsförhållanden. Däremot har maskinbyråkratimodellen en del nackdelar såsom att modellen anses vara rigid och svår att förändra. Studien konstaterar därmed en intressant paradox d.v.s. kravet på att organisationerna i IO 09 skall vara modulära och flexibla samtidigt som organisationsstrukturerna i IO 09 antyder något annat. Ett annat resultat som studien visar är att det framförallt synes varit mänskliga faktorer tillsammans med omgivningskaraktäristiska faktorer som dominerat ”processerna” i organiseringen av IO 09, därmed också i allra högsta grad resultatet av hur arméns insatsorganisation 2009 är organiserad. / The purpose of this essay is to analyse and discuss what has been the basis of the organization of the mission-based armed forces in the year of the mission-based organization 2009 (IO 09). What does the organizational structure look like and what factors have affected the organization of IO 09? The complexity of the task demanded an approach to problem formulation from various perspectives. Thus, the study includes a diversified qualitative analysis of data collected from governing documents as well as interviews. The study shows that, above all, it is the classic “bureaucratic theoretical” perspectives that dominate the organizational design within the mission-based organization 2009. Furthermore, there seems to exist an archetype with respect to how an army force battalion unit should be organized. This archetype does most likely represent an organizational structure comprised of four levels of leadership and a span of control of four or five units operating at all levels. Significant to the machine bureaucracy model, which has been identified in nine out of ten organizational structures in IO 09, is that this organizational design facilitates distinct and clear leadership conditions. However, the machine bureaucracy model demonstrates some disadvantages such as the fact that it is considered to be rigid and difficult to change. Hence, the study reveals an interesting paradox, that is, the requirements stipulated for the organizations in IO 09 are supposed to be modular and flexible while the organizational structures in IO 09 suggest something else. An additional result showed by the study is that, primarily, it appears that human factors combined with environmental characteristic factors have dominated the “processes” with regard to the organization of IO 09. Consequently, these factors have also seem to generated the outcome with regard to how the army’s mission-based organization 2009 has been organized.

Archetypes are used to standardize a way of creating, presenting and distributing health care data. In this master thesis project the open specifications of openEHR was followed. The objective of this master thesis project has been to develop a Java based API for creating and editing openEHR archetypes. The API is a programming toolbox that can be used when developing archetype editors. Another purpose has been to implement validation functionality for archetypes. An important aspect is that the functionality of the API is well documented, this is important to ease the understanding of the system for future developers. The result was a Java based API that is a platform for future archetype editors. The API-kernel has optional immutability so developed archetypes can be locked for modification by making them immutable. The API is compatible with the openEHR specifications 1.0.1, it can load and save archetypes in ADL (Archetype Definition Language) format. There is also a validation feature that verifies that the archetype follows the right structure with respect to predefined reference models. This master thesis report also presents a basic GUI proposal.

Le slasher est un sous-genre du film d'horreur reposant sur une figure de tueur masqué punissant en apparence la sexualité adolescente. Très populaire auprès du public adolescent de 1978 à 1984, il serait, selon de nombreux critiques, une expression de sadisme « gratuit ». Cependant, toute production culturelle possède une légitimité qui peut lui être conférée en trouvant une clé de lecture adéquate. Cette clé est selon-nous un archétype culturel que nous nommons foolkiller, et qui figure une victime marginale sanctionnant les actes irresponsables mettant en danger les membres les plus faibles de la communauté. Cet archétype convoque l'imaginaire médiéval du charivari, un rite de justice folklorique punissant les manquements à la morale. Pour parvenir à cette référence, il est nécessaire de montrer que le slasher a masqué un genre plus large qui gravite autour d'une victime humiliée se vengeant de ses persécuteurs et qui inclue des films comme Willard (1971), Carrie (1976), ou encore Fade to Black (1980). Or, on peut trouver une formulation prototypique de cette histoire dans Hop-Frog (1849), une nouvelle d'Edgar Poe racontant la vengeance d'un bouffon difforme persécuté par un roi sadique. Nous envisageons cette nouvelle comme un artefact prototypique de l'archétype culturel du foolkiller dont le genre masqué par le slasher est une expression contemporaine. L'étude de cette nouvelle et de ses références culturelles permet de comprendre le fonctionnement de l'archétype et son apparition en réponse à une crise sacrificielle au sens où l'entend René Girard. Une crise du même genre est repérable dans la culture américaine des années 1970, ce qui explique la résurgence de l'archétype à cette période. / The slasher movie is a horror film sub-genre featuring a masked killer supposedly punishing teenage sexuality. Extremely popular among teens from 1978 to 1984, it is generally discarded by serious critics as a spectacle of gratuitous violence. However, the genre can be granted some legitimacy once it is seen as a contemporary form of a cultural archetype which we call "foolkiller". This archetype revolves around a freak avenging its own humiliation at the hands of bullies and punishing irresponsible acts endangering the weakest people in a community. Culturally speaking, this archetype has roots in the medieval practice of "rough music", a masked demonstration organized to humiliate some wrongdoer and to punish moral transgressions in the community. In order to access this cultural reference, it is necessary to show that the attention given the slasher film has concealed the existence of another genre, comprising slasher films but also movies such as Willard (1971), Carrie (1976), and Fade to Black (1980), whose protagonist is a victim avenging its persecution. This plot can also be found in "Hop-Frog", a short-story written by Edgar Allan Poe in 1849. It tells the story of a jester dwarf bullied by a cruel king. We argue that this tale is a prototypical artifact of the foolkiller archetype, which also informs the genre concealed by the slasher film. The cultural frame of this short story enables us to understand how the archetype functions and its relationship to what René Girard calls a "sacrificial crisis". Such a crisis is at work within 1970's American culture, which explains why the archetype reappears during this time.The slasher movie is a horror film sub-genre featuring a masked killer supposedly punishing teenage sexuality. Extremely popular among teens from 1978 to 1984, it is generally discarded by serious critics as a spectacle of gratuitous violence. However, the genre can be granted some legitimacy once it is seen as a contemporary form of a cultural archetype which we call "foolkiller". This archetype revolves around a freak avenging its own humiliation at the hands of bullies and punishing irresponsible acts endangering the weakest people in a community. Culturally speaking, this archetype has roots in the medieval practice of “rough music”, a masked demonstration organized to humiliate some wrongdoer and to punish moral transgressions in the community. In order to access this cultural reference, it is necessary to show that the attention given the slasher film has concealed the existence of another genre, comprising slasher films but also movies such as Willard (1971), Carrie (1976), and Fade to Black (1980), whose protagonist is a victim avenging its persecution. This plot can also be found in "Hop-Frog", a short-story written by Edgar Allan Poe in 1849. It tells the story of a jester dwarf bullied by a cruel king. We argue that this tale is a prototypical artifact of the foolkiller archetype, which also informs the genre concealed by the slasher film. The cultural frame of this short story enables us to understand how the archetype functions and its relationship to what René Girard calls a "sacrificial crisis". Such a crisis is at work within 1970's American culture, which explains why the archetype reappears during this time.

The aim of this thesis is to cover the structure and functioning of archetypes, stereotypes or emblems in selected genres of popular literature - the romance novels and comics. A similar structure of mythization in the popular genres is revealed through mutual comparison. Selected works are analyzed on the basis of Jungian psychology and its concepts of the unconscious and the archetypal image. The original myths, fairy tales, other popular genres and some works of the European fictional tradition are involved in the comparison. Among others, this thesis also draws from approaches included in various works of sociology, ethnography, Religious Studies and feminist literary criticism. The comparative analysis has shown that provable connection between popular literature and the original myth structures can be traced and the collective unconscious serves as a transmission medium. The genres of popular literature are worthy of further research because they reflect not only contemporary social situation but also essential structures of the human psyche. This thesis clearly demonstrates that the romance novels and comics are valid parts of the literary sphere and suggests one of the possible ways suitable for further study of the subject.

This thesis is a two-part exploratory inquiry into how actions of Corporate Responsibility (CR) create economic value for the company performing them, in addition to social/environmental value. The purpose of the thesis is to describe the CR initiatives of a theoretical “paragon corporation”: a corporation that excels in its CR initiatives and sees financial gain in it. The report starts by going over literature, describing the CR context that companies operate in today, and similar work. A model for describing CR activities as business activities is drawn from Nancy Bocken’s concept Business Model Archetypes, and it is proposed as a possible tool for describing economic value creation from CR activities. The first part of the study is a word frequency analysis of the annual financial reports of the companies listed on the FTSE 100, where words connected to CR are counted. The sustainability reports of the five companies that have mentioned CR terminology most in the first study are analyzed in detail during the second study, and are characterized using Bocken’s archetypes. Findings show that the paragon corporation should have CR initiatives that can be modeled after the archetypes, enabling the CR initiatives to create direct economic value for the company. The archetypes can be used when formulating a CR strategy from the ground up, or evaluating existing CR strategy. The thesis ends with suggestions for how this can be explored further.

The thesis deals with gender analysis in films studying metamorphoses of archetypes in film Bitter Moon directed by Roman Polanski. The methodical and theoretical sections of the thesis analyse the influence of archetype changes of film characters in gender roles. The thesis identifies and analyses mainly woman film characters appearing in some classical feminist texts, feminist film theoretical and critical articles, in some psychoanalytical works, in dramatheraphy and film science. The sources mentioned above became primary resource materials for our archetypal research. The analysis of each of the film character is focused on the most distinctive archetype with respect to its metamorphosy. Apart from the archetype research the thesis is marginaly concerned with problems linked to the female ideal and her sexuality usually portrayed in an unalterable way, and archetypal patterns are in such a way transmitted to audiences through femininity and masculinity in the context of gender roles. Keywords: archetype, Roman Polanski, Laura Mulvey, Annis Pratt, cinematic archetypal coherence, feminist film criticism, film narrative analysis, archetypal masculinity, archetypal femininity.

The topic of this diploma thesis is the development of the character of vampire and its portrayal in literature for children and youth. The thesis focuses on the analysis of five literary works for children and youth written in German language, which portrays the character of a vampire as a main protagonist and its many changes and development. The analysed works are Der kleine Vampir by Angela Sommer-Bodenburg, Das Vamperl by Renate Welsch, Der Spinat Vampir by Gudrun Pausenwang, Pozor, přilétá Molly! by Dagmar H. Mueller a Drákula a já by Andreas Schlütera. The main aim of this thesis is to answer the question of the type of transformation has the character of vampire undergone in the literature for children and youth. Its main goal is not to fully cover all available works in the genre, but to choose the most representative ones which show the different features. The analysis of the change is based on the characteristic of the characters and its goal is to show us the development of the character in contrast to the traditional vampire character. The archetype was established upon three works of literature: The Vampyre by John Polidori, Carmilla by L.S Le Fanu and Dracula by Bram Stoker. The introduction part focuses on the anthropological context of the topic and the origin of vampires in...

The core of House M.D. is its assertion that current Western civilization lives in a perpetual state of dissonance: we desire to have the rawness of emotion but we can only handle this rawness when we combine it with intellect, even if that intellect lies to us. This is the ontological paradox that the televisual text grapples with. Through the use of archetypal analysis and allegorical interpretation, this thesis reveals that dissonance and its relationship to contemporary Western society. Through House M.D. we realize that there are structures to the paradoxes that we live and there are paradoxes in our structures. Dr. House is a trickster in an allegory of American capitalist culture. The trickster metaphorically pulls away from society the rules protecting cultural values. Dr. House and House M.D. participate in revealing the cultural disruption of the current moment of Western society. While playing on the genres of detective fiction and hospital dramas, House M.D. is an existential allegory exposing the paradox that we can never be free while still seeking our own self-interest.

В магистерской диссертации исследуется текстовая реализация юнгианских архетипов в песнях популярной корейской группы «BTS». Соответствующие маркеры выделяются в переводных (англо- и русскоязычных) версиях альбома «7» и соотносятся с оригинальными текстами на корейском языке. / This master’s thesis studies the textual implementation of Jungian archetypes in the songs of «BTS», a popular Korean group. The markers of the archetypes are found in the translated (English and Russian) versions of the album «7» and compared to the original texts in Korean.