This phenomenological, qualitative study addressed student perceptions of their meaning-making process towards self-authorship in a self-designed gap year experience and was conducted in a public higher educational institution in the Southeast. Data was gathered through interviews from a purposeful sample of gap year program participants and program administrators. Emerging themes and categories were identified by coding and analyzing the interview data, such as continual reflection reinforces the value of individual meaning-making, self-expectations versus self-worth, the influence of societal expectations are minimized, and self-designed learning helps to solidify changes in self-authorship. The data showed a strong connection between multiple meaning-making contexts for students and an enhancement in their authorship, as well as multiple-identities. The findings may be useful in gap year program reflection and redesign, and provide implications for self-design in experiential learning opportunities and gap year outcomes.

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This master's thesis is about code ownership in software projects and creating a tool that would improve cooperation by identifying code owners. The theoretical foundation for code ownership starts from Extreme Programming, explaining models of code ownership and the impact of code ownership on cooperation among teams and team members. The concept is demonstrated on a concrete software firm, where a potential for improvement is identified. The potential is exploited by a software tool, which is designed in the this thesis. The tool is capable of identifying code owners and experts for specific areas in the code based on data gathered from a version control system. The resulting information is made easily accessible. The tool is used to conduct a code ownership research in several projects, which allows me to confirm accuracy of the results. Usability and benefits of the tool is discussed in the final chapter.

The subject of this diploma thesis is Dialogical acting with the inner partner, which understands itself as psychosomatic introspective and self-developing discipline founded by Ivan Vyskočil. I approach dialogical acting through three conceptualizations of objects - as networks, fluid objects and fire objects. With these I explore different ways in which dialogical acting holds its shape as a discipline. I focus on the creation and continuous re-enactment of dialogical acting and its ambiguous relation to its founder Ivan Vyskočil. I analyze the stability and fluidity of rules that shape and define boundaries of the discipline and describe dialogical acting as a set of relations of changing entities and realities that are present and absent, and as passages that are enacted by the rearrangements of multiple specificities. I try to capture tensions that constitute the discipline. Dialogical acting aims at being an open discipline without rules. As rules re-emerge and tend to stabilize, the discipline develops strategies in the process of transferring knowledge that seek to destabilize the rules. Findings and conclusions of this thesis are based on participative observation of dialogical acting in the courses that take place on The Theatre Faculty of the Academy of Performing Arts in Prague, on...

The concept of the contemporary author in case of J. K. Rowling The diploma thesis deals with the contemporary concept of the author which is examined on the specific case of Joanne Kathleen Rowling. The theoretical part of the thesis focuses on the biography of the author and the previous philosophical theories concerning the concept of the author and his/her role in the identity of the literary work. The main authors of the theories are Roland Barthes, Michel Foucault, and Umberto Eco, whose concept is crucial for this thesis. The research part presents specific styles of writing which are characteristic for authors and applies this theory to the analysis of two literary works of J. K. Rowling. The conclusion of the thesis is the summary of the research and an attempt to define the concept of the contemporary author. Key words The author, authorship, literary work, pseudonym, the concept of the author, style of writing, J. K. Rowling, Robert Galbraith, Roland Barthes, Michel Foucault, Umberto Eco

Den här uppsatsen ingår i det forskningsfält som undersöker hur konstnärer skildras i fiktion. Specifikt handlar den om författarroller på film, ett område som beforskats i såväl Tyskland som den anglosaxiska världen (kända exempel är Kirsten Netzows Schriftstellerfilme(2005) samt antologin The Writer on Film (2013)) men knappt alls i Sverige. Den kretsar därför kring svensk film, samtidigt som den anknyter till det internationella fältet. Undersökningen baseras på kunskap om genrer i svensk film samt litteratursociologiska perspektiv. I det senare skiljer den sig från det mesta inom området, inte minst i ambitionen att undersöka sociala och professionella sammanhang kring författarroller på film. Efter inledande breda kapitel om historia och ideal kring författarroller följer undersökningens djupanalyser, vilka fokuserar på filmer inom det spann som kallas relationsfilm. Detta begrepp spänner över en stor del av svensk filmhistoria som kännetecknas av fokus på romantik, familje- och vänskapsrelationer och dessas spänningar, problem och utveckling.        Som fallstudier har valts fem relationsfilmer från olika perioder i svensk filmhistoria: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) samt Kärlek Deluxe (2014).Samtliga dessa filmer har författare i bärande roller och skildrar samtidigt i någon mening händelser inom litteratursamhället, inte minst förlagsbranschen.         Materialet undersöks utifrån fem perspektiv, baserade i kunskap från befintlig forskning: Omgivningar; Genrer, modus och troper; Drivkraft och processer; Relationer samtIdeal och sensmoral.  I undersökningen diskuteras relationsfilmens konventioner såväl i relation till myter och traditioner kring författares kärleksliv som i anslutning till professionella relationer. Bland annat diskuteras tendensen att skildra litteratursamhället som en tudelad värld byggd på – till exempel - konkurrens mellan olika genrer, ”högt och lågt”, eller dolt och offentligt.      En av flera centrala slutsatser är att författarfilmer generellt möjliggör en extra dimension av berättande inom berättelsen, ofta i form av en bok som produceras under handlingens gång, och som förstärker och speglar filmhandlingen. I just relationsfilmer blir detta ett ytterligare lager av den identifikation med författarpositionen som åskådaren bjuds in till. Författarna i dessa filmer är, sammantaget, vardagliga gestalter med allmänmänskliga problem och egenskaper, men ges samtidigt – genom myter om yrket, berättandekonventioner kring kreativitet och skildringar av branschrelationer - fler dimensioner som gör dem till attraktiva protagonister i breda filmgenrer. Uppsatsens titel syftar på just denna balans mellan spänning och vardaglighet, som Anders Marklund kallat ”inte alltför främmande”.      Efter analyskapitlen och diskussionen följer också en skiss till en historik - utan minsta anspråk på fullständighet - över författare i svensk film. / This thesis connects to the research field studying how artists are portrayed in fiction. Specifically, it deals with representations of writers and authorship in film, an area explored both in Germany and in the English speaking world (notable examples are Kirsten NetzowsSchriftstellerfilmefrom 2005 and the anthology The Writer on Filmfrom 2013) but hardly at all in Sweden. This thesis evolves around Swedish film, while also connecting to the international field.     The study is based in knowledge of genres in Swedish film in general as well as in literature sociology. In terms of the latter it differs from many contributions to the area, especially in the ambition to look at the social and professional contexts around the figure of the writer in film.      The initial broad chapters on writer history and myths are followed by five film studies, focusing on one film each within the genre known as ”relationship film” (relationsfilm): films focused on the tensions, problems and developments of romantic relationships as well as those of family and friendship. (The concept itself encompasses a large part of Swedish film history).       The five chosen case studies are relationship films from different eras of Swedish film history: Thomas Graals bästa film (1917),En Kärleksnatt vid Öresund (1931),Vi tre debutera (1953),Känd från TV(2001) and Kärlek Deluxe (2014).The films all feature writers as main or central characters while also depicting events within the world of literature, particularly the publishing industry. The analysis departs in five perspectives, based in existing research on the area: Environments (Omgivningar); Genres, modes and tropes(Genrer, modus och troper); Incentives and processes (Drivkraft och processer); Relations (Relationer) and Ideals and message (Ideal och sensmoral).       The analysis discusses the conventions of relationship films in connection to myths surrounding the love lives of writers as well as to professional relationships in the book trade. One example is the tendency to depict the world of literature as a divided, dual world built on competition between things like different genres, ”highbrow and lowbrow” material or public versus hidden aspects of the creative process.      One conclusion is that writer films in general enables an additional dimension of storytelling within the frame narrative, often in the shape of a book produced during the course of the film, which mirrors and strengthens the message and moral of the story. In relationship films in particular, this can serve to create an extra layer to the identification with the writer position into which the spectator is invited. Writers in these movies are, in general, everyday figures with common, relatable problems and characteristics, but at the same time – through myths about the profession and narrative conventions surrounding creativity - given additional dimensions which make them attractive as protagonists in popular film genres.The title of the thesis, which can roughly be translated as ”No total strangers”, is a paraphrase of the concept ”Inte alltför främmande” (”Not too strange”) by the Swedish movie and literature scholar Anders Marklund. It refers to a central feature of relationship films: the balance between making the central characters relatable and common, and at the same time interesting enough to provide some escapism. In this thesis, it refers to this balance in relation to fictional writers (and others in the book trade) in particular.      In addition to the chapters of analysis and the discussion, I have also included a first draft – without any claims of completeness - for a history of writers in Swedish film.

The thesis focuses on problem of authorship of the Internet content. It considers the question whether we can analyze the artwork purely as a closed structure of the symbols or whether it is necessary to take work as a broader structure. The first part of the thesis shows the Internet in general and its specifics it as a medium. The second part is devoted to the problem of authorship. It explains traditional view of Nelson Goodman, who examined the authenticity of artwork with regard to the internal arrangement of the elements structure of the object. The third part shows the later theories inconsistent with the views of Nelson Goodman, views of different contemporary authors who present the changes of authorship aspects in the environment which is under constant development, quickly sharing ideas and resources. New theories suggest to look beyond the authorship of the artwork domain, apply broader focous. The conclusion provides a synthesis of these views.

Writing, an important academic skill for university students to acquire, becomes more important in a distance education institution where assessment is primarily on written work. Successful teaching and learning practices for Open Distance Learning (ODL) incorporate multiple forms of interaction when using technology within a constructivist approach. The study seeks to understand students’ perceptions of wikis within a process writing approach, and the suitability of Web 2.0 technology for tasks designed to teach academic writing. A participatory action research design was selected as it merges social action and research to solve educational problems while increasing human understanding of the phenomena. The findings show that students may be open to using wikis within their actual learning environment. Of significance was the issue of the early integration and engagement of students into online learning communities. The challenges experienced in the study can be addressed adapting Chickering and Ehrmann’s (1996) principles to frame the development of online learning. / Teaching Practice Unit / M.A. (TESOL)

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