This thesis aims to analyze and interpret a number of central works – Vimpelstaden (1985), Som en gång varit äng (1988), Blomman och människobenet (2003), I en cylinder i vattnet av vattengråt (2005) and Vad hjälper det en människa om hon häller rent vatten över sig i alla sina dagar (2009) – by the Swedish poet Ann Jäderlund (1955-) in the context of phenomenology and affect theory. The analysis consists of three chapters and proceeds chronologically with technical scrutinies of separate phases of Jäderlund’s œuvre – from the aphasic-like treatment of established phraseologies in Vimpelstaden and frozen expressions of the botanical discourse in Som en gång varit äng, to the uncanny focus on perceptual patterns as such in her later works. Throughout these analyses the thesis observes a series of techniques with which the author presents us with a kind of sensory paradox, through a) creating language-based complex appearances, non-appropriable by means of the normal perceptual patterns of embodied perception, while still b) simulating, and thus implicitly emphasizing, these appearances as something already concretely looked at and felt. In short, to experience what cannot be experienced, to live the unlivable. Many of these technical observations made are pinned down analytically using concepts from the field of cognitive poetics, namely George Lakoff and Mark Johnsons findings of experiential image schemata underpinning spoken phraseologies and their influential theories on conceptual metaphors. The interpretative conclusion following these observations is that Jäderlund handles her writing aesthetically as a kind of sensory material in a very literal sense, a “being of sensation” in the terminology of French philosophers Gilles Deleuze and Felix Guattari. Not as means of experiential or intellectual representation, not as some sort of critical enterprise through mere language-gaming of free- floating signifiers – but as a material able to preserve and perform sensory processes immanent to its own material compilation, a tendency that earlier research fails to grasp or simply ignores altogether. Thus the affectivity immanent to the literary material – often being the starting point of studies in affect theory and cognitive poetics – is here proven to be a characteristic, thereby playing the role more of a conclusion than a field of inquiry. The aesthetics of interrogating the limits of sensory experience, introducing a sort of crisis to embodied perception through the experience of poetic language – and the experience of it as having a “metaphysical significance”, as French phenomenologist Maurice Merleau- Ponty puts it – is articulated in the thesis against the background of influential readings of modern art carried out by Merleau-Ponty and Deleuze.

<p>The awareness regarding environmental issues is increasing and as a result a large number of products are eco-labeled. This enables the consumers to make enlightened environmental decisions when purchasing products. Eco-labeling is no longer for products only, but also for services like hotels. It’s difficult to determine what it actually means to eco-label a hotel and what kind of benefits it includes. Our goal for this essay regarding eco-labeling of hotels is to consider the question –why eco-label?</p><p>The essay also considers benefits or disadvantages connected to eco-labeling and also aim to collect theories and thoughts about the meaning of this in the future. In order to reach this goal the essay involves a case study with hotels who are eco-labeled and those who are not. It also contains information from interviews with representatives from four different eco-labeling organizations and one government environmental scientist. This combined with collected theories aim to give a clear picture about the main focus point –why eco-label? The results show that the hotels whom were studied consider environmental work as very important. It also shows that they notice an increasing demand among customers. The demand also seems to be higher among corporate customers. Eco-labeling can be used as a tool to show the customers that the hotel is working according to special criteria which aims to a more sustainable environment. Care about the environment and increasing customer demand are two main important reasons for the hotels to get an eco-label. It has also shown that there can be more reasons behind the decision to eco-label like; the assistance regarding environmental issues from the eco-labeling organization, competitive advantages, brand related and corporate values. There are also challenges associated with eco-labeling; the ones we have seen are that the environmental work can stop evolving after the label has been accepted. Sometimes the eco-label might not even be the most environmental friendly solution. We have also seen that the eco-labels are combined with different compromises and that they often cost money and take time to implement.</p><p>We have reached the conclusion that in the future eco-labeling of hotels is likely to be significantly important and collaboration between eco-labeling organizations will probably grow and be more international. The results do not generally apply for all hotels but it gives an important insight on eco-labels for hotels, and can give arguments about the subject.</p> / <p>Syfte: Syftet med uppsatsen bygger på frågan – varför miljöcertifiera? Uppsatsen ger således en bild av miljöcertifieringars roll och betydelse för hotellverksamheter, där för- och nackdelar ställs mot varandra. Även resonemang kring miljöcertifiering av hotellverksamheters sannolika roll och betydelse i framtiden behandlas.</p><p>Metod: Uppsatsen bygger på en kvalitativ forskningsstrategi och en hermeneutisk tolkningsstrategi. Informationsinsamlandet består av fallstudier, intervjuer, litteraturstudier och informationsinhämtning på internet. Tio intervjuer genomfördes med fyra personer från fyra olika hotell, både miljöcertifierade och inte, fem personer som på ett eller annat sätt arbetar med de olika miljöcertifieringarna samt med en forskare i miljöpolitik.</p><p>Slutsats: Studien visar att många vill engagera sig i miljöarbete, både hotellverksamheterna och deras kunder. Miljöcertifieringar kan även vara ett verktyg för att förmedla och strukturera miljöarbetet. Dessutom har det genom denna studie visat sig att miljöcertifieringen kan bidra med andra positiva aspekter som exempelvis en förbättrad image och identitet samt en tydligare struktur på miljöarbetet. Det finns dock problem och nackdelar även med miljöcertifieringar och med att miljöcertifiera sig, exempelvis att de kräver mycket resurser och att själva miljöcertifieringen inte behöver vara det miljövänligaste.</p>

The awareness regarding environmental issues is increasing and as a result a large number of products are eco-labeled. This enables the consumers to make enlightened environmental decisions when purchasing products. Eco-labeling is no longer for products only, but also for services like hotels. It’s difficult to determine what it actually means to eco-label a hotel and what kind of benefits it includes. Our goal for this essay regarding eco-labeling of hotels is to consider the question –why eco-label? The essay also considers benefits or disadvantages connected to eco-labeling and also aim to collect theories and thoughts about the meaning of this in the future. In order to reach this goal the essay involves a case study with hotels who are eco-labeled and those who are not. It also contains information from interviews with representatives from four different eco-labeling organizations and one government environmental scientist. This combined with collected theories aim to give a clear picture about the main focus point –why eco-label? The results show that the hotels whom were studied consider environmental work as very important. It also shows that they notice an increasing demand among customers. The demand also seems to be higher among corporate customers. Eco-labeling can be used as a tool to show the customers that the hotel is working according to special criteria which aims to a more sustainable environment. Care about the environment and increasing customer demand are two main important reasons for the hotels to get an eco-label. It has also shown that there can be more reasons behind the decision to eco-label like; the assistance regarding environmental issues from the eco-labeling organization, competitive advantages, brand related and corporate values. There are also challenges associated with eco-labeling; the ones we have seen are that the environmental work can stop evolving after the label has been accepted. Sometimes the eco-label might not even be the most environmental friendly solution. We have also seen that the eco-labels are combined with different compromises and that they often cost money and take time to implement. We have reached the conclusion that in the future eco-labeling of hotels is likely to be significantly important and collaboration between eco-labeling organizations will probably grow and be more international. The results do not generally apply for all hotels but it gives an important insight on eco-labels for hotels, and can give arguments about the subject. / Syfte: Syftet med uppsatsen bygger på frågan – varför miljöcertifiera? Uppsatsen ger således en bild av miljöcertifieringars roll och betydelse för hotellverksamheter, där för- och nackdelar ställs mot varandra. Även resonemang kring miljöcertifiering av hotellverksamheters sannolika roll och betydelse i framtiden behandlas. Metod: Uppsatsen bygger på en kvalitativ forskningsstrategi och en hermeneutisk tolkningsstrategi. Informationsinsamlandet består av fallstudier, intervjuer, litteraturstudier och informationsinhämtning på internet. Tio intervjuer genomfördes med fyra personer från fyra olika hotell, både miljöcertifierade och inte, fem personer som på ett eller annat sätt arbetar med de olika miljöcertifieringarna samt med en forskare i miljöpolitik. Slutsats: Studien visar att många vill engagera sig i miljöarbete, både hotellverksamheterna och deras kunder. Miljöcertifieringar kan även vara ett verktyg för att förmedla och strukturera miljöarbetet. Dessutom har det genom denna studie visat sig att miljöcertifieringen kan bidra med andra positiva aspekter som exempelvis en förbättrad image och identitet samt en tydligare struktur på miljöarbetet. Det finns dock problem och nackdelar även med miljöcertifieringar och med att miljöcertifiera sig, exempelvis att de kräver mycket resurser och att själva miljöcertifieringen inte behöver vara det miljövänligaste.

Sigrid Blomberg and the altarpiece in the church of Oskarshamn – a woman’s work of art, is an essay with the aim to describe, analyse and to discuss the gypsum altarpiece in the city church of Oskarshamn and its artist, the Swedish sculptor Sigrid Blomberg.  The essay begins with a brief historical description of the situation for female artists in Sweden at the turn of the 20th century and a comment on the material chosen for the altarpiece – gypsum. This is followed by a short summary of the life of Sigrid Blomberg and two other examples of her work to illustrate and discuss similarities with the altarpiece in the church of Oskarshamn.  This is followed by a description of the church and its interior, as well as the altarpiece’s history, creation process and problems. The essay then focuses on an analysis of the different parts, as well as the whole, of the altarpiece – characters, meanings and interpretations. The essay ends in a discussion of the findings and the author’s conclusions regarding the altarpiece and the artist’s place in the art history. Central in the essay is the apparent lack of female artists in the art canon and the reasons and effect due to this.  The author uses a semiotic method and a feminist theory premiss to find the answers to questions such as: why was a female artist chosen for the assignment; how does the artwork compare to other, equivalent and contemporary artworks; how may the placing of the work have effected the perception of the altarpiece; have the perception changed over time; and finally what’s characteristic for the artist Sigrid Blombergs idiom?