Denna uppsats handlar om en undersökning av Försvarsmaktens reklamkampanjer ‘’Välkommen till vår verklighet’’ och ‘’Just nu”, från år 2011 och 2020. Studiens två frågeställningar ligger som grund till vårt syfte att undersöka hur Försvarsmakten framställer sig i deras två centrala reklamkampanjer och vilka skillnader och likheter som framkommer mellan dessa årtal. Frågeställningarna har besvarats med hjälp av framtagna teoretiska ramverk och tidigare forskning. Undersökningen i dess helhet gjordes med en kvalitativ innehållsanalys och analysen genomfördes med en multimodal audiovisuell analys. Innan vi bestämde oss för att genomföra undersökningen med denna analysmodell tog vi fram andra modeller och jämförde dessa för att hitta den mest relevanta analysmodellen för studien. Resultatet visar att reklamfilmerna syftar till att uppmuntra individer att söka till Försvarsmakten och ge stöd till dess huvuduppdrag, att försvara Sveriges demokrati och medborgare. Studien visade att Försvarsmaktens reklam avser att skilja på verklighet och fiktion för att skapa en trovärdig bild som militär i Sverige. Studien visade också att militären lade stor vikt på filmens innehåll och visade upp militären som heroiska för att få stöd för sitt uppdrag. / This essay is about analyzing the Swedish Armed Forces' advertising campaigns "Welcome to our reality" and "Right now", from 2011 and 2020. The study's two main questions is to examine how the Armed Forces presents themselves in their two central advertising campaigns and what differences and similarities emerge between the advertising campaigns. The questions have been answered with the help of a theoretical framework and previous research. The research was conducted with a qualitative content analysis and the analysis was conducted with a multimodal audiovisual analysis. Before we decided to conduct the study with this analysis model, we studied other models and compared them to find the most relevant analysis model for our study. The results show that the commercials are intended to encourage individuals to apply for the Swedish Armed Forces and give support to there main mission, to defend Swedens democracy and citizens. The study showed that the Armed Forces commercial intend to distinguish between reality and fiction to give a proper sense of what to except when working within the military of Sweden. The study also showed that military put a strong empahasis in the content of the film, showcasing the heroics of the military to get support for there mission.

This study is a survey of war names adopted by guerrillas during the Zimbabwean conflict (1966-1979). The study collects, describes and analyses war names that were used by ZANLA guerrillas in the conflict. It explores onomastic patterns and processes that influenced these war names. Names collected from textual sources and from interviews of former guerrillas are analysed and classified into nine categories. One of the main findings is that the background of the namer influenced the naming patterns and processes identified in the study. Another finding is that most guerrillas named themselves and it was also observed that some guerrillas have retained their names. The findings, analysed within the theoretical framework developed earlier from the onomastic and identity theories, indicate that the war name plays a vital role not only in concealing the old identity of the guerrilla but also in creating new identities, which were used as weapons for challenging the enemy and contesting space. Onomastic erasure and resuscitation are proposed as partial explanation for the creation of some war names. The study contributes to onomastic research not only in that it has produced a large corpus of war names that can be used for further research in that it is a significant point of reference in onomastic research in Zimbabwe and in southern Africa, especially in the area of nicknames and war names. It also lays the foundation for further research on the role of naming patterns and processes in peace building and conflict resolution in Zimbabwe, on the southern African subcontinent and elsewhere. / Thesis (D. Litt et Phil.)

This study is a survey of war names adopted by guerrillas during the Zimbabwean conflict (1966-1979). The study collects, describes and analyses war names that were used by ZANLA guerrillas in the conflict. It explores onomastic patterns and processes that influenced these war names. Names collected from textual sources and from interviews of former guerrillas are analysed and classified into nine categories. One of the main findings is that the background of the namer influenced the naming patterns and processes identified in the study. Another finding is that most guerrillas named themselves and it was also observed that some guerrillas have retained their names. The findings, analysed within the theoretical framework developed earlier from the onomastic and identity theories, indicate that the war name plays a vital role not only in concealing the old identity of the guerrilla but also in creating new identities, which were used as weapons for challenging the enemy and contesting space. Onomastic erasure and resuscitation are proposed as partial explanation for the creation of some war names. The study contributes to onomastic research not only in that it has produced a large corpus of war names that can be used for further research in that it is a significant point of reference in onomastic research in Zimbabwe and in southern Africa, especially in the area of nicknames and war names. It also lays the foundation for further research on the role of naming patterns and processes in peace building and conflict resolution in Zimbabwe, on the southern African subcontinent and elsewhere. / Thesis (D. Litt et Phil.)

The primary role of this report is to provide an in-depth analysis of all the instances of the word vidua, its meanings and uses in Latin literature from the last two centuries B.C. This close examination of the word vidua in the literary sources of this period has resulted in a number of important modifications to its definition. The word vidua, which is commonly translated by ancient scholars as widow, is not sustained by the contextual evidence of the majority of the passages that do no state explicitly the reason for the women's deprived status. Instead the word is most commonly used to mean a much broader social group of Roman women, all no longer married women, a category which includes various groups of women such as widows, divorcees, abandoned women and women whose husbands have been away for long periods of time. Furthermore the English word unmarried should not be used to translate the Latin word vidua since, as I demonstrate throughout my paper, there is a clear distinction in the Roman minds between women who are no longer married, vidua, and women who are not yet married, virgines an important distinction that gets lost with the more inclusive and broader social category meant by the word unmarried. / text

This essay examines the performance artworks Action Pants: Genital Panic (1969), Interior Scroll (1975) and S.O.S Starification Object Series (1974-82) by artists VALIE EXPORT, Carolee Schneemann and Hannah Wilke. The objective is to analyse the expressions of these artworks, from a theoretical viewpoint of feminist art-theoreticians and their critique regarding the female body in representation. Performance- and body-art have been the subject of discussion with respect to the female nude in the history of art, and the patriarchal structures that surround it. These eminent theories about the female body in art differ from one another, leaving this study to investigate given works and the explicit body-language that unites them, with the aim to identify a favourable representation of the female body in 1960sand 70s performance art with the vantage point of these artworks. The present essay has demonstrated that vaginal iconology exists in all works and can be presented in various ways. It becomes clear that the work of VALIE EXPORT provides a framework most suitable as a feminist, critical strategy to counteract the notion of the male gaze, framing, and representation of the body as commodity in capitalist-society. However, the works of Schneemann and Wilke, with more essentialist themes, can through ambiguity contribute to a positive representation of woman in representation. There is no simple answer to which way 2 of using the body is the most beneficial for feminism, however, a critical representation of the female body in performance and body art, in relation to the artists’ own intentions, creates positive ambiguity, thus these artworks do not only reinforce patriarchal conventions regarding the female body.

The aim of this work is to compile the linguistic picture of Chods, that is how the word is fixed in the language and the conceptual system of a native speaker. For this purpose, canonical literature has been chosen that thematizes Chods, furthermore some Chod newspapers, corpus syn2013pub and Jindřich's song-books and a few collections of Chod fairytales and legends representing folk literature. This thesis has also drawn upon systemic data, i. e. dictionaries wherein the word Chod can be found in order to record the denotations of this word. Next, the thesis explored the etymology of the word Chod and its synonyms, which also helps to clarify the objective of this work. All the data have been analysed and the connotations, collocations and also attittude towards the dennotation have been gathered that have been featured in more sources to compile the linguistic picture of Chods. Among the most frequent collocations and connotations confirmed in more than one source are Chodsko, border service, privileges and duties of Chods, Kozina and Lomikar, the uprising, Újezd, rebels, defenders against the Germans, nacionalism, freedom, a traditional costume, dialect, music, bagpipes, pies, Chod festival, ceramics, farmers, a banner, a dog, stubborness, repulsion, pride, distinctiveness, togetherness, hard...