Att säkra efterfrågan och kvaliteten på ekråvaran har lett till att KG List under 2017 köpte upp en av sina tidigare leverantörer Österbymo Hardwood.Att få ner spillet och använda sig av så mycket av ämnet som möjligt anses vara viktigt för att få en sån lönsam produktion som möjligt.Bildbehandlingsprogram är den typ av automatisering som haft den största inverkan på träindustrin. Då genom att företagen har kunnat höja sin automatiseringsgrad och minskat produktionskostnaden.

Miljöer med äldre ekar hyser höga naturvärden och är viktiga för den biologiska mångfalden. Under århundraden var ekar i Sverige reglerade av kronan i syfte att kontrollera tillgången på skeppsvirke, det var således förbjudet att avverka ek på krono- och skattejord. Sedan 1800-talet har Sveriges ekbestånd fragmenterats som följd av en rad faktorer. Dessa förändringar har haft en negativ inverkan på ekberoende arter, vars livsmiljöer idag endast är spillror av vad de en gång har varit. Med syfte att ge en ökad förståelse för dagens eklandskap i samband med naturvårdens arbete har ekens historiska utbredning och kvalitet kartlagts i Lösen socken i östra Blekinge. Undersökningen grundar sig på ekinventeringsprotokoll från år 1819 och 1832, men även historiskt kartmaterial. Genom att gå ner på by- och hemmansnivå har platser med hög ektäthet under 1800-talet lokaliserats i landskapet. En studie på denna detaljnivå har aldrig tidigare utförts för Blekinge län. Resultatet visar att ektätheten för tvåhundra år sedan var högst i Lösen sockens södra och mellersta delar, närmast kusten. Dagens skyddade ekmiljöer återfinns främst i socknens sydvästra delar, vilket visar på en kontinuitet. De mellersta och sydöstra delarna omfattas däremot inte av några områdesskydd idag. En stor del av ekarna i socknen benämns i protokollen som skadade samt som ”knut- och risekar”. Böndernas åverkan på träden och socknens naturgivna förhållanden ses som möjliga faktorer till detta. Dessa ekar dög inte till skeppsvirke, men kunde å andra sidan ha utgjort viktiga livsmiljöer för vedlevande arter.

I århundraden har eken varit betydelsefull i Sverige. Kronans syfte var att kontrollera och lagstifta eken för tillgången på skeppsvirke. Det hårda lagstiftandet och kontrollerna bidrog till att avverkning av eken förbjöds på krono- och skattejord. På 1800-talet upplöstes dispositionsrätten vilket ledde till att ekbestånden minskade. Idag är äldre ekar med höga naturvärden viktiga miljöer då de hyser olika mikrohabitater som gynnar den biologiska mångfalden. Syftet med studien har varit att med hjälp av historiskt material jämföra antalet ekar med dagens invertering. I området Elleholm, i Blekinge, har en sådan inventering inte genomförts på över 200 år. Studien undersöker historiska källmaterial som ekinventeringsprotokoll över Elleholm socken för åren 1819, 1830–1831. Insamlade data har sedan jämförts med nutida inventering. Ute i fält har även ekens hålighet, vitalitet och omkrets noterats för att se över ekens kondition. Det framtagna resultatet visar att antalet ekar har minskat drastiskt sedan protokollen skrevs. Data som samlades in efter inventeringen kring ekens kondition gällande överlevnad är positiva. Nedgången på antalet ekar kan bero på att dispositionsrätten upphörde att gälla under 1830-talet. Vidare kan även den ökade befolkningstillväxten lett till att jordägarna avverkade eken illegalt och legalt. Resultatet visar att ekarna i området Elleholm är i bra kondition, vilket kan bero på gallring och öppenhet i landskapet. På grund av nedgången av ekbestånden skyddas ekarna genom de lagar som reglerar skyddandet av ädellövskog samt ”jätteträd”.

In this thesis I will describe the process of working with a piano trio. The trio consisted of Jonny Ek on piano, Uno Dvärby on bass and, me, Jakob Bylund on drums. This process included choosing musicians, studying influences, rehearsing, and the selecting and arranging songs.  I will also reflect on my role as the drummer and band leader of the trio. The main purpose was to investigate what happens to a trio that does not only rehearse often, but also puts in a lot of work in to studying their role models, such as Oscar Peterson trio and Ahmad Jamal trio, by listening and transcribing arrangements played by them.  By using these methods, the trio hoped to achieve a greater understanding of what these references were actually playing, and using that knowledge to develop its own interplay, dynamics and sound.  The impact of role models is analyzed by comparing the Oscar Peterson trio and Ahmad Jamal trio to each other, and to my own trio, finding the uniqueness of each group as well as the similarities between them.  During this project I have learned a lot as a drummer, arranger and band leader. Because of our many rehearsals and the way we studied our role models, I have gained a deeper understanding of my tendencies when drumming. I’ve also learned that the drummer in a piano trio could determine the direction of the music with very subtle but efficient ways, and therefore has a lot of power and responsibility to take care of the music.  As a result of using these methods the trio managed to get a deeper understanding of why its role models sounded like they did and use that information to develop in their footprints. / <p>Jonny Ek - Piano.</p><p>Uno Dvärby - Kontrabas.</p><p>Jakob Bylund - Trummor.</p><p></p><p>"Where Or When" - Richard Rodgers</p><p>"Long Ago And Far Away" - Jerome Kern</p><p>"Black And Tan Fantasy" - Duke Ellington</p><p>"I Was Doing All Right" - George Gershwin</p><p>"In The Wee Small Hours Of The Morning" - David Mann</p><p>"Avalon" - Al Jolson, Buddy DeSylva, Vincent Rose</p><p>"Con Alma" - Dizzy Gillespie</p><p>"It's Only A Paper Moon" - Harold Arlen</p><p>"Easy Living" - Ralph Rainger</p>

In hierdie studie ondersoek ek die ek-spreker in Breyten Breytenbach se debuutbundel. Om hierdie doel te verwesenlik, het ek 'n verteenwoordigende aantal gedigte uit die drie afdelings van die bundel in die ondersoek betrek en die ek-spreker in die gedigte nagegaan. Daar bestaan verskil van mening deur die kritici oor die "ek" in hierdie bundel. In Hoofstuk 1 wys ek hierop deur kort aanhalings. F.I.J. van Rensburg en R. Schutte beskou Die ysterkoei moet sweet as ekshibisionisties; N.P. van Wyk Louw meen daar is 'n bietjie te veel "ek-Breyten-rig-heid" in hierdie verse; A.P. Grovè oordeel dat die ek in hierdie gedigte hom soms opdring aan die leser en dit kan die gevaar inhou dat die gedig as afsonderlike struktuur aangetas kan word; Andrè P. Brink en Rob. Antonissen is van mening dat dit 'n ek-bundel sonder ekkerigheid is; D.J. Opperman meen dit is poësie wat 'n voorliefde het vir selfportrettering en selfspot, maar die verse is soms gesog en ekshibisionisties. In Hoofstuk 2 gaan ek literêr-teoreties in op die ek-spreker in die gedig. Ek probeer veral - deur bekende kritici en teoretici se uitsprake te beredeneer - antwoorde vind op o.m. die volgende vrae: Watter rol speel die ek in die gedig? Is daar 'n verskil tussen die poëtiese ek en die persoonlike ek in die gedig? Dit is ou vrae in die literatuur wat op voorbeelde af al bevredigend beantwoord is deur verskillende kritici, maar Breytenbach se poësie dwing mens om jouself opnuut rekenskap hiervan te gee - soos die verskillende oordele in Hoofstuk 1 gegee, bewys. Vanaf Hoofstuk 3 ontleed ek die bundel sistematies, dit wil sê afdeling vir afdeling en in sy samehang, met besondere aandag aan die rol van die ek-spreker in die gedig. In hierdie hoofstuk konsentreer ek slegs op die eerste gedig van die bundel, "Bedreiging van die Siekes". Dit is 'n heel ongewone gedig vir Afrikaans, 'n voorstellingsgedig waarin twee markante ek-sprekers hulle verskyning maak: 'n spottende seremoniemeester wat "Die maer man met die groen trui"- "Breyten Breytenbach" - aan 'n gehoor voorstel. Laasgenoemde figuur dra dan, vol angs en vrees, 'n gedig voor, 'n gedig wat sy problematiek openbaar: die feit dat hy vasgevang sit in 'n wêreld wat hom bedreig. Hierdie wêreld word in sterk visuele beelde voorgestel. Dis 'n surrealistiese wêreld waarin die reën wat oor alles uitsak die strate in bloed verander. Die ek-Breytenbach van die gedig sien profeties sy eie onafwendbare begrafnis: hierin móét sy gehoor 'n aandeel hê, want hy beveel hulle om hom eers te wond en dan in die grond te "plant". Intussen sal hy - in die gedig uitgewys as 'n sieke - bly praat oor die saam- en naasbestaan van uiter-stes: dood en ontbinding, en "leeubekkies" en "prewelende monnike". In die slotstrofe lewer die seremoniemeester weer spottend kommentaar op die Breytenbach-van-die-gedig: hy meen hy is skadeloos en die gehoor moet hom genadig wees. Hierdie gedig kan gesien word as opdraggedig van die bundel, in besonder van die eerste afdeling, die maer man met die groen trui - 'n titel ontleen aan hierdie gedig: veral deur die besondere procédé van selfspot en die deurlopende motiewe van angs, bedreiging, dood, verrotting én groei, ensovoort, wat telkens deur die gedigte sirkuleer. Hierdie gedig is ook net 'n "voorbeeld" - in ander "voorbeelde" word hierdie motiewe sterker uitgewerk en/of gewysig. In Hoofstuk 4 bespreek ek gedigte uit genoemde eerste afdeling. Die maer man met die groen trui - duidelik 'n bepaalde masker of karikatuur van die ware Breytenbach - het in hierdie afdeling telkens 'n wisselende aard. Hy tree op as digter, malle, sieke, vreesvolle mens, eensame, reisiger, digter-kind, ensomeer. Selde kry ons in die gedig 'n direkte oop belydenis. Breytenbach skep verskillende gestaltes van Die maer man met die groen trui in hom word dikwels houdinge en gesindhede geprojekteer wat die moderne mens in die algemeen raak. Ook in die tweede afdeling, Kopatlas - waarop ek in Hoofstuk 5 ingaan - draai die gedig nog (alhoewel in mindere mate) om ek en wêreld. Ons kry nou veral verbeeldingsreise. Zen laat hom veral sterk geld. Die openingsgedig, "nirvana", waarin Gautama Boeddha sy ek opeet, werk deur in die gedigte van hierdie afdeling. Dit vind 'n mooi hoogtepunt in "Blomme vir Boeddha", waarin die ek verdwyn en een word met al die elemente van die gedig. Hierdie eenwording in die gedig van ek en wêreld geld ook vir die derde afdeling, die mond is te geheim om pyn nie te voel nie, 'n reeks liefdesverse. (Hoofstuk 6) Veral in die liefde, in die eenwording tussen man en vrou, bestaan die moontlikheid dat hiërargieë opgehef kan word. Selfs hier het die spreker 'n wisselende aard: dit wissel van 'n nederige dankbare mens oor die gawe van die liefde en die kosbaarheid van die geliefde, van die wonderlike eenwording tussen man en vrou, van die besondere spreker wat die ongenaakbare wêreld omtower - deur sy woord - tot 'n sprokieslandskap waarin hulle gelukkig woon, tot by die 'groot figuur' ('n god) van "verwoesting, die wrak", die skepper van sy geliefde en sy wêreld. In die meerderheid liefdesverse skuil die elegiese en verwordende, tog is in die liefde die wonder van metamorfose moontlik - 'n belangrike kenmerk van hierdie poësie. Dit is uit hierdie studie duidelik dat die ek-spreker in Die ysterkoei moet sweet 'n wisselende aard het. Alhoewel die spil van die gedig in die meerderheid gedigte draai om ek en wêreld, is dit oor die algemeen nie 'n ekkerige, selfopdringerige poësie nie. Dit is digwerk wat dikwels 'n korrektief van bv. selfspot op die ek bied en binne 'n Zen-sfeer trag om ek en wêreld te versoen. / ENGLISH : In this study I examine the I-speaker in Breyten Breytenbach's first volume of poetry. In order to do this a representative number of poems were selected from the three sections in this book and the role and function of the I-speaker in these were traced. Critics differ as to how the I manifests itself in these poems. In the first chapter this is pointed out by briefly quoting a few of these differences, e.g.: According to F.I.J. van Rensburg and R. Schutte Die ysterkoei moet sweet (The iron cow must sweat) is exhibisionistic; N.P. van Wyk Louw is of the opinion that the poet is somewhat too much involved with himself (" 'n bietjie te veel ek-Breyten-rig-heid"); A.P. Grové judges that the I in some of these poems enforces itself upon the reader with the danger of impairing the ontic status of the work of art; André P. Brink and Rob. Antonissen consider these poems as being poetry of the I without an egotistic tone; for D.J. Opperman this is poetry with a preference for selfportrayal and mockery of the self; however, he finds some of the poems forced and exhibisionistic. In Chapter 2 I deal theoretically with the I-speaker in the poem. By referring to and commenting on various critics I try to arrive at answers on among others the following questions: What rôle does the I fulfil in the poem? Is there a difference between the poetic I and the personal I? These questions have been satisfactorily answered in theoretical writings, but Breytenbach's poetry forces one to answer these questions anew. From Chapter 3 onwards I analysed the selected poems. The first poem "Bedreiging van die Siekes" (Threatening of the Ill) is dealt with at length. This is a most unusual poem for Afrikaans. In this introductory poem there are two conspicious I-speakers: a jeering master of ceremonies who introduces to an audience ,"Die maer man met die groen trui" (The thin man with the green sweater) - "Breyten Breytenbach ". This Breytenbach then recites a poem which is revealing of his anxiety and fear: he is entangled in a world which threatens him. This world is portrayed through strong visual images - a surrealistic world in which the streets are transformed into blood by the rain. This speaker prophetically describes his inevitable burial in which his audience shall play a part, since he demands them to wound him first and then plant him in the ground. But he - an invalid - will continue talking about the coexistence and togetherness of extremes: death and decomposition on the one hand, "leeubekkies" (snapdragons) and "prewelende monnike" (muttering monks) on the other. In the last stanza the master of ceremonies again comments jeeringly on the Breytenbach in the poem: He is harmless, have mercy on him. This poem can be read as a dedication to the remainder of poems in the volume, and in particular to those in the first section, Die maer man met die groen trui (the thin man with the green sweater) - a title taken from the poem: particularly through the precédé of selfmockery and the continual recurrence of the motives of anxiety, threat, death, decomposition and rebirth, etc. This poem is merely an "example" - in other "examples" the same motives are more thoroughly elaborated on and/or altered. In Chapter 4 I discuss certain poems taken from the first section. The thin man with the green sweater - a mask or caricature of the real Breytenbach - takes on a changing rôle: as a poet, madman, invalid, a terrified man, one who is lonely, a traveller, a poet-child and so forth. Seldom is there a direct open confession. Breytenbach creates differing portrayals of the thin man with the green sweater; he is one with fixed likes and dislikes, and attitudes which resemble modern man in general. Also in the second section Kopatlas (mind atlas) - which is dealt with in Chapter 5 - the poems revolve around the I and the world. We find for the most part imaginary journeys. Zen asserts itself strongly. In the first poem, "nirvana", Gautama Buddha devours his I. This process dominates the remainder of the poems in this section. It culminates in "Blomme vir Boeddha" (flowers for buddha) when the I disappears and is assimilated in all the elements of the poem. This unification of the I with the world also occurs in the third section, die mond is te geheim om pyn nie te voel nie (the mouth is too secret not to feel pain) - a series of love poems. (Chapter 6) In love, in the unification between man and woman lies the possibility of hierarchies being uplifted. Even here the speaker has a changing nature: it varies between being modest, thankful for the gift of love and the beloved; the wonder of man and woman becoming one; he who with the gift of the word transforms this unkind world into a fairyland in which they live happily; to the 'important speaker' (a god) in "verwoesting, die wrak" (destruction, the wreck), the creater of his beloved and his world. In most of the love poems we find the elegiac; however, in love the wonder of metamorphosis is possible - an important characteristic of this poetry. An analysis of the poems shows the I-speaker to be of a changing nature. Although the majority of the poems focus on the I and the world, in general they do not become egotistic and self-assertive. Rather it is poetry in which we find correctives towards the I and which, within Zen, aims at reconciling the I with the world. / Dissertation (MA)--University of Pretoria, 1977. / Afrikaans / unrestricted

Innan jag började läsa arkitektur var jag dansare i många år. Då låg jag ofta på golvet och tittade i taket. Så pass länge att taket tillslut blev en vägg. Jag har också snurrat mig yr så att rummets gränser suddats ut, så att upp blev ner och ner blev upp. Med den erfarenheten har jag sökt efter ett sätt att radera bort gränsen för vad som är en vägg, ett golv och ett tak. En kulturskola ska vara en plats för lärande, lust och kreativitet. En plats där möjligheterna är många och begränsningarna få. Där barnen och ungdomarna inte upplever normer kring vad som är normalt, utan en plats där de får exprimentera och inte fastna i begrepp av vad som är rätt och fel. Att komma till Kulturskolan i Älvsjö ska ge eleverna känslan av den taklösa byggnaden som inte begränsar utan snarare visar på alla de möjligheter en plats för lärande och reativitet har. Byggnaden är en samlad kropp med rumsligheter i fasad. I kontrast till grannen Stockholmsmässan där all verksamhet sker i hemlighet och bakom slutna väggar visar byggnaden upp sin verksamhet för det kringliggande Älvsjö. Jag har sökt efter en byggnad där barnen får vara kvar i sin öppna värld. Där det inte finns ett rätt svar utan där svaren är många. Eleverna ska kunna vrida på huvudet och världen ska vara sig lik eller lägga sig på golvet och upp liknar ner. Det blir en byggnad utan tak eller ett fotavtryck mot himmlen. / Before I started studying architecture, I was a dancer for many years. I often laid on the floor and looked at the ceiling. For so long that the ceiling was transformed into a wall. I have also twisted and turned myself dizzy in rooms so boundaries have become blurred, where up has been down and down has been up. With that experience, I have been looking for a way to erase the limits of what is a wall, a floor and a ceiling. A Kulturskola should be a place for learning, desire and creativity. A place where the opportunities are many and the limitations are few. Where children and young people  not experience  norms of what is normal, but where they can experiment and not get caught up in the concept of what is right and wrong. Beeing at the Kulturskola in Älvsjö should give the students the feeling of the roofless building which does not limit but rather shows all the potential of a place for learning and creativity. In contrast to the neighboring Stockholm International Fairs where all the activity takes place in secret and behind closed walls, this buildning shows Älvsjö what is happening inside. I have searched for a building where children can be left in their open world. Students should be able to turn their heads and the world should be the same or lie down on the floor and up is similar to down. It is a building without a roof or a footprint to the sky.

Oaks function as habitat for a myriad of species including 300 species of lichens. Many of the associated species, which are included on the Swedish red-list, depend on old oaks with hollows and deep bark fissures and hence their future is threatened due to a lack of middle-aged oaks. Ongoing studies examine whether veteranisation can speed up the aging process and reduce the delivery time of “new” old oaks; thus reducing the gap between young and old oaks. Decay processes can be facilitated in oaks by inflicting different types of wounds (i.e., veteranisation), such as broken off branches or sawed out nestboxes. In this study bark fissure depth and species richness of lichens were analyzed for oaks subjected to veteranisation, which were compared to controls, ten years after treating them. Bark fissure depth and species richness were analyzed for 49 oaks based on data from from 2014 and 2022. No significant differences were detected between veteranised oaks compared to the control oaks. The time from treatment to the undertaking of this study was only ten years and continued monitoring of the effects on the lichen flora is recommended. / Ekar utgör livsmiljö för en lång rad arter, där lavar utgör cirka 300 arter. Många av ekarnas arter är rödlistade och beroende av gamla ekar med håligheter och djupa barksprickor, men deras framtid hotas på grund av bristen på medelålders ekar som kan efterträda dagens gamla individer. Pågående studier undersöker om veteraniseringsåtgärder kan påskynda åldrandet hos unga ekar, och därmed minska generationsglappet mellan gamla och unga ekar. Utvecklingen av svampangrepp och rötskador kan underlättas hos ekar genom de tillfogas olika skador (så kallad veteranisering), som avbrutna grenar eller utsågade holkar. I denna undersökning analyserades barksprickdjup och artrikedom av lavar hos veteraniserade respektive icke-veteraniserade ekar tio år efter åtgärd. Barksprickdjup och artrikedom analyserades för 49 ekar baserat på data från år 2014 och 2022. Inga signifikanta skillnader kunde ses mellan de veteraniserade ekarna jämfört med kontrollerna. Tiden från veteraniseringsåtgärderna till denna undersöknings utförande har varit kort, och det kan vara av värde att göra ytterligare utvärderingar av effekterna på lavfloran i framtiden.

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The primary subject of this dissertation is mental illness and performance of the hysterical symptom as they were investigated by the Swedish choreographer Mats Ek (Giselle, 1982), Tanztheater (from 1975-1979), and Second Wave Feminism. Historically, the examination begins in the nineteenth century, with the staging of madness in the romantic ballet Giselle (1841), and medical showings at Salpêtrière (1870s). The historical sites point to the interweaving of medical and dance cultures, and to a tendency towards pathologization of idiosyncratic movement expression within nineteenth century discourses on heredity, degeneration, and female health. To historically probe the ways in which twentieth century concert dance commented on pathologization of femininity, female performative labor, and expressive movement, the examination extends to: the fin-de-siècle café-concert scene; psychoanalytic sessions of 1890s, in which dancing played a role in both diagnosis and treatment; Nijinsky’s dance modernism as seen in Le Sacre du Printemps (1913); the anti-psychiatry within the post-1st World War Surrealism, and the post-2nd World War psychologically inflected choreographies by Antony Tudor, Martha Graham, Donya Feuer and Paul Sanasardo. The performance sites are investigated in relationship to the concepts of the unconscious, trauma, hysteria, hystericization, symptom, and expression. The dissertation proposes that late nineteenth century hysteria gained emancipatory meanings in the theoretical work of twentieth century dance scholarship, feminism, cultural criticism, and Freudian-Lacanian psychoanalysis. On the side of practice, Tanztheater participated in reclaiming hysteria. The Rite of Spring (1975), Bluebeard (1977), Café Müller (1978), and Arien (1979) explored traumatic memory, and male/female relationships in context of the post-2nd World War consumerist culture. I examine Pina Bausch’s and Mats Ek’s choreographies in dialogue with the contemporary theory to show that dance spectatorship can bring about an understanding of how the residues of political and personal past shape the experiences of the present. / Dance

Made available in DSpace on 2016-03-15T19:34:45Z (GMT). No. of bitstreams: 1 Marcelo Gomes Franco Grillo.pdf: 466176 bytes, checksum: 4d5836ceec2d439d4dd792128bf73752 (MD5) Previous issue date: 2009-08-05 / Universidade Presbiteriana Mackenzie / The present search has as object the right in the slovenian philosopher Slajov i ek´s work. The philosophy of the right is looked for in that author, considering its proximity as the legal marxism and with the critical philosophies. Therefore will be possible two verifications of the right in Zizek: one related to the legal Marxism and other, without being it, but still yes, in general, critical. For the first slope, the Marxist, there is the possibility of a subdivision. i ek has two apprehensions of the legal Marxism. One is more literal to Marx's work, in the comparison with the legal Marxism of Pachukanis, and other, without being similar to the first one, composed by a Marxist critical reading of the democracy, of the capitalism, of the citizenship and of the themes of the minorities and of the environment, as well as a theorise of the psychoanalysis, as it was already done before by the authors of the school of Frankfurt, however being used of Lacan and not of Freud. Specifically for the subjects of the democracy and of the i ek´s citizenship, sometimes, implicitly enters into contradiction with the vision most radical of pachukanis. In order to reinterpret the Marxist theory, the Slovenian author proceeds an analysis of the contemporary society, based in their current problems and with examples of the politics. There is still the possibility of an approach of the theory of pachukanis´s right with the social psychoanalysis starting from the Slovenian author's writings, basing on the previous propositions of Lacan. Regarding to the second slope, the critic Non Marxist, to clarify it, has the development by the author of Lubliana of the themes of the human rights, of the citizenship (the critic of the neoliberalism) and of the possible historical readings of the legal positivism and of the philosophy of right´s Hegel, as well as of the critic of the right being used of a critical assimilation of the "philosophy of right of the exception", of Carl Schmitt, among others, what approximates i ek of the philosophy of the power. On the other hand, the acceptable approach of the exception as the rupture bearing for the revolution will place i ek as an author Post-Marxist. / A presente pesquisa tem como objeto o direito na obra do filósofo esloveno Slavoj i ek. Busca-se a filosofia do direito nesse autor, considerando a sua proximidade como o marxismo jurídico e com as filosofias críticas. Por isso, serão possíveis duas constatações do direito em i ek: uma, relacionada ao marxismo jurídico e outra, sem o sê-lo, mas ainda assim, de um modo geral, crítica. Para a primeira vertente, a marxista, há a possibilidade de uma subdivisão. i ek tem duas apreensões do marxismo jurídico. Uma mais literal à obra de Marx, na comparação com o marxismo jurídico de Pachukanis, e outra, sem ser similar à pachukaniana, composta por uma leitura crítica marxista da democracia, do capitalismo, da cidadania e dos temas das minorias e do meio ambiente, assim como uma teorização da psicanálise, conforme já foi feita antes pelos autores da Escola de Frankfurt, porém utilizando-se de Lacan e não de Freud. Especificamente para as questões da democracia e da cidadania i ek, por vezes, implicitamente entra em uma contradição com a visão mais radical pachukaniana. A fim de reinterpretar a teoria marxista, o autor esloveno procede a uma análise da sociedade contemporânea, com base em seus problemas atuais e com exemplos da política. Há ainda a possibilidade de uma aproximação da teoria do direito pachukaniana com a psicanálise social a partir dos escritos do autor esloveno, baseando-se nas teses anteriores de Lacan. Referente à segunda vertente, a crítica não-marxista, a esclarecê-la, tem-se o desenvolvimento pelo autor de Lubliana das temáticas dos direitos humanos, da cidadania (a crítica ao neoliberalismo) e das possíveis leituras históricas do positivismo jurídico e da filosofia do direito de Hegel, bem como da crítica do direito utilizando-se de uma assimilação crítica da filosofia do direito da exceção , de Carl Schmitt, dentre outros, o que aproxima i ek da filosofia do poder. Por outro lado, a admissível abordagem da exceção como a ruptura rumo à revolução situará i ek como um autor pós-marxista.