Bakgrund: En graviditet ses hos många kvinnor som något positivt och för med sig mycket glädje, men en graviditet innebär också en risk för missfall. Omkring 20–30 procent av alla gravida kvinnor kan komma att drabbas. Ett missfall kan göra kvinnor extra sårbara och utsatta. Det är betydelsefullt att undersöka kvinnors upplevelser vid missfall för att få ökad förståelse och kunskap om hur missfall kan upplevas.  Syfte: Syftet var att beskriva kvinnors upplevelser vid missfall.  Metod: En litteraturöversikt har använts som metod för arbetet. Tio vetenskapliga originalartiklar med kvalitativ metod har analyserats utifrån Fribergs analysmodell. Litteraturöversikten utgick från kvinnor som haft missfall innan graviditetsvecka 22. Resultat: Resultatet innehåller tre huvudteman: Kvinnors emotionella smärta, Stöd från familj och vänner, Omvårdnad vid missfall samt två underteman: Missfall - ett stigma, och Känslig omvårdnad. Slutsats: Slutsatsen i denna litteraturöversikt var att kvinnor upplever en emotionell smärta med känslor av sorg, tomhet och hjälplöshet, och ett stöd från familj, vänner och andra kvinnor som genomgått missfall är viktigt för att de ska kunna bearbeta sitt missfall. Kvinnor beskrev att omvårdnaden var avgörande i hur de upplevde sitt missfall, och en känslig omvårdnad där vårdpersonalen visar empati och förståelse för kvinnan är väsentligt för hennes välmående vid ett missfall. / Background: A pregnancy is seen by many women as something positive and brings a lot of joy, but a pregnancy also entails a risk of miscarriage. Around 20-30 percent of all pregnant women may be affected. A miscarriage can make women extra vulnerable and exposed. It is important to investigate women's experiences of miscarriage in order to gain increased understanding and knowledge of how miscarriage can be experienced.  Aim: The aim was to describe women’s experiences of miscarriage. Method: A literature review has been used as a method for this work. Ten original scientific articles using a qualitative method have been analyzed based on Friberg’s model of analysis. The literature study was based on women who had miscarried before 22 weeks of pregnancy.  Results: The result contains three main themes: Women's emotional pain, Support from family and friends, Nursing care in case of miscarriage, and two sub-themes: Miscarriage - a stigma, and Sensitive care.  Summary: The conclusion of this literature review was that women experience an emotional pain with feelings of sadness, emptiness and helplessness, and support from family, friends and other women who have experienced a miscarriage is important for them to be able to process their miscarriage. Women described that the care was decisive in how they experienced their miscarriage, and sensitive care where the care staff shows empathy and understanding for the woman is essential for her well-being in the event of a miscarriage.

Past research has shown that there are many factors that affect the elderly when moving from their own home to an elderly home. The main aim of this study was therefore to (i) describe the reasons and feelings of the elders associated before transiting into the elderly home (ii) experience and support during the transition and adapting to the life in the elderly home for the first few months after the transition and (iii) whether there lies any difference in sex amongst the elderly men and women in adjusting to the elderly home. Due to ethical issues, the study was conducted through interviewing the professionals who worked with elderly around the clock. Therefore, questions have been answered by the professionals in regard to their view on the subject. A total of six (6) semi structured interviews were conducted by two social work students who interviewed 9 professionals i.e. five (5) individual interviews and one group interview with four (4) professional participants. Of these nine (9) interview participants, eight (8) professionals were either working as domestic workers (hemtjänst) or as professional caregivers at the elderly home or as both and one (1) participant was the chief of department in the elderly home. The results showed that functional impairment or disability was the first and foremost reason as to why elderly must move from their own home to elderly home. However, for many elders this decision feels like a “force” upon them and their experience following is vastly differed. While other elders may feel a loss of identity in the elderly home, lonely and disappointed, many feel a sense of security to be around people who can look after them 24/7 and be able to create a meaningful relationship with both, other residents and the professional staff. It was as well noted that factors like activities and personality played a major role in the adjustment of the elderly in the elderly home. Lastly, the study did not show any differences between the sexes i.e. there was no difference between elderly men and elderly women when adjusting in the elderly home. However elderly women were shown as a sex who were more lenient to adapt to the changes.

Experiences, narratives and architecture are seemingly connected; therefor this thesis project attempts to explore the transformation of emotions and impressions from an ‘artwork’ into architectural components and sequences of spaces. Our “artwork” and generator for this thesis has been the film The Square by Ruben Östlund. It is not a “complete/regular” suggestion on a certain site with a solved program; we have instead chosen to see this project as an investigation and a sketching process, a fundamental research. Our starting point has been based in our common interest for the perception and we wanted to explore how we as architects could bring out rooms through intuitive feelings and methods. The interest around how architecture just like anything else is interpreted different between persons and how many variations it can create, how we as architects work with creating for other people and how our intention rarely ends up being the final result.   -How can the understanding and translation of experiences be made with architectural elements when only having the experience to generate from? -How can the narrative be transformed from one tale to another? -How can interpretations from two architects meet/unite in a creation for people to experience something new in? This thesis started with 10 methods where different subjects as for example: “direction, dramaturgy or spatiality” where analyzed and represented. These methods was for us a way to test what we could find in this movie to continue build something upon. These methods where made week after week and we had not set them out from the start, they came as the process begun. The building or series of rooms we now have created is what we would like to call the 12th method, also a test and part of the process of searching for translation. What we have chosen to work with in terms of film is the cutting. We have interpreted and translated the director Ruben Östlunds way of cutting into architectural means. We have assembled theses 14 rooms with: straight cuts, association cuts and juxta positioning. This project is two interpretations interwoven into one building, a monument of our so to say mental rooms generated from the same starting point/generator. The different scenes have evoked different feelings and impacts on us and have been translated into 14 rooms. / Upplevelser, berättelser och arkitektur är märkbart kopplade till varandra. Därför försöker detta examensarbete att omvandla känslor och intryck från ett ”konstverk” till arkitektoniska komponenter och rumsligheter. Vårt ”konstverk” och generator i detta examensarbete har varit filmen The Square av Ruben Östlund. Vi har valt att se detta projekt som en undersökande skissprocess. Vår utgångspunkt har varit baserat i vårt gemensamma intresse för tolkning och varseblivning och vi ville undersöka hur vi som arkitekter kunde ta fram rum genom intuitiva känslor och metoder. Intresset kring hur arkitektur precis som allt annat tolkas olika mellan personer och hur många variationer det kan skapa, hur vi som arkitekter arbetar med att skapa för andra människor och hur sällan vår första intuition blir slutresultatet.   - Hur kan förståelsen och översättningen av erfarenheter göras med arkitektoniska element när man endast har upplevelsen att generera från? - Hur kan ett narrativ bli transformerad från en berättelse till en annan? - Hur kan tolkningar från två arkitekter mötas rumsligt i något för andra människor att uppleva i?   Detta examensarbete började med 10 metoder där olika ämnen som t.ex. riktning, dramaturgi och rumslighet analyserades och representerades. Dessa metoder var för oss ett sätt att testa vad vi kunde hitta i den valda filmen och fortsätta bygga något på. De valda metoderna, som genererades vecka efter vecka var inte förutbestämda från start utan de formades intuitivt när processen påbörjats. Den byggnad eller serie av rum som vi skapat är vad vi valt att kalla den 12:e metoden, även detta ett test och en del av processen där vi sökt efter översättning. Det vi har valt att arbeta med när det kommer till film generellt är klippningen. Vi har analyserat och omtolkat regissören Ruben Östlunds sätt att klippa till arkitektoniska medel. De scener från filmen som påverkat oss främst har vi översatt till 14 rum, där dessa rum fogats samman genom: raka klipp, associations klipp och juxtapositionering. Detta projekt är två tolkningar sammanvävda till en byggnad, ett monument av våra så kallade mentala rum, genererade från samma utgångspunkt/generator.

Konsumenter exponeras för 2000 reklammeddelanden dagligen men lägger bara märke till fåtal av dem. Musik har en värdefull position i reklam som företag kan använda för att sticka ut i reklambruset. För att kunder ska lägga märke till företags marknadsföring vilken kan skapa värde för kund, behövs förståelse för vilka känslor och tankar som uppstår hos kund vid exponering av företags reklammusik i långsamt- och medeltempo, samt vilka attityder som formas gentemot företaget vid exponeringen. För att förstå kundupplevelsen i form av vilka känslor, tankar och attityder vid lyssnandet av reklammusik, utförs en kvalitativ undersökning för att förstå fenomenet på djupet. Den verkliga kundupplevelsen har fångats genom att 13 djupintervjuer genomförts där respondenterna exponerats för reklamlåtar i tempona långsam (70 bpm) och medel (120 bpm). Undersökningen tyder på att reklammusik väcker känslor och tankar i både positiv och negativ riktning, likaså influeras attityden gentemot företag men mer i stunden som respondenterna exponeras av reklammusik än ihållande. Reklammusik i marknadsföring har en betydande roll i den värdeskapande processen för både kund och företag. Vidare tenderar värdeskapande reklammusik att generera i konkurrensfördelar vilket gynnar företags framgång. Resultaten bidrar med förståelse om kundupplevelsen vid reklammusik till litteraturen samt med kunskap till företag gällande reklammusikens inflytande på kundupplevelsen. / Every day consumers are exposed to an enormous amount of advertisements but only notice a few of them. Music has a powerful role in advertising which corporations can use to stand out from the noise of advertising. For consumers to notice corporations’ marketing that is used to create customer value, an understanding is needed regarding which feelings and thoughts arise when customers are exposed by advertising music in a slow- and middle tempo, also what attitudes are formed toward corporations at the exposure. To achieve knowledge about the customer experience, qualitative research is needed to understand the phenomenon in depth. To achieve an understanding of the real customer experience, 13 in-depth interviews have been conducted where the interviewees have been exposed to advertising music in the tempo of slow (70 bpm) and average (120 bpm). Advertising music awakens feelings and thoughts, both in positive and negative terms, as well as the attitude is shaped toward corporations which are influenced more in the moment the person is exposed by advertising music than in the long run. Advertising music has a powerful role in marketing in the process of value creation to both customers and corporations which may emerge in competitive advantages and further empower corporation success. The understanding of customer experience in combination with advertising music contributes to both corporations' knowledge and the literature.

The object of the study was emotional intelligence. The subject of the study was the relationship between the level of managerial competencies and the level of emotional intelligence. The master's thesis consists of an introduction, three chapters, conclusion, a list of references (60 sources) and an appendix, which includes the forms of the applied techniques. The volume of the master's thesis is 110 pages, on which are placed 15 figures and 12 tables. The introduction reveals the relevance of the research problem, the development of the problematics, the purpose and objectives of the research are set, the object and the subject of the research are determined, the main hypothesis is formulated, the methods and the empirical base are specified, as well as the stages of the research, the scientific novelty, the theoretical and practical significance of the work. The first chapter includes a review of foreign and domestic literature on the topic of research, the place of emotional intelligence in the system of other types of intelligence, the structure of emotional intelligence and its place in the modern business environment, as well as the model of managerial competencies and their role in the modern business system. Conclusions on chapter 1 represent results on studying of theoretical material. Chapter 2 is devoted to a skilled basic research of emotional intelligence and level of administrative competences at heads of the average and highest level of the chosen enterprise. The short characteristic of the enterprise on the basis of which there took place the research is provided. Techniques of assessment of level of professional competences are considered. The test for emotional intelligence of N. Hall which has been chosen for evaluating level of emotional intelligence is described. The description of the organization of carrying out a research is provided. Conclusions on chapter 2 include the description of relevance of the chosen techniques and their practical importance for assessment of level of emotional intelligence and level of professional competences of administrative board of the chosen company. The chapter 3 is devoted to results of an empirical research. Conclusions by results which have turned out during application of the chosen techniques, such as «Assessment- сenter» method which includes are given: "Test for researches of professional and behavioral and managerial characteristics" of K. Thomas, 2 types of questioning: on satisfaction, on motivation, 2 methods of an interview: the structured interview on competences, motivational, "Progressive matrixes" of J. Raven, 2 the stimulating exercises: discussion 1, discussion 2, assessment method of "360 degrees" and "Test for measurement of emotional intelligence" of N. Hall. Conclusions according to chapter 3 include the main results of an empirical research. Conclusions according to chapter 3 include the main results of an empirical research. In the conclusion in a generalized view results of theoretical and empirical parts of work and also conclusions on the made hypothesis are stated, the practical importance of a research is proved and the possible prospects of further development of this perspective are described. / Объектом исследования явился эмоциональный интеллект. Предметом исследование явилась взаимосвязь уровня управленческих компетенций с уровнем эмоционального интеллекта. Магистерская диссертация состоит из введения, трех глав, заключения, списка литературы (60 источников) и приложения, включающего в себя бланки применявшихся методик. Объем магистерской диссертации 110 страниц, на которых размещены 15 рисунков и 12 таблиц. Во введении раскрывается актуальность проблемы исследования, разработанность проблематики, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основная гипотеза, указываются методы и эмпирическая база, а также этапы проведения исследования, научная новизна, теоретическая и практическая значимость работы. Первая глава включает в себя обзор иностранной и отечественной литературы по теме исследования, место эмоционального интеллекта в системе других видов интеллекта, структуру эмоционального интеллекта и его место в современной бизнес среде, а так же модель управленческих компетенций и их роль в современной системе бизнеса. Выводы по первой главе представляют собой итоги по изучению теоретического материала. Вторая глава посвящена опытно-поисковому исследованию эмоционального интеллекта и уровню управленческих компетенций у руководителей среднего и высшего уровня выбранного предприятия. Приведена краткая характеристика предприятия, на базе которого проходило исследование. Рассмотрены методики оценки уровня профессиональных компетенций. Описан тест на эмоциональный интеллект Н.Холла, который был выбран для проведения оценки уровня эмоционального интеллекта. Приведено описание организации проведения исследования. Выводы по второй главе включают в себя описание актуальности выбранных методик и их практической значимости для оценки уровня эмоционального интеллекта и уровня профессиональных компетенций руководящего состава выбранной компании. Третья глава посвящена результатам эмпирического исследования. Приведены выводы по результатам, которые получились в ходе применения выбранных методик, таких как метод «Ассессмент - центра», который включает в себя: «Тест на исследования профессионально-поведенческих и управленческих характеристик» К.Томаса, 2 вида анкетирования: на удовлетворенность, на мотивацию, 2 метода интервью: структурированное интервью по компетенциям, мотивационное, «Прогрессивные матрицы» Дж. Равена, 2 стимулирующих упражнения: дискуссия 1, дискуссия 2, метод оценки «360 градусов» и «Теста на измерение эмоционального интеллекта» Н.Холла. Выводы по главе 3 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутой гипотезе, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики.

Dès le début du 21e siècle, une nouvelle dimension suscite un intérêt grandissant : l’émotion. Ce mémoire propose une étude exploratoire-descriptive de la place qu’occupent les émotions dans la description et la diffusion archivistique. Pour contextualiser cette étude, nous commençons par une revue de la littérature clé publiée entre 2008 et 2020, cette revue illustrant l’évolution de la compréhension et de l’acceptation des émotions par les professionnels de divers milieux (archivistes, historiens, historiens des émotions, et psychologues) dans la description et la diffusion archivistique. Nous étudions ensuite une sélection de règles de description archivistique et la place qui est donnée aux émotions dans la description d’archives, le cas échéant. Ces aperçus mènent à une étude exploratoire-descriptive de trois projets réalisés par deux institutions d’archives québécoises, soit le Musée Lac-Brome et le Musée McCord, dans le cadre desquels des descriptions archivistiques de différentes collections de documents textuels ont été préparées en incluant les émotions évoquées dans les textes décrits. Nous discutons ensuite de notre analyse de différents termes d’indexation et d’émotions référencés dans ces descriptions archivistiques, incluant certaines tendances qui peuvent ressortir. Deux perspectives émergent à partir desquelles l’émotion peut être davantage considérée dans la description archivistique : l’émotion exprimée par les sujets représentés dans le document ou par l’auteur du document ; la place de l’empathie et de l’émotion dans la diffusion archivistique. Ces perspectives pourraient permettre à la communauté archivistique de mieux comprendre et d’accueillir les pratiques naissantes impliquant l’inclusion de l’émotion dans la description et la diffusion archivistique. / Since the beginning of the 21st century, a new dimension has sparked a growing interest : emotions. This dissertation offers an exploratory-descriptive study of the place emotions occupy in archival descriptions and dissemination. To contextualize this study, we begin with a review of key literature between 2008 and 2020 illustrating the evolution of professionals’—archivists, historians, emotions historians, and psychologists—understanding and acceptance of emotions in archival descriptions and dissemination. We then review certain rules for archival description and the place, if any, for including emotions in these descriptions. These overviews lead to an exploratory-descriptive study of three description projects carried out by two Quebec archival institutions, the Lac-Brome Museum and the McCord Museum, who have prepared archival descriptions of different collections of textual records including emotions evoked in these texts. We then discuss our analysis of the different index terms and emotions referenced in these archival descriptions, including certain trends that can be identified. Two perspectives emerge from which emotion can be further considered in archival description : emotion expressed by the subjects represented in the record or by the author of the record ; the place of empathy and emotion in archival dissemination. These perspectives could allow the archival community to better understand and accommodate budding practices involving the inclusion of emotion in archival description and in outreach programs.

Generellt finns det nog, i förberedande syfte, en förbandslåda i varje hushåll med plåster och dyl. tillgängligt vid fall av mindre olyckor. Skulle du skära dig i fingret kan du gå till lådan och plåstra om dig, eller skulle du bli förkyld finns nezeril för att underlätta luftens flöde genom näsan. Men vad hittar du i lådan vid en ”psykisk förkylning”? Likt hur man köper plåster i förberedande syfte för en fysisk skada, ska det här arbetet undersöka hur grafisk design kan spela en roll i att öka personligt engagemang för att underhålla sitt psykiska välmående och förebygga djupare depressioner. Resultatet av denna undersökning är konceptet NUNC, en mental förbandslåda. Innehållet i lådan är tänkt att uppmuntra människor att reflektera över sin tillvaro, bli medveten om sina val, upptäcka och bryta negativa tankemönster samt boosta sin självmedkänsla. / There is probably a first aid kit in every household, containing band-aids and similar items, available in case of minor accidents. If you were to cut your finger, you could use the kit and patch yourself up, or if you were to catch a cold, there would be Ne-zeril to facilitate nasal airflow. But what do you find in the kit for a ”mental cold”? This work aims to explore how graphic design can play a role in increasing personal engagement to maintain mental well-being and prevent deeper depressions. The re-sult of this investigation is the concept NUNC, a mental first aid kit. The content of the box is intended to encourage people to reflect on their presence, become awa-re of their choices, discover and break negative thought patterns, and boost their self-compassion.

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<p>Recent work in affect theory has addressed the category of what Sianne Ngai terms “ugly” feelings (Ngai 2007, Edelman 2004, Halberstam 2011) and the costs associated with the premium placed on so-called positive modes of thinking and feeling (Berlant 2011, Ahmed 2010, Love 2007), yet cynicism persists in many accounts as the feature of an undesirable political subjectivity. Likewise in popular and political discourse, cynicism is denounced as the mark of an ineffectual subject who chooses to opt out, rather than reach for supposedly obvious markers of (capitalist) achievement. This dissertation refuses these characterizations, instead considering cynicism as an affect bound up in neoliberal sociopolitical shifts. I argue that cynicism describes a feeling of living under structural conditions that curtail—in ways that are often effaced—the kinds of self-determining subjectivities that have been taken for granted as a feature of Western, liberal democracies and remain foundational to imagined modes of dissent. Exploring this situation in the context of three cultural frames—politics and governance, modes of labour in capitalist economies, and a structure of feeling premised on the pursuit of happiness—I examine cynical subjectivities in fiction, film, and American political discourse so as to 1) develop an inquiry into affect as situated between subject and structure; 2) acknowledge the commonality of a feeling of impasse and dominant cultural narratives that mask this frustration of agency; and 3) consider inertia and passivity as sensible orientations in a cultural moment in which the costs of momentum are becoming increasingly visible.</p> / Doctor of Philosophy (PhD)