This thesis presents the application of coplanar circuit analysis in the design of compact single-feed circularly polarised (CP) and linearly polarised (LP) microstrip patch antennas. A CP nearly square patch antenna and a CP truncated corners square patch antenna are designed. Also a LP U-slot rectangular patch antenna is designed. In order to obtain a faster computational run-time, coplanar circuit analysis and segmentation method are applied for the impedance calculations. The coupling and self impedance formulas for both rectangular and right-angled isosceles triangular segments are given. Explicit formulas for the coupling impedance between a perimeter port and a probe port, and also the probe self impedance on both of these segments are new and are derived in detail. A CP nearly square patch antenna is designed using both the cavity and equivalent circuit models. New and simple design equations are derived to determine the dimensions of the patch with a feed in any given position. For a microstrip feed offset from a corner of the patch, the area of perturbation segment is increased which reduces the effect of manufacturing errors. A simple matching network consisting of a short length of microstrip line is designed to achieve a more compact form of the matched antenna. The results obtained from both models are good agreement. A CP truncated corners square patch antenna with a microstrip feed offset from the centre is presented. In previous work the design is a feed along the centre line and the areas of the deleted segments are very small so the performance of the antenna is very sensitive to manufacturing errors. Hence an offset feed is proposed in order to increase the perturbation area and so reduce the effect of the manufacturing errors. The segmentation method is used for which a new explicit matrix input impedance formula is derived. The impedance formula requires a computer run time less than half that required by simulation (full-wave software, Ansoft Ensemble). The change in area of the perturbed segment and input impedance with the microstrip offset feed position is examined. A compromise offset feed position was chosen so as to maximise the area of the perturbation segment and achieve good impedance matching for a compact antenna structure. A LP probe feed U-slot rectangular patch is designed and the input impedance is determined. A set of initial design equation is used to produce a first-pass design. In applying segmentation method a new explicit input impedance formula for the antenna is derived. The basic system of eleven coplanar circuit equations is reduced to seven equivalent circuit equations from which the explicit impedance formula is derived. The dimensions of the patch are adjusted to give good impedance matching. In respect of computational efficiency, the run time of the new matrix input impedance formula is at least 10 times faster than is required by simulation. A thicker substrate is also used in order to improve the bandwidth. The predicted, simulated and measured results of the above three compact patch antennas are in good agreement. Mathcad programming is used to implement the design calculations of the compact patch antennas.

The purpose of the present thesis is twofold; the first part comprises a theoretical analysis of the concept muse-ical in an attempt to describe similarities and differences between the concepts muse-ical and aesthetic and furthermore, to identify the distinguishing features of a muse-ical approach and a muse-ical program. The second part of the thesis reports on an empirical study among student teachers who have chosen to study the program Muse-ical Learning. They have been interviewed about their experiences and impressions of this new program. More specifically they have been given questions pertaining to museical, aesthetic, artistic, scholarly learning, sensory experiences, talent and finally how they conceive of the role of muse-ical learning in school and in society at large and what notions they have of their future work as teachers in the field. The first part is an analysis based on selected previous writings and research regarding the concepts muse-ical and aesthetic/esthetical. The approach taken to this reading is mainly hermeneutical. The second part of the thesis aims at describing how a group of student teachers experience museical learning. Data have been gathered by in-depth, semi-structured interviews. The aim of the analysis has been to emphasise qualitative differences in the ways the informants experience the phenomena actualised in the interviews. The approach in the analysis is, mainly, phenomenographic. The group of informants comprise 20 student teachers, which is about half of all students in the pioneer cohort of the program. Every student was interviewed individually in sessions that had a typical duration of 40-45 minutes. The interviews were transcribed in extenso by the author. In a historical perspective the origins of muse-ical can be traced back to antique Greece and the nine muses that were given to mankind by the gods. The ancient Greeks realised that artistic and intellectual activities are mutually dependent on each other. A further function of the muses, to care for the collective, social memory, seems also to have been forgotten in our time. Muse-ical activities also have to be combined with rhythm and harmony to get their ultimate form. This fact reflects the Greek conviction that order is a significant aspect of beauty. (Cosmos). Greeks aimed for a balance between the vivacious and engaging of Dionysus and the more strict and ordered of Apollo. One confusing circumstance in Plato´s texts concerning the word muse-ical is the translation of mousiké to mean music which is the case in Swedish, Danish, Norwegian and English. It makes a great difference whether our children are to be fostered in mousiké i.e. the arts of the muses and gymnastics or only in music and gymnastics. My conclusion is that Plato was of the opinion that the young should be fostered in mousiké and gymnastics. The word muse-ical appears in educational contexts during the mid 1920ies in Germany, when the sociologist Hans Freyer introduced the term. Muse-ical education is, in consonance with the ideas from ancient Greece, an integration of poetry, music and rhythmic movements. My conclusion from the theoretical analyses is that the muse-ical domain should be understood as an approach to learning that is based on: • A holistic attitude aiming at a balance between “hand, heart and brain”. • Time for reflection. • Muse-ical activities that give opportunities for applying different forms of expression, e.g. activities that comprise movement, sound, colour, form and drama. • Play is an important component. • The learner is the main actor. • The muse-ical perspective is superordinate to disciplinary categories of knowledge. • The muse-ical perspective should not be translated into a rigorous method. Teachers in all subject matter areas may take a muse-ical approach. Mathematics, history and chemistry for instance are as close to the muse-ical as music or drama. I prefer to regard the aesthetic and muse-ical as two different concepts, although with some overlap in meaning. There are common parts, some aspects are borderline cases and there are also, of course, distinct differences. Already the ancient Greeks stated that literary learning and sensory experience were mutually dependent on each other. The Swedish National Curriculum for the compulsory school also emphasises the importance of balancing these two modes of learning against each other. The results of the empirical study corroborate the conclusions of the theoretical analysis. The students repeatedly emphasise the importance of experience and involvement for the sake of their own learning. They do also stress the importance of connecting theory to practical components. Concerning integration of different areas of muse-ical learning there are different standpoints among the authors that I have referred to. The students’ arguments in favour of finding a common framework for all aesthetic areas are basically that they contain common creative aspects and that they all involve bodily and emotional aspects of learning. The students emphasise, in particular, two positive aspects of the aesthetic areas and muse-ical learning. Firstly, they have a general, facilitating impact on learning regardless of context and content. Secondly, they may contribute significantly to the students’ self-confidence and thereby give them the courage to enter new areas and aim for higher goals than otherwise. A majority of muse-ical activities take place in social settings, which gives rich opportunities for the students to train their social skills. Even though it has been a demanding task to express the essence of muse-ical learning, theoretically as well as empirically, one may perhaps be comforted by realising that the magic of museical learning might disappear were it possible to define it in a distinct way.

The purpose of my thesis is to study the lament in ancient Greek culture, and to show how its ritual meaning is interpreted by literature. The terms goos, oimoge, threnos and linos not only indicate the presence of different ritual attitudes to death but also the existence of different interpretations for each of them. The goos and the oimoge mirror an archaic religiosity and consist of sinister utterances aimed at summoning ghosts, requesting for divine revenge, etc. Aeschylus introduces them as aischrologic acts as he implies the presence of a god or a daimon. Sophocles and Euripides use them as dysphemic elements and censure an approach to death which implies that gods are vindictive, deceitful and unjust. However, they also introduce an euphemic goos consisting in an expression of feelings. The threnos only appears in funerary contexts in Homer while is often introduced as dysphemic in drama. The linos-song is mentioned as a vintage-song in Homer, it appears as a lament and then as a song for some hero’s apotheosis or return to life in drama. The poetic use of these terms serves to understand how the social and political meaning of the ritual was understood and codified by literature.

Målet med detta examensarbete har varit att ta fram en applikation föratt publicera kyrkoåret. Appen ska fungera i telefon och pekplatta förandroid. Till det kommer en webbsida som fungerar för datorer ochmobila enheter som inte kör android. Man skall även kunna få framdatan som en PDF (Portable Document Format) fil, XML (ExtensibleMarkup Language) fil och en ICAL (kalender) fil. I denna uppgift ingåräven att ta fram en databasstruktur, objektorienterad design för arbetetsamt val av system och databas. Arbetet har genomförts med hjälp avPHP (Hypertext Preprocessor), MYSQL, CSS (Cascading Style Sheets),etc. Appen och sidan är en användarvänlig sida med bra prestanda ochtydligt resultat för ändamålet det är till för. Jag har kommit fram till att det är svårt att göra en sida som fungerar100% i mobiler och i datorer med olika webbläsare. / The objective with this thesis was to develop an app for android and awebsite that works for computers and mobile devices that are notrunning android, in order to publish the Liturgical year. You should alsobe able to obtain the data as a PDF file, XML file and a calendar file. Thistask includes developing a database structure, object oriented design ofwork and choice of system and form the database layout. The work hasbeen developed with the help of PHP, MYSQL, CSS and so on. The appand the page is a user friendly site with good performance and clearresults for the purpose it brings. I have come to the conclusion that it is difficult to make a page thatworks 100% for mobile phone and computers with different browsers.

Folksägner, historier och sagor har länge gett olika djur mänskliga attribut och gestaltat djuren på ett människoliknande sätt. Vargen är inget undantag och återges allt som oftast på ett negativt sätt. Kan dessa erfarenheter av vargen från sagornas värld drabba hur elever tänker om vargen och dess roll i ett ekosystem och samspelet med andra organismer? Undersökningens syfte är att belysa elevers tankar attityder om vargen samt hur de placerar in dess roll i ett ekosystem med ett jämförande förhållningssätt mellan elever från stadsmiljö och landsbygdsmiljö. En reviderad klinisk intervjumetod i grupp har använts för att uppnå syftet med studien. Totalt har 18 elever deltagit, varav fem från landsbygden och 12 elever från stadsmiljö. Undersökningen visar att eleverna från stadsmiljö har en negativ attityd till vargen, vilket skiljer sig från eleverna från landsbygden som har en positiv alternativt neutral attityd till varg. Eleverna från de båda geografiskt skilda områdena beskriver vargens roll i ett ekosystem ur ett antropocentriskt och teleologiskt synsätt i ungefär lika stor utsträckning. / For many years folklore, stories and fairy tales have been giving animals human attributes and elaborated the animals in a human-like way. The wolf is no exception and is often reproduced in a negative way. Can these experiences of the wolf from the selection of fairy tales affect how pupils think about the wolf and its role in an ecosystem? And furthermore, can it affect how the pupils understand how the wolf interacts with other organisms? With a comparative approach between pupils from urban and rural environments, the purpose of the study is to elucidate thoughts and attitudes toward the wolf and to emphasize how pupils place the wolf and its role in an ecosystem. A revised clinical group interview method has been used to achieve the purpose of the study. In total, 18 pupils participated, five of them from the countryside and 12 pupils from a city. The survey shows that pupils from the urban environment have a negative attitude toward the wolf, which differs from the pupils from rural areas, who have a positive, alternatively neutral attitude towards the wolf. The pupils from both urban and rural environments describe the role of the wolf in an ecosystem in an anthropocentric and teleological approach to an approximately equal extent.

Summary This thesis consists of an ethnographic investigation of five Swedish household's everyday life in their kitchens during the spring 2001 and an analysis of this context, which for certain can be apt for the development of the smart home services of today. Finally some future opportunities on how to systematise ethnography for design use also are drawn. The focus of investigation of this thesis is to find out what actual happens in some situations in ordinary kitchens. Specific interest is showed for the articulation work, while most smart appliances of today supports only goal-oriented activity, hence evolved from the ground of the home PC interaction. The ethnographical investigation is focused on three specific events in a house hold which all are assumed to take place in the families kitchen. The events are: 1) When a family plans and books an amusement activity. 2) When a family plans it's shopping. 3) When a person solves a goal oriented task, for example details about cooking a meal. / Jesper Brolin Gyllenborgsgatan 11 Stockholm jesperbrolin@mac.com, mda98jbr@student.bth.se