I denna studie vill vi bidra med kunskap om hur man kan använda barnboken som redskap i förskolans verksamhet. Syftet med studien är att synliggöra förskollärares beskrivningar av hur de arbetar med att levandegöra barnböcker i förskolemiljön. Fokus är på vilka metoder och arbetssätt förskollärarna använder sig av för att bjuda in barnen i barnbokens värld, samt hur de resonerar kring sitt didaktiska förhållningssätt och användandet av barnboken i verksamheten.Studien utgår ifrån en kvalitativ intervjustudie med semistrukturerade intervjuer med 10 förskollärare från olika förskolor i Mellansverige. För att närma oss hur de levandegör barnboken, använder vi oss av litterära föreställningsvärldar och lekpedagogik.I resultatet framkommer att leken är central för både arbetssätt, genomförande och förhållningsätt. Den mest framträdande metoden är barnboken och att få uppleva den på många sätt. Barnboken är en utgångspunkt i hela arbetssättet. Dramatiseringen genom karaktärerna och miljöerna är andra centrala metoder för att levandegöra barnboken. Ytterligare en metod som framkommer är boksamtal, exempel där förskolläraren tillsammans med barnen diskuterar och pratar om boken under läsningen. I förskollärarnas resonemang är deras intresse, förhållningsätt och delaktighet i leken andra viktiga metoder. Arbetssättet som framkommer beskrivs lustfyllt och fångar både vuxna och barns intresse. I resultatet framkommer att när förskollärarna i studien tillsammans med barnen skapar en delad fantasivärld så kan barnens litterära erfarenheter utvecklas och litteraturen blir levande. De sociala gemenskaperna och arbetssättet främjar fantasi, utveckling och lärande. / This study aims to contribute to knowledge about children’s books as a tool for children’s learning. The purpose of this study is to highlight how preschool teachers describe how they use children’s books in their teaching to invite children into the world of the books and how they make books come alive and elaborate different topics. The study is based on semi-structured interviews with ten preschool teachers from different preschools in Sweden. We use literary fantasy worlds and play-pedagogy in the analysis.The result shows that play is central to both working methods and children’s learning with books. The social communities and the pre-school teachers’ way of working, foster children’s imagination, development and learning. The most prominent method is when children’s books become a starting point in the entire working method and the children can experience the books in multiple ways. The dramatization of book characters and elaborated environments are central methods of bringing the children's book to life. Book talks, where the preschool teacher together with the children discuss and talk about the book while reading it is another method. In the preschool teachers’ reasoning, their interest, attitude and participation in play are important. The working methods that they elaborates are described enthusiastically and captures an interest from both adults and children. The results show that when preschool teachers and children create a shared fantasy-world together, this gives the children literacy experiences and makes literature come to life in a memorable way.

This thesis examines the migration policy changes that were adopted by the European Union during the so called ‘refugee crisis’ 2014-2016 and problematises the discourses that were deployed by EU policy makers. It builds the method and theoretical framework around Vivien Schmidt’s discursive institutionalism, and complements it with constructivist conceptual theories around discourses that are identified through the researched empirical material. The primary material is to a large extent based upon official documents from the EU such as regulations and communications, but also includes speeches from officials such as Jean Claude Juncker (President of the Commission), Donald Tusk (President of the Council) and Martin Schulz (President of the European Parliament). The findings are comprised of discourses that can all be connected to the EU imaginary. The thesis also concludes that there has been a continuation of the securitisation of migration during the ‘refugee crisis’ as well as a normalisation of this discourse. In regards to the communicative and coordinative skills of the EU actors, it becomes clear that the former still is problematic, whilst the coordinative discourses have increased the cooperation within the EU institutions during the time period studied.

2014年12月的「雨傘運動」中，不時看到「支持本土、以香港為家」的口號和標語，如「自己香港自己救」、「守護香港拒絕沉淪」以及「撐(支持)香港」等等，都反映出年輕一輩對香港的歸屬情感，顯示出本土主義是這場運動論述的核心內涵，意在對抗北京的愛國主義論述，同時也反映出本土意識是目前香港認同與社會集體想像的重要內容。本論文採取文獻分析法，旨在針對透過公共討論中與香港身份認同相關的論述進行脈絡式分析，探討香港身份認同的演變，剖析香港社會自英殖時期至今關於香港人的集體想像。本論文針對英殖管治時期、戰後至回歸、一國兩制實施至今三個主要歷史時期進行研究，探討香港人的集體認同及其演變。本研究結論指出，強調多元族群社會想像的認同論述有助於形塑具包容性的香港本土認同。 / In the 2014 Umbrella Movement, nativism, aimed to contest with the patriotism advocated by Beijing, appeared to be the core of the discourse of the movement. It is embodied in slogans such as ‘Supporting the native; Hong Kong is our home’ and ‘Preserving Hong Kong.’ This reflects the sense of belonging of the Hong Kong youth. Nativism therefore appears to be an important element in the formation of collective identity and social imaginary of Hong Kong. This dissertation, through a contextual analysis of discourses on Hong Kong identity, aims to probe into Hong Kong identity in different historical periods, including the period of British colonial rule, the period from the end of World War Two to the 1997 handover of Hong Kong, and the period when ‘One Country and Two Systems’ is practiced in Hong Kong. In the conclusion, it is argued that the nativist discourse that emphasizes multiethnic social imaginary contributes to the formation of an inclusive form of Hong Kong identity.

The imaginary part of the retarded self energy is of particular interest as it contains a lot of physical information about particle interactions. In higher order loop diagrams the calculation become extremely tedious and if we have to do the same at finite temperature, it includes an extra dimension to the difficulty. In such a condition we require to switch between bases and select the best basis for a particular diagram. We have shown in our calculation that in higher order loop diagrams, at finite temperature, the R/A basis is most convenient on summing over the internal vertices and very efficient on calculating some particular diagrams while the result is most easily interpretable in the Keldysh basis for most other complex diagrams. / February 2010

This thesis addresses the “foreign talent” situation in Singapore with an ethnographic account of the lived experiences of immigrant PRC students on scholarships, or “PRC scholars.” For some two decades, the Singapore government has annually recruited middle school students from China in their hundreds, selecting them through tests and interviews, granting them full scholarships at either pre-undergraduate or undergraduate level, and, very often, “bonding” them to work subsequently in Singapore for a number of years. Wooed and appropriated in such a way as prized potential human capital, PRC scholars exemplify the Singapore state’s desire for “foreign talent.” In the first decade of the twenty-first century, as the influx of all manners of “foreign talent” into the small city-state gathered pace, local sentiments and discourses of resentment arose. The local-vs-“foreign talent” problem became a serious strain on a city and people proud of their cosmopolitanism. This thesis analyzes the “foreign talent” situation through the ethnographic “macro-trope” of desire. It argues that “foreign talent” is a site of convergence and divergence, collusion and collision, accommodation and contestation, fulfillment and failure of various individual, sociocultural, and political desires and longings. Through the lens of desire, and its psychoanalytic undertones and insights, this thesis looks ethnographically into the PRC scholars’ “foreign talent” journeys in nuanced ways. Based on ethnographic fieldworks carried out in a Chinese middle school and a Singaporean university, the thesis shows how Chinese students are constituted as specific subjects of desire, and how they subsequently develop certain perceptions, attitudes, and stereotypes about the local “other” as well as about themselves after arriving in Singapore as “foreign talent.” Infused with multifarious desires, the PRC scholars’ experiences are often characterized by angst and dissatisfaction; yet it is also argued that generative subjective transformations take place precisely amidst these dynamics and pragmatics of desiring. Ultimately, this thesis seeks to make possible an ethical re-imagination of the “foreign talent” situation in Singapore from the perspective of desire; to provide an account of the so far little-studied Chinese migrant students in the context of Singapore; and to speak more broadly to the cultural and subjective dimensions of human experiences in the context of educational mobility, identity politics, and globalization.

Le but premier de cette étude sera de comprendre le rôle de l’écriture de voyage telle qu’elle est pratiquée dans l’œuvre d’Henri Michaux et d’expliquer le parcours qui mène ce dernier du voyage réel au voyage imaginaire. Les trois ouvrages principaux qui constitueront notre objet d’analyse, c’est-à-dire Ecuador (1929), Un Barbare en Asie (1933), ainsi que le récit imaginaire d’Ailleurs (1946), transforment chacun à leur façon le genre de la relation de voyage en mettant de l’avant non pas une écriture de l’Autre mais une écriture de soi. Il semble en effet que, chez Michaux, l’écriture de l’ailleurs n’a de valeur que dans l’affirmation de la position du sujet face à un réel angoissant, réel devant impérativement être tenu à distance par le biais du langage. Incidemment, dans sa volonté d’expatriation, le voyageur est pris entre deux temps bien distincts, celui du désir d’adéquation et celui du repli sur soi. / The primary focus of this study will be to understand the role of travel writing as put forward in the works of Henri Michaux and to retrace the itinerary that leads the author from real travel to imaginary travel. The three books that will constitute our main body of analysis, namely Ecuador (1929), Un Barbare en Asie (1933), and the fictitious journey of Ailleurs (1946), have transformed each in its own way the genre of travel literature by suggesting not only a representation of the Other, but a writing of the self. Indeed, it seems that for Michaux, the representation of unknown territories holds significance only in the way that, through it, the self can assert its own position in the face of a menacing outside world, an outside world that must be held at bay through a defensive use of language. Consequently, the traveler is stuck between two very distinct postures, the first being his desire for adequacy and the latter his turning in on himself.

Il est à noter que le texte de La Manikoutai a été reproduit dans ce mémoire (voir l’annexe 4, p. xv-xvii), avec l’aimable autorisation de Francyne Furtado des Nouvelles Éditions de l’Arc. / Le mouvement chansonnier est-il en continuité ou en rupture avec la tradition orale ? S’agit-il d’une forme de néo-folklore ou d’une chanson moderne ? Les liens qui s’établissent entre ces deux ensembles sont paradoxaux, de même que leurs rapports aux discours et aux idéologies. Ce mémoire explore ce phénomène par la mise en commun de trois approches : une analyse statistique de la présence d’éléments de tradition orale dans le corpus chansonnier général, une étude de cas détaillée sur La Manikoutai de Gilles Vigneault et une analyse socioculturelle générale des processus de diffusion. Dans ce cadre, le mouvement chansonnier, trop souvent interprété comme un épiphénomène de la Révolution tranquille et du mouvement nationaliste, reprend son caractère propre à titre de dynamique de diffusion parallèle. Une relation complexe s’établit alors entre un phénomène jeunesse qui pousse à rompe avec les générations précédentes et une dynamique de distinction qui pousse à imaginer des racines anciennes au mouvement chansonnier. Un processus qui fait à la fois paraître le discours chansonnier comme fortement orienté vers le passé, mais en même temps, produit une certaine coupure, qui engendre un passé imaginaire et lointain. Enfin, avec le passage du temps, le mouvement chansonnier devient lui-même partie prenante du passé et se joint à la tradition orale pour former un double mythe de la chanson québécoise; un mythe qui relie symboliquement deux ensembles pourtant distincts. / Is the chansonnier movement of the 1960s in Quebec in continuity or discontinuity with the oral tradition ? Is it a form of neo-folklore or is it a modern type of song ? The links between songs by chansonniers and oral tradition are complex, as are the relations to discourse and ideology. The thesis explores these links by using three approaches: a statistical analysis of the presence of oral tradition elements in the general chansonnier corpus, a detailed analysis of Gilles Vigneault’s song La Manikoutai, and a sociocultural analysis of diffusion processes. In this context, the chansonnier movement, too often interpreted as an epiphenomenon of the Quiet Revolution and of the nationalist movement, can be seen in itself, in its own dynamic and as a parallel development. The chansonnier movement is linked in a complex way to the a young generation that wants to cut itself from older generations and to a dynamic of distinction which leads to a search for ancient roots to this type of modern song. It is because of this that the chansonnier discourse is seen as strongly oriented toward an ancient past, but at the same time as a break from the immediate past. Finally, with the passage of time, the chansonnier movement becomes an element of the past itself, and, together with oral tradition, leads to a double myth of Quebec music, a myth that links two distinct sets of phenomena.

La traduction portugaise de la version post-vulgate française de la Quête du Graal achevée vers la fin du XIIIe siècle et intitulée A Demanda do Santo Graal, offre un prisme intéressant pour saisir, en contexte et à travers les jeux de déplacements et de reconfiguration, l’imaginaire caractéristique du cycle Post-Vulgate, autrement difficilement accessible. La Demanda do Santo Graal permet de mieux comprendre l’imaginaire du roman français et d’accompagner son évolution en dehors de ses frontières linguistiques à une époque où le romancier n’est plus traducteur, mais devient lui-même une figure d’autorité. Ce travail consiste essentiellement à voir comment la Queste Post-Vulgate lue en parallèle avec la traduction/adaptation portugaise permet de comprendre l’évolution du roman vers la fin du Moyen Âge et la notion d’auteur en faisant la distinction entre le translateur, le créateur et le romancier dans le récit médiéval tout en faisant témoin de l’évolution de leur subjectivité littéraire du roman des origines à celui du Moyen Âge tardif. / The Portuguese translation of the Post-Vulgate Cycle completed towards the end of the 13th century and entitled A Demanda do Santo Graal offers an interesting prism to grasp, within the context and through a set of displacement and of reconfiguration, the characteristics of the Queste Post-Vulgate’s imagination, otherwise difficult to access. The Demanda do Santo Grail gives the reader access to the imagination of the Medieval French novel while tracing the different aspects of its evolution outside of its linguistic borders in an era where the writer is no longer a translator, but becomes an auctor. This work mainly shows how the Queste Post-Vulgate, read in conjunction with the Portuguese translation/adaptation, illustrates the evolution of the novel and the concept of author while distinguishing between the translator, the creator and the writer. This important distinction between the different representations of the writer during the medieval period allows one to understand their literary subjectivity in the narrative from the beginning to the end of the Middle Ages.

L'Inde a constitué un lieu de voyage pour beaucoup d`écrivains occidentaux, en particulier, pendant les années 60-70, pour cinq intelllectuels éuropéens et americains, qui ont voyagé et écrit différents textes. Pasolini, Moravia, Paz, Ginsberg et Duras ont parlé de l'Inde en utilisant différents languages pour décrire leur réncontre avec l'Autre au délà des catégories binaires occidentales. / India in the 60 and 70 has been the destination of the journey of five European and American writers who have stayed and wrote about it. Pasolini, Moravia, Ginsberg, Paz and Duras wrote of India using different languages from the travel documents, to the notes, to the essay, to the diaries up to the cinematic language. They described their encounter with the Other trying to go over the exotic stereotypes of western discourse into a space opaque and fragmented. / L’India ha costituito negli anni sessanta e settanta la destinazione dela viaggio di cinque scrittori europei e american che vi hanno soggiornato e ne hanno scritto. Pasolini, Moravia, Ginsberg, Paz e Duras hanno scritto dell’India e sull’India usando linguaggi diversi che vanno dal racconto di viaggio agli appunti al diario al saggio fino ad arrivare al linguaggio cinematografico. Attraverso questi multiformi linguaggi essi descrivono il loro incontro con l’Altro andando al di là dello stereotipo e delle categorie binarie del pensiero occidentale, captando l’Altro attraverso un discorso che diventa opaco e frammentario.

Cette thèse montre comment les imaginaires cinématographiques de la menace d’origine naturelle, technologique ou sociale traduisent le climat mental qui se développe à notre époque. L'émergence d'un héros postmoderne semble être le signe d'une mutation du social. La recherche s'appuie sur différentes analyses sociologiques du cinéma, sur l'analysede contenu d'un corpus de trente films réalisés durant la première décennie du XXIe siècle, sur des réponses à des sondages d'opinion auprès de jeunes et sur des textes d'observateurs du monde contemporain. Ceci afin de mettre en évidence les interactions qui lient le cinéma et le monde réel. Ces films constituent un terrain d'observation des obsessions du temps présent. / This thesis shows how the imaginaries in films concerning the threat inherent to nature, technology or social issues emphasizes the mental climate developing nowadays. The emergence of a postmodern hero seems to indicate a deep change in the social sphere. This research uses different sociological analysis of film-making, the analysis of the contentof a corpus of thirty films directed during the first decade of the twentyfirst century, youth answers to opinion polls and texts from contemporary world observers. In so doing it reveals the interactions linking cinema and reality. These films constitute a ground of observation of the nowadays obsessions.