Institutionen för kultur och estetik, Konstvetenskap 106 91 Stockholms universitet 08-16 20 00 vx Handledare: Magdalena Holdar Titel och undertitel: Den svenska stumfilmens scenografi–exemplen Dunungen och Vingarne Författare: Laura Thulin Kontaktuppgifter till författaren: laura.thulin@gmail.com Uppsatsnivå: Kandidatnivå Ventileringstermin: Vt 2022 ABSTRACT: Denna uppsats avhandlar den svenska stumfilmens scenografi och studerar scenografin ifilmerna Vingarne (Mauritz Stiller, 1916) och Dunungen (Ivan Hedqvist, 1919). Syftet är att undersöka hur och vad scenografin berättar. Detta utförs utifrån narratologiska teorier och med metoder hämtade från konstvetenskapen, formal- och kontextanalys. Överlag kan man konstatera att naturens scenografi i båda filmer dels är mindre teatralisk och mer dynamisk än interiörerna, men också bidrar mer till filmernas narrativ, påverkar fabulan, förmedlar karaktärsdrag och understryker händelseförlopp. Naturen skildras i båda filmer med en betoning på dess skönhet och som en plats för njutning och rekreation. I Vingarne håller sig scenografin mycket i bakgrunden, det är framförallt en transparent realism, men med talande undantag som berättar mycket om huvudpersonernas karaktärer och styrker filmens tema om moral och omoral. I Dunungen driver scenografin på flera punkter framnarrativet, i synnerhet skildringen av gården Bohult. Filmens scenografiska helhet harmonierar med huvudrollen Anne-Marie och kan även sägas driva fram vad som kallats den svenska stumfilmens nationella prägel. I båda filmer finns exempel på rekvisita, som i samklang med karaktärerna, i mycket hög utsträckning driver narrativet. Ett förhållningssätttill de litterära förlagorna, att man använt sig av passager därifrån på ett sätt som kan liknasvid direkta scenografianvisningar, utmärker sig. Nyckelord: scenografi, stumfilm, filmscenografi, Axel Esbensen, Mauritz Stiller, Ivan Hedqvist, Dunungen (1919), Vingarne (1916)

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In 1979, the Soviet Union invaded Afghanistan with the intention to secure the Afghan communist regime from collapsing. Rebels, called the Mujahideen, began to resist the invasion and the Soviet Union soon found themselves fighting a tedious guerrilla war. The aim of this paper is to examine why the Soviet Union lost this asymmetrical war, even though they had a clear military superiority and stronger actors historically tend to win these types of conflicts. This paper has the ambition to explain in what ways soviet forces lacked proper understanding of not only asymmetrical warfare, but also counterinsurgency warfare, using theories that more closely look at the importance of strategic interactions between actors in asymmetrical wars, and principles of conducting successful counterinsurgencies. The empirical findings can succinctly be summarized by two factors: The Soviet Union was, despite tremendous effort, incapable of breaking Mujahideens will to fight. Insufficient attention was also paid towards cultivating trust with the Afghan populace, nor were strategies employed to rally support for the war against the Mujahideen.

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Armed conflicts throughout history have always involved anticipating the opponent's strategies to increase your own chances of victory, which is even more vital if your opponent is stronger. On 24 February 2022, the strong state of Russia invaded the much weaker state of Ukraine after eight years of military tension. Despite the protracted military escalation, the outcomes of the battles fought vary, with both actors achieving success to different degrees.   Existing theories provide solid explanations for historical asymmetric conflict outcomes, but most of these theories lack explanatory value in contemporary armed conflicts, which this paper aims to examine. The purpose of the study is to test existing asymmetric conflict theory against a contemporary ongoing armed conflict, where the strategic interaction thesis by Ivan Arreguín-Toft is used in a theory-testing approach. The results show that both actors use a combination of attack and defence strategies, illustrating the complex nature of war. However, the results show a clear tendency towards opposite approach strategies on the part of the weak actor, which supports the theory of strategic interaction.

Cette thèse étudie le statut du dessin dans l'œuvre de Sergueï M. Eisenstein, à partir de l’étude des rapports entre dessin et montage, entre dessin et mise en scène et de l’examen de la nature intermédiale de l’œuvre d’Eisenstein. Dans le système de ce réalisateur le dessin est au cœur de son processus créatif et devient un milieu-médium à l’intérieur duquel des transferts, passages, transportations de formes, d’images et d’idées sont possibles. Eisenstein s’intéresse au dessin, à la fois, comme processus et comme méthode visuelle universelle de la créativité.On constate l’analogie entre la structure globale du film Ivan le Terrible et les axes essentiels de sa réflexion théorique, en particulier les principes de sa méthode créatrice (la pars pro toto, le MLB, la plasmaticité et le montage). Subordonnée à une architectonique spatio-temporelle rigoureuse, la structure du film est en même temps une structure ouverte, vivante en évolution perpétuelle, et cela tant à l’étape de sa conception qu’au niveau de sa perception et de sa post-analyse.Les analyses conduites dans cette thèse sur la production graphique d’Eisenstein, et à partir de celles-ci sur l’ensemble de ces travaux et de ces concepts, démontrent clairement la corrélation entre la structure de l’œuvre d’Eisenstein, en particulier pour celle du film Ivan le Terrible, et le fondement de son processus de pensée créative, processus qui traduit son propre rythme intérieur et la structure de sa conscience, les deux donnant l’impulsion à son expression artistique. Le dessin devient pour Eisenstein le milieu de réflexion sur lequel il s’appuie pour exposer la problématique du médium, mais aussi celle de l’histoire du cinéma en son lien avec l’histoire des médiums expressifs. Les dessins préparatoires constituent le médium visuel d’élaboration, de vérification et de mise en pratique de ses concepts théoriques dans une situation réelle de création de film.Eisenstein a ainsi constitué, à travers ce projet transversal et intermédial du film, un dispositif sphérique d’écriture de la méthode et de l’histoire générale du cinéma, en réalisant ainsi un modèle du « livre sphérique ». / This thesis studies the status of drawing in the work of Sergei M. Eisenstein, based on the study of the relationship between drawing and montage, between drawing and staging and the examination of the intermedial nature of Eisenstein’s work. In the system of this film director, the drawing is at the heart of his creative process and becomes an environment-medium in which transfers, passages, transportations of shapes, images and ideas are made possible. Eisenstein is interested in drawing, both as a process and as a universal visual method of creativity. An analogy exists between the overall structure of the film Ivan the Terrible and the essential axes of his theoretical reflection, in particular the principles of his creative method (pars pro toto, MLB, plasmaticity and montage). Subordinated to a rigorous spatial and temporal architectonics, the structure of the film is at the same time an open, living structure, in perpetual evolution, this as much at the stage of its conception as at the level of its perception and its post-analysis.The analyzes led in this thesis on the graphic production of Eisenstein, and from them on all his works and concepts, clearly demonstrate the correlation between the structure of the work of Eisenstein, and in particular that of the film Ivan the Terrible, and the foundation of his creative thought process, a process that reflects his own inner rhythm and the structure of his consciousness, both giving an impetus to his artistic expression. Drawing becomes for Eisenstein the medium of reflection on which he relies to develop the problematic of the medium, but also the one of history of cinema in its connection with the history of expressive mediums. The preparatory drawings constitute the visual medium of elaboration, verification and putting into practice of his theoretical concepts in a real situation of film creation.Eisenstein thus constituted, through this transversal and intermedial film project, a spherical system of writing of the method and the general history of the cinema, thus realizing the model of the "spherical book".

Submitted by TIAGO DE SOUZA BARROS null (lethyago@hotmail.com) on 2017-04-04T13:26:20Z No. of bitstreams: 1 DISSERTAÇÃO - TIAGO BARROS.pdf: 2267461 bytes, checksum: dcba5a78970a6edae42ad23644ad49e1 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-04-12T16:43:33Z (GMT) No. of bitstreams: 1 barros_ts_me_assis.pdf: 2267461 bytes, checksum: dcba5a78970a6edae42ad23644ad49e1 (MD5) / Made available in DSpace on 2017-04-12T16:43:33Z (GMT). No. of bitstreams: 1 barros_ts_me_assis.pdf: 2267461 bytes, checksum: dcba5a78970a6edae42ad23644ad49e1 (MD5) Previous issue date: 2017-02-08 / Esta pesquisa analisou a leitura do mito do vampiro no romance O vampiro que descobriu o Brasil (1999), do escritor carioca Ivan Jaf, a partir do qual o autor apresenta, pela ótica de um imortal, uma revisão crítica de quinhentos anos da História do Brasil. A perspectiva de análise deste estudo levou em consideração o caráter híbrido da obra assentada em uma dimensão dupla em que o tecido histórico e o tecido mítico se conjugam para armar um discurso literário, alegórico, crítico, intertextual e paródico que relê, ao mesmo tempo, a história factual do Brasil e sua relação com Portugal no período de quase cinco séculos (1500 a 1999), e o próprio mito do vampiro aclimatado ao solo brasileiro da trama. Como elementos imprescindíveis à compreensão do tecido híbrido da narrativa, foram abordadas nessa pesquisa algumas questões como: fronteiras do discurso histórico e mítico ficcional, procedimentos de hibridização de gêneros e personagens mítico-literárias, releitura da história cultural brasileira e da construção da identidade nacional, tradição e rupturas. Assim, o estudo realizado teve como enfoque principal a compreensão da releitura do mito clássico do vampiro por Ivan Jaf em uma nova roupagem capaz de transformá-lo em um mito à brasileira, por meio do qual o autor realizou um percurso narrativo que discutiu questões identitárias, culturais e sociais pertinentes ao homem brasileiro, além de ter dialogado e agregado novos elementos à tradição literária vampiresca. / This research analyzed the reading about the vampire’s myth in the novel O vampiro que descobriu o Brasil (1999), written by the Brazilian writer Ivan Jaff, in which the author presents, through a viewpoint of an immortal, a critical revision during the five hundred years of Brazilian History. The perspective of analyze in this study took into consideration the hybrid features of the novel, that are based on a double dimension, in which the historic and the mythic elements get together in order to form a literary discourse, with allegory, critics, intertextuality and parody that show, at the same time, the Brazilian history and its connection to Portugal for about five centuries (from 1500 to 1999), and the own vampire’s myth integrated with the Brazilian setting. Thus, in order to understand the hybrid aspects of the narrative, this dissertation discussed some issues connected to following ideas: borders of the historic discourse and fictional myth; procedures of genre hybridization and mythic-literary characters; re-reading of the cultural Brazilian history, and the formation of the national identity; tradition and ruptures. Hence, this study had as its main focus the comprehension of the re-reading about the classical vampire’s myth developed by Ivan Jaf, related to a new concept that would be able to turn it in a Brazilian myth. Therefore, the writer established a narrative procedure that discussed identity, cultural and social issues concerned to the Brazilian man; moreover, it was added new elements to the literary tradition about vampires.

The presented doctoral thesis deals with the hitherto neglected personality of the Slovak politician Ivan Markovič (1888-1944). The aim of the thesis is to clarify the political activity of Ivan Markovič, to analyze his ideological anchoring and to increase the overall awareness of his person in the context of Czecho-Slovak relations in the first half of the 20th century. The thesis is divided into four chapters and an epilogue, while the individual chapters are devoted to the study of various time and thematic contexts in which Markovič was active. The first chapter introduces the research into the broader context of Czecho-Slovak relations and the background of the first years of Markovič's life. The second chapter examines his work as the founder and editor of the magazine Prúdy in the period before the outbreak of the First World War. The third chapter deals with his activities in the resistance movement abroad during the war. Finally, the fourth chapter deals with the activities of Markovič in the Czechoslovak Social Democratic Worker's Party and his involvement in the top politics of the interwar Czechoslovak Republic. The epilogue presents the last years of Markovič's life as a political prisoner in Nazi concentration camps and outlines the destinies of his family. For the research of...

The diploma thesis aims to map the transformation of the image of the Cossacks in the works of key Russian historians of the 19th century and early 20th century. Formulating the topic, the author assumes that the Cossacks played an extremely important role in shaping the concept of Russian history in the 19th century - the era of modern, scientific historical research in the Russian environment. Analysing the Cossack myth, author focuses on the remarkable fact that Russian 19th century and early 20th century historiography with Cossacks its specific leaders (leaders of the Cossack uprisings Kryshtof Kosynsky, Severyn Nalyvaiko, Hetmans Bohdan Khmelnytsky, Ivan Vyhovsky, Petro Doroshenko, Ivan Mazeppa) associates (sometimes quite contradictory) with historical processes and roles (defense of Orthodoxy, driving forces in the formation of the Russian state, an anarchist, dangerous element disrupting state order, personification of desire for free life or opposition to Tsarist autocracy). The greatest attention will be paid to the two hetmans of the Ukrainian Cossacks - Khmelnytsky and Mazeppa. At the end of the thesis, the author defines the models and long-term tendencies of shaping the image of the Cossacks and their historical role with regard to the existence of various historical schools and at...

Mgr. Klára Soukupová Autobiography in the Context of the Positioning Theory Abstract This doctoral thesis is a theoretical and an interpretative study that deals with the genre of autobiography, its position in the contemporary literary theory and problems related to an interpretation of autobiographical texts. Autobiography as a genre of non-fictional literature refers to real characters and events, but at the same time it is a literary work of art, a verbal construct in which the representation of reality is subject to the intentions of the author and to the rules of construction, that are close to the compositional techniques of fictional texts. The first part of the thesis concentrates on the theory of autobiography and its interdisciplinary context. It summarizes the development of theory of autobiography from the late 19th century to the present. Also, the concepts of the memory studies (especially the concept of collective memory) and the problem of distinguishing fiction and non-fiction (discussed in philosophy of history in 1970s and 1980s, fictional worlds theory, pragmatics of fiction, etc.) are taken into account. The theoretical chapter critically reflects P. Lejeune's definition of autobiography, based on the concept of the autobiographical pact. In relation with the problem of how to define...