- About
-
The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 11 to 18 of 18 (0.022 seconds)Spelling suggestions: "subject:"mikael"" "subject:"mikaela""
| 11 |
Studier i Mikael Agricolas bibliska företalFredriksson, Inger January 1985 (has links)
A study has been undertaken of the biblical prefaces of Mikael Agricola. All the prefaces are based on those of Luther and/or translations of the same in the Swedish Bible of 1541 (GVB). The New Testament prefaces, like GVB, keep closely to the originals. There are however visual differences — in punctuation, capital letter usage and paragraphing. The literal translation makes the material very suitable for a study of Agricola's use of capital letters and punctuation in comparison with the Lutheran Bible and GVB. The material is too limited for any conclusions to be drawn about the principles underlying paragraphing. Agricola, like Luther (from 1539 onwards) and GVB, sometimes uses capital initial letters in the substantive designations of God and Christ the Holy Spirit the Bible and its books the Church and its sections occupations nationalities Adjectives relating to the above groups may also have capital initials. Personal pronouns relating to God or important persons may also be written with capital initials. Unlike the originals, Agricola's texts may also give prominence to other pronouns than the personal, to verbs, adverbs, numerals and intensifies. The punctuation corresponds partly with present usage: complete clauses are usually separated by punctuation marks. One basic difference is that in Agricola, Luther and GVB breathing pauses for reading aloud are indicated with commas or full stops. As Agricola stressed his utterances differently from his models, it follows that his punctuation differs from theirs. Agricola's prefaces to Old Testament writings are also based on Luther's, but only two of them are direct translations. Agricola's exclusions and additions have been studied. The former include many of the brief descriptions of contents in Luther's prefaces. The additions are interesting; sometimes Agricola does not accept Luther's brief biographical summaries about the authors of various biblical books, and uses instead Hieronymus' prefaces in Vulgata. He also refers to the old Jewish work on the human condition, Seder Olam. Agricola's longest preface, to the Psalms, is very much his own. A few pages are devoted to Agricola's summary of commentaries on the Psalms made by two Fathers of the Church — Augustinus Aurelius and Basilius the Great. Here Agricola makes generous use of the popular stylistic device of the time — amplification, an accumulation of more or less synonymous expressions for the same idea. Even in sentences directly translated from Luther and GVB, Agricola often extends the amplifications. Agricola's four rhyming prefaces are not based on any model at all. They were written in the Germanic doggerel metre, and have much in common with late mediaeval rhyming chronicles. Agricola's often drastic way of expressing himself makes delightful reading. / digitalisering@umu
|
| 12 |
Maktstrukturernas rötter I musikindustrinGovasli, Jan-Mikael January 2017 (has links)
Vi verkar i en musikindustri där de med makt får mer makt och de utan makt får ännu mindre makt. Musiker och producenter är vårdslösa i sitt medskapande av industrin genom att jaga kändisskap och uppmärksamhet vilket skapat kryphål för affärsverksamheter att ta etiska ställningar om de vill utnyttja det eller inte. Dessa socialkulturella normer och moralstrukturer kommer till ytan genom att ifrågasätta bland annat när en musiker “lyckats” och vad en musiker är och ställa sig frågan varför. På så sätt utforskar vi gråzoner i våra kulturella värdegrunder. Eftersom musikindustrin växer rhizomatiskt kommer jag kartlägga och synliggöra vad som utgör de maktstrukturer som existerar, därefter kommer jag med rhizomatik och experimenterande design som metod utforska flyktlinjer i form av en musikproduktion där vi rör oss mellan maktstrukturer i alla dess former. / We operate in a music industry where the ones with power get more power and those with less power gets even less of it. Musicians and producers are reckless in their co-creation of the industry by hunting attention and fame which have created loopholes for businesses to make ethical decisions if they want to exploit it or not. These social-cultural norms and moral structures floats to the surface by questioning, among other things, when a musician have “succeded” and what we define as a musician. In that way we explore the grey areas in our cultural values. Since the music industry grows rhizomatically, I will map and highlight what constitutes the power structures that exist, therefore I will use rhizomatics and experimental design as methods by exploring lines of flight in the form of a music production where we move through power structures in all of its forms.
|
| 13 |
Vliv Spolkové republiky Německo na vývoj environmentální politiky Evropské unie / The Role of the Federal Republic of Germany in the Development of EU Environmental PolicyŽaludová, Naděžda January 2016 (has links)
The influence of the Federal Republic of Germany in development of the European Union environmental policy is dealing with promoting of German environmental policy within the European Union in a broad context with the focus on EU institutions and national political system. The German approach to environmental policy is shaped by strategy of European countries that are influencing EU environmental policy. That chosen strategies were developed by Liefferink and Andersen. The stress is put on the analysis of embedding of environmental policy within political system, institutions and within various actors. Part of the research is climatic policy denominated as a main topic of environmental policy of the last days. Key words environmental policy, environmental politics, the European Union and Germany, climate policy, strategy of environmental pioneers, Liefferink Duncan, Andersen Mikael Skou
|
| 14 |
"Pojkåren- det första livet vi levde" : En analys av pojken i två romaner och den didaktiska potentialen för litteratursamtal om genusfrågorStridsman, Sofie January 2024 (has links)
No description available.
|
| 15 |
Den gode, den onde, den fulle : En narrativ analys av journalister på vita dukenSvensson, Gustav, Jerner, August January 2015 (has links)
This study highlights the stereotypical depictions of journalists in film using a narrative analysis of four major Hollywood productions, starting with All the President’s Men from 1976 through The Girl with the Dragon Tattoo from 2011. Its purpose is to highlight traits given to journalists in the movies and re-occuring themes in the portrayal of the media and the journalistic occupation. Differences and commonalities between the films are concluded in a discussion of ethics, personalities and the media’s self image. The paper can be seen as a contribution to the paradigm in which journalism in the movies is perceived at the moment. It offers a wide explanation to how the image of the journalist is conveyed to the public, an image that differs from how real life journalists go about in daily work life. This is essential, since most people never get to experience journalistic work in reality – but solely from popular culture – which distorts the perception of the media as the fourth estate.
|
| 16 |
Äta djävlar, föda ord : Om återkommande groteska motiv i Mikael Niemis romaner Kyrkdjävulen, Populärmusik från Vittula, Fallvatten och Koka björnÖstling, Marie January 2022 (has links)
This essay deals with recurring grotesque motifs in Mikael Niemi’s novels Kyrkdjävulen, Populärmusik från Vittula (Popular Music from Vittula), Fallvatten and Koka björn (To Cook a Bear). It aims to widen the academic understanding of Niemi’s works by focusing on their aesthetics in relation to previous studies, which have mostly been concerned with placing Niemi in a context of Tornedalian minority literature. With the grotesque defined as monstrous and boundary breaking imagery that challenges common rational, ideological or moral world views, this study shows that these motifs can both strengthen, nuance and undermine postcolonial interpretations of the novels.Through Mikhail Bakhtin’s theory of the grotesque, emphasis is placed on the subversive and utopian aspects of the grotesque motifs. With the use of Sigmund Freud’s term the uncanny (das unheimliche) and Julia Kristeva’s term the abject, psychological and emotional aspects of the selected motifs are drawn to the surface. And, by turning to Sara Ahmed’s thoughts on emotions and performativity, the function of disgust in said motifs is examined. The grotesque motifs in question are: the degradation of the mouth, the lower animals, the boy with the knife, the witch mother, and the androgyne. The first part of the analysis shows that in Niemi’sworks the mouth is associated with storytelling, power, agency and the subject’s ability to both knowand express himself, but also to take the world into himself and be changed by it. The mouth is often degraded, which in a carnivalesque manner results in a linguistic revival. The second part of the analysis argues that lower animals, such as rats, reptiles and bat-like devil spawn, are symbols of the abject – that which man must cast out in order to exist. The motifs of the rats and devils are associated with themes of language, identity and writing, but also allude to a threatening feminine principle. In the third part of the analysis, the motifs of the boy with the knife, the witch mother and the androgyne are found to be juxtaposed to and interwoven with each other in narratives concerning gender, sexuality and coming of age. The results of the study show that Mikael Niemi utilizes grotesque aesthetics to give shape toprocesses of growth and change, captivity and liberation, and a complicated sense of identity that eludes clear and rational definitions. The grotesque in these novels is not purely utopian in a Bakhtinian sense, but more emotionally ambivalent. A determining factor to whether the grotesque image brings true renewal or only a repetition of past pain is the will and choice of the individual. Thus, Mikael Niemi’s novels speak not so much of the power of a minority identity, as of the power and potential of the individual to reinvigorate that identity. They form an individualized, existential project in a Tornedalian context.
|
| 17 |
Varan-i-världen : Varan i form och innehåll i En dramatikers dagbok / Being-in-capitalism : The commodity in content and form in Diary of a PlaywrightStark Theander, Ellen January 2022 (has links)
This thesis explores the commodity as a motif in the first volume of Lars Norén’s Diary of a Playwright, as well as how this motif relates to reification and alienation, and in addition is reflected in the work formally. The study is oriented both towards the text’s depiction of the commodity and its reflections on its own depiction. These descriptions are read in light of Marxist theory and through comparisons with Walter Benjamin’s Passagenwerk, where the latter work also forms a connection to Martin Heidegger and Simone Weil in their capacity of important influences for Norén. Much like in the Passagenwek, the commodity acts as a secret structure in Diary of a Playwright. It organises the text and its seemingly disparate elements on a deeper level. The study contributes to a new understanding of one the greatest Swedish writers in the 20th and 21st centuries. Although the diary has not been the subject of much research, the predominant understanding of the work is, as with Norén’s other writings, largely characterised by a psychoanalytic perspective.
|
| 18 |
Är god redovisningssed fortfarande god sed?Niklasson, Viktor, Olofsson, Carl-Oscar January 2013 (has links)
Sammanfattning Bokföringsnämnden (BFN) är en statlig myndighet under regeringen som är statens expertorgan på redovisningsområdet. De ansvarar för att främja utvecklingen av den goda redovisningsseden som enligt definitionen skall grundas utifrån praxis. Redovisningen har dock gått från att ha styrts utifrån principer och sed till att bli allt mer styrt av regler. På senare tid har nämligen BFN antagit en ny strategi genom att utfärda regelverk vilket de aldrig tidigare har gjort. De nya regelverken vid namn K-regelverken grundar sig i internationella redovisningsnormer och blir aktuella att tillämpa från 2014. Problematiken är att BFN inte har någon föreskriftsmakt utan endast får ge ut allmänna råd. Dessa uppfattas dock ofta som obligatoriska i praktiken vilket leder till att det uppstår en konflikt både gällande hur reglerna skall tolkas samt vad som gäller juridiskt. Vårt syfte är att förstå hur de kommande regelverken från bokföringsnämnden uppfattas samt hur de kommer att påverka företagen och den goda redovisningsseden. I uppsatsen använder vi oss av en kvalitativ studie med induktiv ansats. För att erhålla data på området har vi både samlat in primär och säkundärdata för att förstå och tolka helheten. I slutsatsen kommer vi fram till att den goda redovisningsseden har förändrats så pass mycket att den inte längre kan anses vara god sed. Finns det överhuvudtaget fortfarande ett behov av god redovisningssed då skrivna regler har tagit över det tomrum som den goda seden tidigare försökte fylla? Vi har även kommit fram till att K-regelverken inte kommer att resultera i en förenkling jämfört med dagens normgivning, inte heller kommer de administrativa kostnaderna att minska.
|
Page generated in 0.0343 seconds