<p>Abstract</p><p>C-level in Political Science by Christoffer Odén, vt-08</p><p>“Traditionalism versus Modernism. The Ideology Debate in Left-Socialist Party Today”</p><p>Instructor: Mats Lindberg</p><p>The purpose with this essay is to describe the ideology debate in Left-Socialist Party between traditionalists and modernists. This essay have the following questions: 1 ) What are the differences between traditional and modern politics in the Left-Socialist Party? 2 ) What is similar between traditional and modern politics in the Left-Socialist Party? My method is to analyse the Left-Socialist Party programme from 2004 and analyse a programme from the modernist organisation Vagval Vanster. Then I shall compare the political views between those programmes. My results show that there are many differences but also similarity. For example the traditionalism wants to keep their political views and wait on the citizens to realise that a better world is possible. The modernists seek to renew their political views beacause they believe that no party has a self-value. The big similarity between the two groups are that they think the present society is unjust and not democratic enough. I think this essay has been very stimulating and I was suprised of some of the differences between the two groups.</p>

This dissertation seeks to expose the importance of the grotesque in the poetry and writings of Trans-Atlantic poets of the early twentieth century, particularly Ezra Pound, H.D., William Carlos Williams, Mina Loy, Marianne Moore and T.S. Eliot. Prior scholarship on the poets minimizes the effect of the grotesque in favor of the more objective elements found in such movements as Imagism. This text argues that these poets re-established the grotesque in their writing after World War I mainly through Hellenic myths, especially myths concerning the motif of the tree. The myths of Daphne and Apollo, Baucis and Philemon, and others use the tree motif as an example of complete metamorphosis into a new identity. This is an example of what Mikhail Bakhtin entitles grotesque realism, a type of grotesque not acknowledged in art since the French Revolution. Since the revolution, the grotesque involved an image trapped between two established forms of identity, or what Bakhtin refers to as the Romantic grotesque. This grotesque traps the image in stasis and does not provide a dynamic change of identity in the same way as grotesque realism. Therefore, these poets introduce the subversive act of change of identity in Western literature that had been absent for the most part for nearly a century. The modern poets pick up the use of the complete metamorphosis found in Hellenic myth in order to identify with a constantly changing urban environment that alienated its inhabitants. The modern city is a form of the grotesque in that it has transformed its environment from a natural state to a manmade state that is constantly in a state of transformation, itself. The modern poets use Hellenic myths and the tree motif to create an identity for themselves that would be as dynamic in transformation as the environment they inhabited.

Studiens syfte är att förstå och förklara fotgängarnas roll i planeringen av bostadsområden i tätort, vidare hur detta har utvecklats och förändrats över tid. Dessutom ämnar uppsatsen undersöka om det finns effekter av olika tiders planering för dagens fotgängare. Genom att utföra observationer i de olika bostadsområdena Bredäng, Rissne och Sickla Udde besvaras den första frågeställningen där det efterfrågas hur områden från olika tidsepoker är planerade ur fotgängarnas perspektiv. Den andra frågan, om hänsyn tagits till fotgängarnas behov och hur detta förändrats, besvaras genom en diskursanalys där planerna av de tidigare nämnda områdena studeras. Vidare analyseras resultaten och de övergripande planeringsidealens effekter för fotgängarna klargörs. Studien kommer fram till att fotgängarna varit osynliga vid planeringen av bostadsområden från 1960-talet fram till 1990-talet. De förändringar som förekommer i planeringen som i viss utsträckning påverkar fotgängarna positivt, beror inte på att deras roll förändrats utan på att de övergripande planeringsidealen förändrats.

Binge is a multi-media installation consisting of dangling IV bags looming over a large table of food. Monitors on the table show live online chats about thinness, depression and eating disorders. On the rear wall, interview footage describing the gruesome experiences of the eating disorder sufferer intercut with the newest development of the disease, the online presence. The installation confronts the viewer with the horrible dualities of the disease: discipline and madness, reason and passion, and suffering and indulgence. The work references the philosophic mind/body struggle as well as the grim reality of these afflicted young women.

Miljonprogramsförorten omtalas ständigt som en problematisk miljö. Under de senaste åren har den däremot börjat uppmärksammas som ett kulturarv och olika aktörer har börjat bedriva kulturmiljövård. Men att behandla miljonprogramsförorten som ett kulturarv förväntas ha konsekvenser. Kulturmiljövården tillskrivs makten att förändra den syn och den diskurs som pågår kring miljonprogramsförorten, men vilken kraft har egentligen kulturmiljövården när det gäller att förändra perspektiv och sociala strukturer i miljonprogramsförorten? Jag har identifierat tre olika perspektiv angående vilken påverkan kulturmiljövården har för miljonprogramsförortens utveckling och framtid. Med dessa olika perspektiv ger kulturmiljövård i miljonprogramsförorten tre helt skilda konsekvenser. Studien har genomförts med en hermeneutisk ansats, dels genom en studie av litteratur och forskning om miljonprogramsförorten och kulturarvsutnämningar, dels i form av fallstudier av praktiserad kulturmiljövård. Syftet med studien är att granska kulturmiljövårdens utvecklande ändamål i miljonprogramsförorten samt att analysera hur kulturmiljövården omnämns som verktyg för social hållbarhet och förändring av sociala strukturer i miljonprogramsförorten.

Through surfing man enters the domain of the wave, is contained by and participates in its broadcast, measures and is in turn measured, meets its rhythm and establishes his own, negotiates continuity and rupture. The surfer transforms the surfbreak into an architectural domain. This thesis undertakes a critical exploration of this domain as a means of expanding and enriching the territory of the architectural imagination.

Feberboken, written by Stina Aronson and published in 1931, is a fragmentary meta literary autobiographical work told and written by the pseudonymous female author Mimmi Palm. The novel tells about a literary-erotic passion causing female subordination, fever and sick-ness. It balances between biography and fiction and consistently decontructs itself through its meta literary prespective. This essay finds that the structure of the novel and its thematical confusion of literature and erotique, fiction and reality, woman and man, derives from a struggle for definitions. Thus, the essay attempts to a close reading focusing on ambivalence and resistance and in order to determine the nature of the fever, it tries to analyze Feberboken in the light of early Swedish literary modernism. With Foucault’s definitions of the discour-sive relation of power and its regementarity, it reads the novel as an allegory of the female authorship in a masculine modernistic literary discourse, as well as an allegory of the female author’s practise of technologies of the self within this discourse. It finds that the novel is both influenced by and critical of the order of the modernistic literary discourse and that Aronson through pseudonymity and metaperspectivity is reaching for a gender neutral literary voice.

Through surfing man enters the domain of the wave, is contained by and participates in its broadcast, measures and is in turn measured, meets its rhythm and establishes his own, negotiates continuity and rupture. The surfer transforms the surfbreak into an architectural domain. This thesis undertakes a critical exploration of this domain as a means of expanding and enriching the territory of the architectural imagination.

This dissertation seeks to expose the importance of the grotesque in the poetry and writings of Trans-Atlantic poets of the early twentieth century, particularly Ezra Pound, H.D., William Carlos Williams, Mina Loy, Marianne Moore and T.S. Eliot. Prior scholarship on the poets minimizes the effect of the grotesque in favor of the more objective elements found in such movements as Imagism. This text argues that these poets re-established the grotesque in their writing after World War I mainly through Hellenic myths, especially myths concerning the motif of the tree. The myths of Daphne and Apollo, Baucis and Philemon, and others use the tree motif as an example of complete metamorphosis into a new identity. This is an example of what Mikhail Bakhtin entitles grotesque realism, a type of grotesque not acknowledged in art since the French Revolution. Since the revolution, the grotesque involved an image trapped between two established forms of identity, or what Bakhtin refers to as the Romantic grotesque. This grotesque traps the image in stasis and does not provide a dynamic change of identity in the same way as grotesque realism. Therefore, these poets introduce the subversive act of change of identity in Western literature that had been absent for the most part for nearly a century. The modern poets pick up the use of the complete metamorphosis found in Hellenic myth in order to identify with a constantly changing urban environment that alienated its inhabitants. The modern city is a form of the grotesque in that it has transformed its environment from a natural state to a manmade state that is constantly in a state of transformation, itself. The modern poets use Hellenic myths and the tree motif to create an identity for themselves that would be as dynamic in transformation as the environment they inhabited.

To study architectural space in relation to other works of art, the author aims at understanding how meaning depends upon the medium within which it is formulated. More importantly, the process of re-stating a work from one medium to another requires analytically rigorous study at the level of design thinking. In this thesis, Piet Mondrian’s sixteen Diamond Compositions, George Braque’s Studio Series, and Jean Auguste Dominique Ingres’s Comptesse d'Haussonville will be studied as points of departure of John Hejduk¡’s two sets of architectural projects: the Diamond Series and the Wall House Series. Compositional similarities among these works will be discovered as the design means of Hejduk’s architecture. Moreover, these paintings suggest two design ends: C flatness and otherness. Hejduk’s poems about paintings and his architectural drawings will be examined as working media in which the two design ends are formulated. On this basis, the Diamond Series and the Wall House Series will be analyzed once again on the basis of how flatness and otherness are constructed in architectural space. In a way, Hejduk defines his own design means in the medium of architecture. It is noted that the re-statement of meaning in the medium of architecture involves both a retrospective understanding of the spatial structure and an embodied experience of the immediate spatial condition. Only when space makes sense independent of the references back to existing works in other media such as painting or poetry and the key design move is made will the readings of such works become architectural concepts. In the media of painting, poetry, architectural drawing, and architectural space, John Hejduk designs intention in its own right as part of the design process. Therefore, working across media entails far more than superficial references or fanciful representations. Rather, it is a serious investigation into the construction of medium-specific meaning, which the work of Hejduk clearly exemplifies. For the same reason, Hejduk’s work can be understood beyond personal or mystical expressions, becoming a tangible, logical, and thereby shared construction.