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Syftet med denna studie grundar sig i ett intresse för fenomenet pedagogisk måltid i förskolan och syftar till att med studien undersöka hur förskollärares förhållningssätt under måltiden påverkar dess utformning. Forskarna vill med studien undersöka komplexiteten kring utformningen av den pedagogiska måltiden i syfte att uppmärksamma måltidens pedagogiska potential för verksamhetens utveckling. Resultatet av videoobservationerna analyseras utifrån studiens tidigare forskning samt utifrån ett postmodernistiskt och utvecklingspedagogiskt perspektiv.Utifrån studiens syfte och frågeställning valde forskarna att med en kvalitativ metod utföra videoobservationer av den pedagogiska måltiden på två förskolor i Malmö, med en förskollärare i respektive situation, för att synliggöra och analysera deras pedagogiska förhållningssätt. Utifrån studiens teoretiska referensram resulterade analysen av videoobservationerna två skilda pedagogiska förhållningssätt som i sin tur återspeglas i måltidssituationens utformning. Utifrån studiens analys har forskarna kunnat synliggöra sambandet mellan förskollärarnas förhållningssätt och måltidssituationens utformning. Studien syftar till att uppmärksamma betydelsen av medvetenheten kring den pedagogiska rollen i förskolan genom ett kritiskt förhållningssätt för att främja individuell, barns och verksamhetens utveckling.

Just over six kilometers from Eskilstuna Centrum is a farm called Åsby Säteri. The fields are owned and leased out by a foundation, which means that Eskilstuna municipality has not been able to expropriate the land. The result has been a rural environment that lies like a wedge among Eskilstuna's suburbs. When a small forest in this area is attacked by spruce bark beetles, a group of 90s nostalgic and party-thirsty people from the district Hagnesta Hill see their chance. When the trees die, they either fall by themselves or are cut down and then left to rot. In this way, a sort of grove is created which, thanks to its proximity to the city, becomes the perfect refuge for the activities that gentrification and the increased premises rents have forced away. Throughout the process, I have mainly used urban concepts, such as "street", "backyard" and "square", as an aid in creating something in a place that has just died. The result has been that the project mimics something that it is not, namely a small piece of town. Due to this the rave house's facade has been, somewhat surprisingly, given a postmodern expression. Fortunately, this style fits quite well with 90s nostalgia. / Drygt sex kilometers cykelväg från Eskilstuna Centrum ligger en gård med tillhörande åkermark som heter Åsby Säteri. Marken ägs och arrenderas ut av en stiftelse vilket gjort att Eskilstuna kommun inte ́kunnat expropriera marken. Resultatet har blivit en rural miljö som ligger som en kil bland Eskilstunas för- orter.  När en liten skog i det här området angrips av granbarkborrar ser en grupp 90-talsnostalgiska och festtörstande människor från stadsdelen HagnestaHill sin chans. När träden dör faller de antingen av sig själva eller huggs ner för att sedan lämnas att förmultna. På så vis uppstår här en skogsglänta som tack vare sin närhet till staden blir den perfekta tillflykten för de aktiviteter som gentrifieringen och de ökade lokalhyrorna tvingat därifrån.  Genom hela processen har jag framför allt utgått från urbana begrepp så som ”gata”, ”bakgård” och ”torg”, som ett hjälpmedel i att skapa något på en plats som precis dött. Resultatet har blivit att projektet härmar något det egentligen inte är, nämligen en liten bit stad. Lite förvånande har följden blivit att framför allt rejvhusets fasad fått ett postmodernt uttryck, en stil som passar rätt bra ihop med 90-talsnostalgi.

For nearly twenty-six years, Brian O’Nolan wrote “Cruiskeen Lawn” in the Irish Times under the pseudonym Myles na gCopaleen. The column has often been regarded as a distraction for O’Nolan—one that kept him from writing more novels or plays. Yet characteristics of his work across genres and stages of his life (such as his use of pseudonyms) began in his experiments within newspapers. As a student at University College, Dublin, he wrote for the student publication Comhthrom Féinn, and later began his own satirical paper, Blather. Our study and understanding of “Cruiskeen Lawn” is fundamental to our understanding of O’Nolan as an author across literary forms, topics, and periods.   The translation of “Cruiskeen Lawn” from the expanse of a newspaper page to an edition or to a dissertation is itself a form of editorial emendation. This dissertation, bound with its own set of constraints and rules, cannot fix this. Yet it will aim to consider the gains and losses of how we collect O’Nolan’s column. This dissertation has four chapters. The first relates the story of how O’Nolan came to writing through newspapers, how he came to write in the Irish Times, and how his relationship with the paper changed over time. A chronology includes the events in O’Nolan’s own life that pertain to his newspaper writing and work under the pseudonym Myles na gCopaleen. It gives readers a holistic sense of the columns by placing them in the broader context of his life and includes end notes with references to his papers. The catalogue accounts for every “Cruiskeen Lawn” article O’Nolan published and it serves as the first document that consolidates this information. The edition comprises forty “Cruiskeen Lawn” articles. Annotations focus on tracing O’Nolan’s references to other articles and papers in order to open investigative pathways toward those sources and to show how richly the column borrowed from other media. / 2019-08-09T00:00:00Z

This dissertation examines the linear sequence of segments in musical collages composed by John Zorn between 1988 and 1993. In addition to the use of processes and associations as unifying elements, these pieces present hierarchical organization and narrative structure. The presence of form and narrative in these works illustrates the capacity of postmodern music to be unified in novel and idiosyncratic ways. I examine Zorn's collage pieces using an adapted methodology of paradigmatic analysis and incorporate ideas of musical topics as signifiers of delineation in the works. The segmentation of these works, begun in chapter three, reveals a hierarchical organization where individual musical blocks are organized into larger structures that I call collage phrases. This reveals the presence of hierarchical form in the musical surface, showing that organization in the pieces is not limited to background processes. The collage pieces that utilize this structure are described as exhibiting episodic collage form. Collage phrases in such pieces may also be further grouped together into larger units. I examine narrative in the pieces through the idea of idiolects, which I conceive of as approaches and compositional philosophies that are identified through the careful examination of Zorn and his music. Chapter four examines how linear narrative in Zorn's string quartet Cat O'Nine Tails relates to an idea of visual organization that connects to his conception of cartoon music. Chapter five examines how Zorn's album Radio is organized through the idea of the "musical game," a concept in which borrowed materials and techniques are combined with Zorn's musical persona. Songs on Radio reflect this concept progressively over the course of the album. This study reveals several things about Zorn's music and about musical postmodernism. First, it illustrates the organization of the musical surface of these works. Second, it highlights linear musical narratives in the pieces. These elements of linear organization operate alongside other non-linear structures in Zorn's music. Finally, it demonstrates the capacity of postmodern music to contain innovative approaches towards musical organization.

Change management is an increasingly prominent and complicated topic. In the postmodern digitized society, Sweden is believed to be at the forefront, yet in Swedish radio, information experts claim that the country is far from able to manage a crisis. Experts elaborate that in a disaster where large populations must be evacuated between municipal borders, there will be complications for essential care as medical records will be locked in different systems across these borders. The digitalization authority DIGG was for this reason founded in 2018 to facilitate the development of public service, building blocks, and ensuring public service is accessible to everyone in Sweden. DIGG further assists, develops, and encourages certain merges of processes that would prepare Sweden for such crises experts warn. This paper is a qualitative case study to examine obstacles change managers in digitized postmodern society encounter while leading modern autonomous organizations to the fragmented, heterogeneous postmodern era. To explore this subject, a case study at DIGG was conducted as they act as the change agent for Swedish authorities to implement digitized solutions. The theoretical framework is built on the history and shift from modernity to postmodernity, and additionally, how change management has changed collectively with digitalization. The data was further generated through semi-structured interviews with change managers at DIGG who work closely with this task. Change managers at DIGG in the fragmented postmodern society face challenges due to the demand for customized solutions and limited flexibility from other authorities. Rigid bureaucratic structures persist, but Swedish authorities are adopting a postmodern adaptation to enhance flexibility. There is a growing emphasis on customer orientation and the development of inclusive solutions. unique approaches are needed for each change adaptation, highlighting the need for the public sector to become more individualized, customer-oriented and align with evolving needs.

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