The vegetation characteristic of the Back Bay area is largely Austroripariam. On the Back Bay National Wildlife Refuge about 330 species and varieties of 198 genera from 76 families were found. Of these plants, five are important submerged aquatic water-fowl foods and twenty-four are emergent or marsh food species. The present production of submerged waterfowl food plants is much below the potential for the area, though somewhat greater than in past years. The factor now most responsible for this limited growth is turbidity of the water. The chief cause of turbidity is wave action due to wind. The action of carp is a secondary cause. In the view of the extreme difficulties and expenses of controlling turbidity, no management practices can be recommended for increasing the growth of submerged aquatics other than continued prevention of pollution and maintenance of as low a carp population as possible. Marsh management, on the other hand, is thought to offer good possibilities for benefitting waterfowl conditions on the area. Therefore, it is believed that any management efforts to improve waterfowl food plant conditions on Back Bay can be more profitably applied to marsh and emergent species than to submerged aquatic species. / M.S.

Indiana University-Purdue University Indianapolis (IUPUI) / Frances Hodgson Burnett’s life revolved around her love of story-telling, her sons, nature, and the idealized notion of childhood. Burnett had an ability to recapture universal aspects of childhood and transform them into realistic stories containing elements of the fantastic or fairy tales. Her ability to tell stories started at a young age when she and her sisters were given permission to write on old pieces of paper. Burnett’s love for storytelling, reading, and writing was fostered in her parents’ household, in which a young Burnett was given free reign to explore her parents’ book collection and also left unhindered to imagine and act out stories by herself and with her sisters and close friends. Later her love for telling tales became a means of providing for her family—beginning with short story submissions to magazines. Although Burnett did not necessarily start out writing for children her career ended up along that path after the success in 1886 of her first children’s book, Little Lord Fauntleroy. After this success, she was a recognizable author on both sides of the Atlantic. Sara Crewe; or, What Happened at Miss Minchin’s, the 1887–88 serial publication in St. Nicholas magazine and the 1888 short story publication both were titled the same, and the subsequent reworkings of Sara’s world in the forms of two plays, A little un-fairy princess (England, 1902), and A Little Princess; Being the Whole Story of Sara Crewe, Now Told for the First Time (United States, 1903), and the 1905 full-length novel which retained the American 1903 play’s title, outlines the creative process that Burnett undertook while exploring the world of Sara Crewe. By examining the above forms, readers and scholars gain an insight into not only the differences between the forms, but also a view of how the author approached adapting an already published work, and the influence of editors on an authors work. The examination of the development of Sara’s timeline will bring light onto Burnett’s growth as a writer and specifically her transition into her role as a children’s literature author.

Denna undersökning granskar hur representationen av de kvinnliga karaktärerna sker i Barbiefilmen Barbie Princess Adventure (2020). Granskningen genomfördes genom två separata analyser, en narrativ analys av filmen och en semiotisk visuell analys av de kvinnliga karaktärerna. Undersökningen visade på att filmen representerar en motsägelsefull femininitet. Majoriteten av den narrativa analysen visade på att de kvinnliga karaktärerna var bemyndigande, självsäkra och självständiga karaktärer med både maskulina och feminina egenskaper. I den visuella analysen och i delar av den narrativa analysen framstår karaktärerna som stereotypiskt gestaltade. De sex karaktärerna som granskades konstruerade alla en identitet av hyperfemininitet. Filmen visar på en representerad femininitet med möjligheter till jämställd individualism men i en begränsning av att de kvinnliga karaktärerna har ett hyperfeminitetisk utseende. I slutet av uppsatsen öppnar jag upp till vidare forskning och diskuterar framtiden för Barbiefilmerna. / This thesis will analyze how the female characters in the Barbie movie Barbie Princess Adventure (2020) are represented. The movie was analyzed by conducting two separate analyses. One narrative analysis of the movie and one semiotic visual analysis of six female characters. The analysis showed that the movie represented a contradictory femininity. The overall narrative analysis showed that the female characters were empowered, confident, independent and had both masculine and feminine skills and interests. The visual analysis and some conclusions from the narrative analysis showed that all the six female characters have a stereotypical image. They all show a hyperfeminine identity. The movie shows a femininity with possibilities but with the limitation of a hyperfemininen appearance. In the end of the thesis, I open up for further research on the subject and discuss the future for Barbie movies.

This thesis is a report of the practical aspects and the problems of classification and documentation of a collection of memorabilias from the Crown Princess Couple's Wedding in Stockholm 2010. The collection contains 38 objects collected by Nordiska museet [The Nordic Museum], Sweden's largest museum of cultural history. Nordiska museet has a total collection of over 1,5 million items collected since 1873. My ambition in this thesis has been to describe my work with the classification and documentation of these new objects and their context. One of the main problems was how to combine the modern objects with the old existing collection within the two classification systems used at the museum. Four case studies were made toillustratethe different types ofproblems that occurred and the solutions found.I have also highlightedthe importance of being coherent when working with documentation and some of the consequences of classification.

Princess Diana, or Lady Diana Spencer as she was called at the time,  took the whole world by storm when she at only 20 years of age married in to the British royal family, and thereby became a popular target for the media. It was through the media that people all over the world got to know and love Diana, and when she died in a terrible car accident in Paris, France, in the year of 1997, people mourned the loss of their beloved princess, and blamed the media for causing her tragic death for the chance of getting some photos of her.          Many people loved Diana and looked up to her, and the interest that was shown for her funeral was enormous and worldwide. The death of Diana gave the media a lot to write about, and in this study I investigate how the Swedish newspaper Aftonbladet, and the British newspaper The Guardian portrayed Diana in their articles during the week after her death on August 31 1997, until the day of the funeral September 6 1997. Specifically the study focuses on the portraying of Diana based on gender stereotypes. By using a theory about desirable and non-desirable feminine and masculine traits the conclusion was made that the Swedish newspaper Aftonbladet mostly used female stereotypes when portraying Diana, both when it came to desirable and non-desirable traits, and the British newspaper The Guardian mostly described Diana with desirable masculine traits, and feminine non-desirable traits. / Prinsessan Diana, eller Lady Diana Spencer som hon då kallades, tog hela världen med storm när hon endast 20 år gammal gifte in sig i den brittiska kungafamiljen, och därmed blev ett populärt objekt för media. Det var genom media som människor över hela lära känna och älska Diana, och när hon dog i en hemsk bilolycka i Paris, Frankrike, år 1997, sörjde människor förlusten av sin älskade prinsessa, och anklagade media för att ha orsakat hennes tragiska död för chansen att få några foton av henne.          Många älskade Diana och såg upp till henne, och intresset som visades för hennes begravning var enormt och världsomfattande. Dianas död gav media mycket att skriva om, och i denna studie undersöker jag hur den svenska tidningen Aftonbladet, och den brittiska tidningen The Guardian skildrade Diana i sina artiklar under veckan efter hennes död den 31 augusti 1997, fram till dagen för begravningen den 6 september 1997. Studien fokuserar specifikt på skildringen av Diana baserat på könsstereotyper. Genom att använda en teori om önskvärda och icke önskvärda feminina och maskulina egenskapar kunde slutsatsen dras att den svenska tidningen Aftonbladet främst använde kvinnliga stereotyper för att beskriva Diana, både när det gällde önskvärda och icke önskvärda egenskaper, och den brittiska tidningen The Guardian beskrev Diana främst med önkvärda maskulina egenskaper, och icke önskvärda feminina egenskaper.

This Bachelor's thesis in Art History at Uppsala University is an iconographical and iconological study of six artworks made by Princess Eugénie of Sweden and Norway (1830-1889). These works of art consists of two ink-drawings, two aquarelles and two sculptures. One of the sculptures is in porcelaine and the other in terra-cotta.  The iconographical and iconological analysis is made according to Erwin Panofsky's three level-method.

This study has analysed the dialogue in two of the oldest Disney animated movies with a princess in the lead role, Cinderella from 1950 and Sleeping beauty from 1959 and compared them with their new live action remakes, Cinderella from 2015 and Maleficent from 2014, from a gender perspective. The purpose was to find out if there has been a change in the way the princess was shaped based on their personality and their relation with the prince. Selected scenes have been transcribed from the four films and through a qualitative content analysis they have been coded based on a code scheme.   The analysis has been based primarily on Rönnberg's theory of feminine role types in film and Yvonne Hirdman's gender contract. Davies 'previous research on stereotypes in fairy tales and England, Descartes and Collier-Meek and Hine´s et al. study about gender in Disney movies through the ages also support the interpretations of the analysis'. The results show that both of the older animated films portray the princesses based on a more stereotypical image of women and from a perspective where men are superior and the heroes in the story.   In the live action movies, the stereotypical feminine image of the princesses has developed. In Cinderella, the main character develops during the film. At first the main character Ella shows similarities with the classic Cinderella which is very gender stereotypical. During the film, the character of Ella changes and in the end, she finally dares to stand up for herself which is a big change compared to the classic movie. In Maleficent, on the other hand, Princess Aurora is portrayed in a completely different way compared to classic Sleeping Beauty. This movie shows a side that is not as stereotypically feminine. Aurora is not saved by a prince, she is curious and dreaming of taking over the magical land that Maleficent comes from. The change you can see in the result indicates a social change in the way of how men and women are viewed. The live action movies show a world where women are allowed to take more space, be strong for themselves and have dreams that do not involve a prince. / Den här studien har analyserat dialogen i två av de äldsta animerade originalfilmerna från Disney med en prinsessa i huvudrollen, Askungen från 1950 och Törnrosa från 1959. Därefter har de jämförts med deras nyutgivna spelfilmer, Berättelsen om Askungen från 2015 och Maleficent från 2014, ur ett genusperspektiv. Syftet var att undersöka om det skett en förändring i hur prinsessans personlighet och hennes relation med prinsen gestaltas mellan filmerna. Utvalda scener har transkriberats från de fyra filmerna och genom en kvalitativ innehållsanalys har de kodats utifrån ett kodschema.     Analysen har därefter baserats framförallt på Rönnbergs teori om feminina rolltyper i film samt Yvonne Hirdmans genuskontrakt. Davies tidigare forskning om stereotyper i sagor samt England, Descartes och Collier-Meek och Hines et al. studie om genus i Disneyfilmer genom tiderna stöttar också analysens tolkningar. Resultatet visar att båda de äldre animerade filmerna gestaltar prinsessorna utifrån en mer stereotyp bild av kvinnor samt utifrån ett perspektiv där männen är överordnade och hjälten i historien.   I de nya spelfilmerna har den stereotypa feminina bilden av prinsessorna utvecklats. I Berättelsen om Askungen utvecklas huvudkaraktären under filmens gång. Huvudkaraktären Ella visar till en början stora likheter med den klassiska Askungen som är väldigt könsstereotypiska. Under filmens gång får man följa en förändring i Ella och i slutet vågar hon äntligen stå upp för sig själv vilket är en stor förändring i jämförelse med den klassiska filmen. I Maleficent däremot, gestaltats prinsessan Aurora på ett helt annat sätt i jämförelse med klassiska Törnrosa. Filmen visar en sida av Aurora som inte är lika stereotypiskt feminint. Aurora blir inte räddad av en prins, hon är nyfiken och drömmer om att själv ta över det magiska landet som Maleficent kommer ifrån. Den förändring man kan se i resultatet tyder på en samhällelig förändring i hur man ser på män och kvinnor där kvinnor tillåts ta mer plats, vara starka i sig själva och ha drömmar som inte involverar en prins.

This study using a quantitative, descriptive design with a questionnaire investigated cultural, religious and social factors that might impact on ARV treatment in HIV/AIDS-infected women in Botswana. The study found that the majority never missed any doses, a few missed doses once or twice, and a small minority missed more than three times. The respondents’ perception of cultural influence on treatment of HIV/AIDS in women revealed that the majority (70%) believe culture has an influence on the treatment. Social factors also impacted on ARV adherence. A few of the respondents indicated that side effects and the number of pills prevented ARV medication adherence. The main reason for non-adherence, however, was forgetfulness. There had been an improvement in the majority of the respondents’ health status and quality of life. Maximizing adherence is essential. Providers and patients both have responsibilities in this regard. / Health Studies / M.A.(Health Studies)

AIM: This study aimed to explore the factors influencing antiretroviral therapy patients` data quality at Princess Marina Hospital Pharmacy in Botswana. METHODS: A phenomenological approach was adopted in this study. Specifically, Interpretative Phenomenological Analysis qualitative design was used to explore the factors influencing antiretroviral therapy patients` data quality at Princess Marina Hospital Pharmacy in Botswana. Data were collected using a semi-structured interview format on 18 conveniently selected pharmacy staff. Data were analysed using Smith’s (2005) Interpretative Phenomenological Analysis framework. RESULT: Five thematic categories emerged from data analysis: data capturing: an extra task, knowledge and experience of IPMS, training and education, mentoring and supervision, and data quality: impact on patients’ care. The findings of this study have implications for practice, training and research. CONCLUSION: Pharmacy staff had limited knowledge of IPMS and its utilisation in data capturing. Such limitations have implications in the context of the quality of data captured / Health Studies / M.A. (Health Studies)

This study using a quantitative, descriptive design with a questionnaire investigated cultural, religious and social factors that might impact on ARV treatment in HIV/AIDS-infected women in Botswana. The study found that the majority never missed any doses, a few missed doses once or twice, and a small minority missed more than three times. The respondents’ perception of cultural influence on treatment of HIV/AIDS in women revealed that the majority (70%) believe culture has an influence on the treatment. Social factors also impacted on ARV adherence. A few of the respondents indicated that side effects and the number of pills prevented ARV medication adherence. The main reason for non-adherence, however, was forgetfulness. There had been an improvement in the majority of the respondents’ health status and quality of life. Maximizing adherence is essential. Providers and patients both have responsibilities in this regard. / Health Studies / M.A.(Health Studies)