Das schreibende Ich prägt formal wie thematisch die literarische Entwicklung der letzten Jahre. Seit der Jahrtausendwende hat die Produktion autobiographischer und autofiktionaler Literatur insbesondere auf dem skandinavischen Buchmarkt erheblich zugenommen. Obwohl (noch) kein kritischer Konsens besteht, was der Begriff Autofiktion genau bezeichnet, ist das Changieren zwischen Fakt und Fiktion im autobiographischen Schreiben zu einer der beliebtesten literarischen Strategien im zeitgenössischen Erzählen avanciert. Die literaturwissenschaftliche Forschung zur Autofiktion ist im Zuge dessen auf diesen Trend aufgesprungen und insbesondere nach der Veröffentlichung von Karl Ove Knausgårds Romanprojekt Min kamp (2009–2011) sind die literaturwissenschaftlichen Diskussionen zu Autofiktion und literarischer Selbstdarstellung in Skandinavien deutlich angestiegen. Die literaturwissenschaftlichen Beiträge kreisen im weiteren Sinne um die dichotomischen Beziehungen von Fakt vs. Fiktion, Roman vs. Autobiographie sowie um die Inszenierung der Autor*innen in der literarischen Öffentlichkeit. Dabei ist autofiktionales Schreiben als konkrete erzählerische Praxis betrachtet in den Hintergrund gerückt, weshalb in dieser Arbeit der Versuch gemacht wird, die Fragen nach den literarischen Verfahren innerhalb dieser Texte in den Vordergrund zu stellen. Mit Ausgangspunkt in Texten von August Strindberg, Maja Lundgren, Karl Ove Knausgaard und Björn Rasmussen wird in dieser Arbeit Spezifika einer autofiktionalen Erzählpraxis herausgearbeitet, in welcher die Autorin oder der Autor in erster Linie einen narrativen Autoritätsanspruch über ihren bzw. seinen autobiographischen Text erhebt und hierdurch in der Bestrebung, die autobiographische Wirklichkeit zu schreiben, die Grenze zwischen Wirklichkeit und Literatur und somit zwischen Leben und Text transzendiert / Since the turn of the Millennium there has been a remarkable increase in the production of autobiographical and autofictional literature in Scandinavia. While there is (still) no critical consensus to what the term autofiction precisely designates, the oscillation between fact and fiction in autobiographical writings has emerged as one of the most favoured literary strategies when it comes to negotiating, (re)-constructing, and staging identity and individuality. The academic discussions about autofiction and autofictional writing in Scandinavia are mostly concerned with the opposed relations of fact/fiction, true/false, and novel/autobiography or with the mediatised performativity of the author in the public sphere. In this respect, the specific narrative practices of autofictional writing have taken a back seat in the academic exploration of autofiction. In this thesis it is examined how autofictional writing in selected novels by August Strindberg, Maja Lundgren, Karl Ove Knausgaard and Björn Rasmussen is being set forth within the narration of the text, a thus far unexplored research field. The analysis of the position of the author in his or her text enables us to see that the interplay of fact and fiction in the autobiographical text is predominantly conveyed by narrative strategies. The narrative presence of the author in the text entails specific self-reflexive practices, which can be identified through an increased use of narrative transgressions of the extradiegetic and diegetic discourses that allow the actual author of the text to slip into his narration. The narrative roaming between the reality of the author and the narration that he is producing is used as a means of taking over the authority of the individual life story and to write autobiographical on own subjective and aesthetic terms.

Syftet med föreliggande studie har varit att kartlägga hur grafiska formgivare runt om i världen uppfattar skandinavisk grafisk design. 53 deltagare från industriländer deltog i studien som använde en kombination av mail-intervjuer och enkäter. Resultaten från denna studie indikerar att, oavsett kontinent, upplevs skandinavisk grafisk design som enkel och funktionell. Layouten uppfattades som rutnätsbaserad med mycket ljusrum och få grafiska element. Monokroma färger som svart, vit och grå utan gradienter och skuggor uppfattades som typiska för skandinavisk grafisk design; följt av jord- och pastellfärger. Sanserifer var mest förknippade med skandinavisk grafisk design. Motiv ansågs i denna studie att användas sparsamt, men när de används avbildar de naturen eller geometriska former. Foton och illustrationer ansågs användas ungefär lika mycket, illustrationer hade en smärre större preferens. Den upplevda påverkan av skandinavisk grafisk design varierade mellan deltagarna. Deltagarna som tyckte att påverkan var stor, ansåg att detta berodde på förespråkandet av enkelhet och funktion, sammanflätning av designområden och/eller frammaning av hållbar grafisk design. Deltagarna som ansåg att påverkan var låg, tyckte att för lite publicitet var en bidragande faktor.De flesta deltagarna i denna undersökning ansåg att skandinavisk grafisk design var enklare i jämförelse med vad de kunde se i sina hemländer. Vidare tyckte afrikanska, asiatiska och sydamerikanska deltagare  att färgerna hade lägre kroma. / The aim of the present study was to determine how graphic designers around the globe perceive Scandinavian graphic design. 53 participants from industrial countries around the world partook in the study, which used a combination method of mail interviews and questionnaires.The results of this study indicated that, regardless of continent, Scandinavian graphic design was perceived as simple and functional. The often grid-based layout favored the use of sans-serifs, white space and few graphic elements according to the participants in this study. Achromatic colors such as black, white, and grey without gradients and shadows were preferred. Followed by earthy and pastel hues. Motifs were used sparingly, but when they were, they depicted elements found in nature or geometric shapes. Photos and illustrations were perceived to be equally in use, with a slight inclination towards illustrations being used more. The perceived impact of Scandinavian graphic design was wide-ranging. The participants who found the impact to be high were due to advocating simplicity and functionality, intertwining design fields, and/or raising awareness of conscious graphic design. The participants, who found the impact to be low, believed that too little exposure was a contributing factor. Most participants in this study considered Scandinavian graphic design simpler in comparison to what they can see in their own countries. Furthermore, African, Asian and South American participants perceived the colors to be lower in chromatic value.

Selon l’image reçue des Vikings, ce peuple incarne l'esprit d’une immense solidarité primitive ayant su résister rudement au joug du christianisme et à la domination du Latin en Europe occidentale. Cette image n’est pas sans ses contradictions et, s’il est vrai que l’écriture était encore inconnue en Scandinavie durant les premiers siècles de l’expansion viking, on sait maintenant que le commerce et la colonisation, autant que les célèbres raids, motivèrent l’irruption des peuples scandinaves sur la scène médiévale. Quant aux navires de ces marchands, colonisateurs, pêcheurs et guerriers, ils apparaissent, un peu à l’image des Vikings eux-mêmes, sur le grand tableau de l’histoire nautique sous l’enseigne d’une originalité et d’une technicité sans parallèle. Comment les Vikings construisaient-ils leurs navires, en leur donnant une symétrie, un équilibre et une finesse si achevés? Les premiers ethnologues qui se sont intéressés à cette question ont privilégié les idées issues d'une tradition acquise par des générations de constructeurs, et d'astuces simples pour équilibrer tribord et bâbord. Puis, ils se sont rapidement tournés vers les techniques inhérentes à la construction à clin : utilisation de planches fendues et non sciées et de rivets abondants témoignant d’une sidérurgie acquise depuis peu. Le problème que présentent ces navires, est que leur construction artisanale demeure conforme à l’image reçue des Vikings, mais que leur conception architecturale, réalisée selon des connaissances théoriques très exactes, brise la notion d’une Scandinavie médiévale illettrée et coupée des grands centres du savoir. Ce travail s’intéresse précisément à la conception architecturale des navires scandinaves du VIIIe au XIe siècle pour montrer comment ils s’insèrent dans un haut savoir européen dès leur apparition. Il explore ensuite les liens qui unissent ce savoir théorique aux aspects véritablement originaux des navires vikings, en l’occurrence leur construction à clin et leur homogénéité sur une grande région à travers plus de cinq siècles. Au terme de cette recherche, l'analyse réalisée sur le maître-couple de trois épaves vikings, une épave antique et une épave scandinave pré-viking, a permis de mettre en évidence plusieurs indices de l'utilisation du système de conception géométrique apparaissant pour la première fois dans les traités d'architecture navale de la Renaissance, et ce, sur chacune de ces épaves. Les résultats obtenus démontrent qu'il est possible d'employer un système transversal de conception pour des navires vraisemblablement construits bordé premier et assemblés à clin. / According to the popular image of the Vikings, this people embodied a spirit of immense solidarity that resisted the yoke of Christianity and the dominance of Latin in Western Europe. This image is not without its contradictions, and while it is true that writing was unknown in Scandinavia during the early centuries of the Viking expansion, we now know that trade and colonization, as much as their famous raids, motivated the irruption of the Scandinavian people on the medieval stage. However, there is an important area where the contradictions between the image of the Vikings and archaeological data still remain intact : the Vikings ships. These ships were designed for traders, settlers, fishermen and warriors. Like the Vikings themselves, their ships reflect a genius of unparallelled originality and high performance. How did the Vikings build their ships, conferring them with such impressive symmetry, balance and finesse? The first ethnologists who studied this issue favoured ideal notions of traditions compiled over generations of builders, along with simple tips for balancing portside and starboard. Following this reductive cultural representation, they then quickly turned to the essential elements of clinker built construction: use of split planks and a great number of iron rivets, evidence of a new metallurgy. The problem with these ships is that, while their construction is made using traditional methods fitting to the popular image of the Vikings, their architectural design, deriving from very refined knowledge, contradicts the idea of an illiterate medieval Scandinavia cut off from the main centres of learning. This work focuses on the architectural design of Scandinavian ships from the eighth to the eleventh century, to show their place in high European knowledge. It then seeks to understand the links between the theoretical and practical aspects of Vikings ships : the clinker built construction and a great homogeneity over more than five centuries. Analysis of the master frames of five wrecks – three Viking ships, one Ancient wreck and a pre-Viking Scandinavian vessel – has found positive indicators of the use of geometric design principles that were formerly thought to be original in Renaissance shipbuilding treatises. Each wreck showed signs of the application of these design principles. The results show moreover that it was possible to use a transverse system of hull design for ships that were built shell-first in the clinker style.

Faroese is known to lie grammatically between Icelandic and the Mainland Scandinavian languages and dialects. One example of this is that, on the one hand, Faroese is like Icelandic in having a basically intact morphological four case system. On the other hand case-marking in Faroese is linked to clause function to a greater degree than in Icelandic – but to a lesser degree than in the Mainland Scandinavian standard languages. In Scandinavian Linguistics, it has long been an axiom that in the longer term the aforementioned four case system will be reduced in all varieties of the Scandinavian languages. The present thesis investigates if, and if so how, this expected development manifests itself in Senior High School graduation essays in Faroese from the period 1940–1999. A quantitative study forms the core of the thesis. The choice between the dative and other cases is related to eight syntactic variables whose effect on the choice of case is compared using methods from the variationist framework, among others. The results are partly surprising: the dative did not reduce in frequency from the 1940s to 1990s. There certainly is a tendency, however not a statistically significant one, that the dative is more often replaced by another case in contexts where the norm is to use the dative. On the other hand it also seems to become more common for the dative to be used hypercorrectly. Furthermore, the development is not linear, in that around the middle of the investigation period, the dative is used far more according to norms than otherwise. As expected, clause function is an important variable, but by the end of the period under investigation the placement of the nominal phrase within the clause becomes a surprisingly strong factor. It also becomes more important if the phrase takes the form of a first/second-person pronominal or not. The results are theoretically interpreted in the light of, firstly, Generative Grammar, and secondly Construction Grammar. The modification of certain terms is discussed, such as lexical case in Generative Grammar or usage-based model in Construction Grammar. The conclusion is that the linguistic descriptive models of these theories can only partly cover the tendencies to change that are observed. Other parts of the results are best explained using aspects of sociolinguistics. The conclusion is that case studies on a micro-level are valuable in order to evaluate and develop theories of linguistic variation and change at a macro-level.

Bakgrund: Offentliga organisationer har under de senaste decennierna utsatts för förändring, detta till följd av ett ökat krav på effektivitet. Som svar på detta har styrinstrument (management verktyg) från industriella sammanhang hämtats för att bemöta denna effektivitet, ett av dessa verktyg är Lean, som i hälso- och sjukvården fått namnet Lean Healthcare. Lean kan ses vara ett koncept som färdats från tillverkningsindustrin in till hälso- och sjukvården där den översatts, något som medfört att det teoretiska ramverket översättningsmodellen används för att förstå denna översättning i hälso- och sjukvården.   Syfte: Syftet med studien är att beskriva och förklara hur olika hälso- och sjukvårdsorganisationer översätter Lean. Detta för att bidra med kunskap om vad Lean står för i hälso- och sjukvården, samt vilka möjligheter och svårigheter som existerar.   Metodval: En kvalitativ flerfallstudie har genomförts för att kunna förstår hur Lean översatts i hälso- och sjukvården. Datainsamlingen har genomförts genom semistrukturerade intervjuer på kliniknivå vilket inneburit att vi haft kontakt med läkare, sjuksköterskor, fysiker, specialistsjuksköterskor, barnmorskor samt administrativ ledning. Vi har även tagit del av olika dokument som medfört en bredare förståelse för hur översättningen sett ut.   Slutsatser: Vi har sett hur idén, Lean, genomgått olika faser i klinikerna där det översatts till att bli något eget i klinikernas lokala praktiker. Vi kan konstatera att Lean i hälso- och sjukvården blir något som står för effektivitet, processtänk, samarbete och problemlösning, standardisering, visualisering, att ledarna investerar i sina anställda samt mätning och sökande efter överlevnadsgrad. Vidare kan vi konstatera att Lean i hälso- och sjukvården skapar möjligheter då det lett till effektivare behandlingstid, bättre tillgänglighet av personal, förkortade ledtider, förbättrade patientflöden, bättre arbetsmiljö och en bättre struktur. Svårigheter som visat sig uppkomma är att finna balans och anpassning, svårigheter med professioner, svårigheter med koppling till det industriella sammanhanget samt den komplexitet som hälso- och sjukvården består av där oförutsägbara händelser ofta uppstår. / Background and discussion: Public organizations have in recent decades been subjected to change, and this is due to an increased demand for efficiency. The control instrument (management tool) from industrial settings has been taken in response to this efficiency and one of them is Lean, in Healthcare named “Lean Healthcare”. Lean can be seen as an idea that has been translated from the manufacturing industry to healthcare, and the theoretical framework translation model has been used to understand this in this paper. Purpose: The purpose of the study is to describe and explain how different healthcare organizations translate Lean. This is to provide knowledge of what Lean stands for in Healthcare, as well as the difficulties and opportunities that exist. Method: A qualitative case study has been conducted to understand how Lean is translated into Healthcare. Data has been collected through semi-structured interviews at the clinic level, which meant that we had contact with doctors, nurses, physicists, specialist nurses, midwifes and administrative management. We have also taken note of the documents that enabled us to have a broad understanding of how the translation looked which has given us an understanding of the opportunities and difficulties that existed. Conclusions: We have seen how the idea, Lean, has undergone various phases in both of the clinics, where it was translated into something local. We can conclude that Lean in Healthcare is something that stands for efficiency, the process of thinking, collaboration and problem solving, standardization, visualization, leaders investing in their employees, and measurement of quest for survival. Furthermore, we note that Lean in Healthcare creates opportunities as it leads to more effective treatment, better availability of personnel, shorter lead times, improved patient flow, better work, better structure and a better working environment. Difficulties arise as proven by finding balance and alignment, difficulties with professions, difficulties related to the industrial context and the complexity of healthcare where unpredictable events are common.

Cette thèse porte sur les artistes suédois et norvégiens en France de 1889 à 1908. Ces années ont traditionnellement été considérées comme une période de retour au pays et d’abandon de la France pour les artistes scandinaves qui se seraient tournés de nouveau vers Paris seulement en 1908 avec l’arrivée des élèves d’Henri Matisse. Une étude approfondie de leur présence aux Salons parisiens a été menée afin de constater que leur nombre ne baisse pas et que les départs des uns sont aussitôt comblés par l’arrivée d’autres artistes scandinaves. À travers l’examen de la taille et de l’activité de cette communauté d’artistes installés en France durant ces deux décennies, dites nationalistes, il s’avère que l’hypothèse du retour vers la Scandinavie dans les années 1890 est un mythe créé par une historiographie faussée. La plupart des artistes scandinaves expatriés en France de 1889 à 1908 menèrent des carrières couronnées de succès dans un environnement cosmopolite et international. Les raisons de la mauvaise interprétation de cette période de l’histoire de l’art scandinave ont été analysées à travers les ouvrages d’histoire de l’art anciens et actuels. D’autres investigations ont été entreprises, basées sur la correspondance de ces artistes principalement conservée à l’Académie Royale des Beaux-Arts de Suède et dans les archives d’Auguste Rodin, ainsi que sur l’étude de leur accueil critique en France. Elles démontrent que la colonie scandinave de Paris de ces années-là a été exclue des expositions organisées en France par leurs propres pays et que la carrière de ces artistes expatriés, ainsi que le rôle de la France, ont été minimisés dans l’histoire de l’art scandinave. / This dissertation is about the presence of Swedish and Norwegian artists in France during the years 1889 to 1908. Traditionally these years have been considered as a period when Scandinavian artists left France to return to their homelands and according to this traditional view, they only returned to Paris and French influence with the arrival of Henri Matisse’s students around 1908. A thorough study of their presence in the Parisian Salons has been conducted which determines that their numbers do not decrease and that the departure of certain Scandinavian artists was balanced by the arrival of others. By examining the size and the activity of this artistic community in France during these two so-called nationalistic decades, it appears in fact that the hypothesis about the return to Scandinavia in the 1890’s is a myth created by a distorted historiography. Most Scandinavian expatriate artists living in France between 1889 and 1908 led successful careers in a cosmopolitan and international environment. The reasons for the misinterpretation of this period in Scandinavian art history have been analysed using historical and current texts and art history handbooks. Further investigation based on the correspondence of these artists, kept chiefly by the Royal Swedish Academy of Fine Arts and in the archives of Auguste Rodin, as well as the study of their critical reception in France, have shown that the Parisian colony of Scandinavian artists has often been excluded from exhibitions organized in France by their home countries and that the career of these expatriate artists as well as the role of France during this period has been minimized in Scandinavian art history.

<p>This work consists of two parts: the theoretical and the experimental. In the theoretical part, some general and some language specific theories of tense, aspect and aktionsart are presented, and the temporal systems of Swedish and Polish are compared. </p><p>The theoretical part is not a mere review of the literature on the subject. The comparison of the descriptions of aspect and aktionsart by Slavic researchers with the universal theory of Smith (1991) and (1977) and with description of aktionsart in Swedish in Teleman et al. (1999) has allowed me for some important observations as to the nature of the long-lasting dispute about the differences between aspect and aktionsart.</p><p>The experimental part is a cross-sectional study on the role of the linguistic context on the acquisition of the pluperfect by Polish learners Swedish as a foreign language. The informants are university students studying Swedish as a foreign language. The language samples were collected by means of two types of tests: gap-filling and translation from Polish. </p><p>Twelve linguistic factors, each divided into two subgroups, were hypothesised to have affected the correct use of the pluperfect. All those hypotheses as to which of the subgroups may inhibit and which may facilitate the correct use of the pluperfect are grounded in linguistic theories, i.e. presented in the form of linguistically-based discussions as to what kind of effect, facilitative or inhibiting, each of the linguistic factors may have had, and why. </p><p>The effect of those factors upon the correct use of the pluperfect has been tested by means of a step-wise multiple regression which measured the simultaneous effect of each factor upon the correct use of the pluperfect. This method has confirmed the facilitative effect of the following six linguistic factors: intrasentential indication of topic time (subordinate clause), unbounded verb indicating topic time, agentive meaning of the target verb, specifying subordinate clause, statal pluperfect and location of the time of action of pluperfect clause outside the temporal frame of narrative plot.</p>

<p>I denna uppsats undersöks ett flertal ortnamnsformer som förekommer i olika tyska, slaviska och skandinaviska källor och betecknar ett och samma ställe, nämligen staden Wolin belägen på sydspetsen av ön Wolin i polska Pommern. Syftet med arbetet är dels att fastställa etymologin av två av Wolin-namnen, <em>at Jómi </em>och <em>Jómsborg</em>, dels att förklara hur alla ortnamnsformer som betecknar staden Wolin hänger ihop och bestämma vilka faktorer som orsakade en sådan namnmångfald. Undersökningens material utgörs framför allt av de Wolin-namnformer som förekommer i de skandinaviska och de med dessa relaterade tyska källorna. Materialet analyseras i stort sett enligt den traditionella namntolkningsmetoden. Det visar sig att formen <em>at Jómi</em> sannolikt härstammar från det pommerska naturnamnet <em>*Jǫma</em> (˂ <em>jǫma</em> f. ’grop; dike’) som betecknade Stora bukten, en del av Szczecinbukten. Sammansättningen <em>Jómsborg</em> är en sekundär form som bildats från <em>at Jómi</em> enligt standardmodellen: dat. (<em>at</em>)<em> Jómi</em> > gen. <em>Jóms</em> + efterleden <em>-borg</em>. Alla ortnamnsformer som betecknar staden Wolin i primära källor är relaterade till varandra: vissa av dem är etymologiskt besläktade, vissa endast ”referentiellt”, dvs. de betecknar ett och samma ställe. Uppkomsten av ett så stort antal Wolin-ortnamnsformer kan i första hand förklaras genom att formerna i fråga har olika ursprung, att det fanns olika namnbrukarkretsar som använde olika former för att hänvisa till samma stad och att det uppstod olika stavningsvarianter och sammansatta namn under de primära formernas senare utveckling.</p>

<p>The purpose of this thesis is to apply a name user perspective to the street names of Stockholm, with a focus on knowledge and views about names among the city’s inhabitants. On the basis of interview surveys, a picture is presented of the knowledge and views of Stockholmers regarding their city’s street names and the semantic or thematic name categories to which many of them belong; that is, the study seeks to identify general features of the ways in which the people of the city relate to their street names. Surveys were carried out in seven districts: Hedvig Eleonora parish, Hjorthagen, Fredhäll, Norra Ängby, Årsta, Fruängen and Akalla. A separate survey studied the range and associative properties of street names among Stockholmers not living in the vicinity of the streets in question.</p><p>General findings emerging from the surveys are that people are very familiar with the names in their local area; that knowledge about these names contributes to their well-being and sense of identity and belonging; that name categories are appreciated and considered to have an orientating function; that names which are seen as elegant or distinguished are regarded as enhancing the image and perceptions of the environment in which they occur; that long names and those made up of several words may be regarded as unwieldy in practical use; and that people need and create names for more limited park and recreational areas, while formally adopted names for larger green spaces are not used or are felt to be unclear in their reference.</p>

This work consists of two parts: the theoretical and the experimental. In the theoretical part, some general and some language specific theories of tense, aspect and aktionsart are presented, and the temporal systems of Swedish and Polish are compared. The theoretical part is not a mere review of the literature on the subject. The comparison of the descriptions of aspect and aktionsart by Slavic researchers with the universal theory of Smith (1991) and (1977) and with description of aktionsart in Swedish in Teleman et al. (1999) has allowed me for some important observations as to the nature of the long-lasting dispute about the differences between aspect and aktionsart. The experimental part is a cross-sectional study on the role of the linguistic context on the acquisition of the pluperfect by Polish learners Swedish as a foreign language. The informants are university students studying Swedish as a foreign language. The language samples were collected by means of two types of tests: gap-filling and translation from Polish. Twelve linguistic factors, each divided into two subgroups, were hypothesised to have affected the correct use of the pluperfect. All those hypotheses as to which of the subgroups may inhibit and which may facilitate the correct use of the pluperfect are grounded in linguistic theories, i.e. presented in the form of linguistically-based discussions as to what kind of effect, facilitative or inhibiting, each of the linguistic factors may have had, and why. The effect of those factors upon the correct use of the pluperfect has been tested by means of a step-wise multiple regression which measured the simultaneous effect of each factor upon the correct use of the pluperfect. This method has confirmed the facilitative effect of the following six linguistic factors: intrasentential indication of topic time (subordinate clause), unbounded verb indicating topic time, agentive meaning of the target verb, specifying subordinate clause, statal pluperfect and location of the time of action of pluperfect clause outside the temporal frame of narrative plot.