The purpose of this study was to identify how the leading male characters in the Netflix series Sex Education were represented through a qualitative content analysis. The theories used in this thesis are Stuart Hall’s representation theory and R.W Connell's theory of hegemonic masculinity. They were further applied to the essay in order to investigate whether the chosen male characters were portrayed in a stereotypical or an unconventional way. The analysis part of the study was created through an analysis tool by Selby and Cowdery. By adapting and using essential parts of the chosen analysis methods, Mise-en-scèneand TheThree-stage Model,we were able to gradually break down a total of 12 sequences from the first two seasons of the series. Findings from this study showed that there were several carriers of Connell's concept of hegemonic masculinity. But there was seldom a complete representation of the various categories of masculinity. Our study also shows that all four of the chosen characters showed signs of stereotypical traits but were given deeper, more groundbreaking personalities as the show progressed.

Historically, women have been given significantly less space than men on the TV screen andtheir roles have often been secondary to men's. The woman's role has often been a passive supporting role alongside the man's main role that drives the action forward (Greene, 2010, ss.1066–1071). This distribution of gender representation aroused the interest to study a television series from the 2010s with three female lead roles. The choice fell on the American series Suits, which takes place in New York's legal profession, an industry that, according tostatistics, is dominated by the male gender (American Bar Association, 2019). In this essay, a qualitative film analysis is performed, focusing on the three female maincharacters in Suits. The study is based on theories of representation, gender and stereotypes and takes a feminist perspective. The study also delves into Laura Mulvey's psychoanalytic perspective which is used to analyze the female representation. The purpose is to create anawareness of how fiction produces gender and how it affects masculinity and femininity. The study examines how women in a male-dominated profession are portrayed on television and how their roles are consistent with, what according to the study's theories, are considered to be female coded. The material has been analyzed focusing on mise-en-scene, cinematography and editing. The analysis is presented in four different themes based on how the women are portrayed and each theme is exemplified by a number of scenes. The analysis shows that there is an imbalance between the male and female representation. The male characters are dominant and the female usually plays a passive and submissive role. / Historiskt sett har kvinnor fått betydligt mindre plats än män i tv-rutan och deras roller har ofta varit sekundära till männens. Kvinnans roll har ofta varit en passiv biroll bredvid mannens huvudroll som driver handlingen framåt (Greene, 2010, ss. 1066–1071). Denna fördelning av könens representation väckte intresset att studera en tv-serie från 2010-talet med tre kvinnliga huvudroller. Valet föll på den amerikanska serien Suits som utspelar sig i New Yorks advokatbransch, en bransch som enligt statistik domineras av det manliga könet (American Bar Association, 2019). I denna uppsats genomförs en kvalitativ filmanalys av Suits med fokus på de tre kvinnliga huvudkaraktärerna. Studien bygger på teorier om representation, genus, stereotyper och intar ett feministiskt perspektiv. Undersökningen fördjupar sig även i Laura Mulveys psykoanalytiska perspektiv som den kvinnliga framställningen analyserats utifrån. Syftet är att skapa en medvetenhet om hur fiktion framställer genus och hur det påverkar vår syn påmanlighet och kvinnlighet. I studien undersöks hur kvinnor i ett mansdominerat yrkeframställs på tv och hur deras roller stämmer överens med vad som enligt studiens teorier anses vara kvinnligt kodat. Materialet har analyserats med fokus på mise-en-scene, cinematografi och redigering. Analysen presenteras i fyra olika teman baserade på hur kvinnorna framställs och varje tema exemplifieras med ett antal scener. Analysen visar att det råder obalans mellan den manliga och kvinnliga representationen. De manliga karaktärerna är dominerande och de kvinnliga intar oftast en passiv och undergiven roll.

Shallow marine environments from the Lower Cambrian period were very different to shallow marine environments of today. Tubes of what was thought to be silica recovered from a partly dolomitized carbonate sample collected form a site near Indian Springs, Nevada could help further understand the chemistry and characteristics of such environments. The aim of this study is to present a detailed morphological description of the tubular structures found in the rock sample as well as to give a description of the environment in which they were produced. This was achieved by first studying the samples with several different analytical techniques including Scanning Electron Microscopy (SEM) and Energy-dispersive X-ray spectroscopy (EDS) and subsequent evaluation of the obtained data. This resulted in the discovery that the tubular structures have a wall mainly consisting of non-detrital silica crystals. The crystals are arranged in string-like structures which overlap to form tube walls of varying thicknesses. The observed tubular structures are typically straight and ca. 0,23 to 0,25 mm long, but slightly curved and rare bifurcating tubes were also seen. The elemental mapping of a thin section of tubes showed that the wall-forming crystals consist mainly of silica (SiO2), however, small concentrations of calcium (Ca) were found inside many of the silica crystals leading to the conclusion that positive calcium ions may have acted as a seed for the silica crystals. A comparison of the tubular structures with other tubular fossils of the same geological time period is presented as well as a discussion of whether the specimens are of biological origin, and consequently a biosignature, as these could be used in future research when studying material from other planetary bodies. / Grunda marinmiljöer i nedre Kambrium var väldigt annorlunda från grunda marinmiljöer som finns idag. Små rör av vad som hypotiserades vara kiseloxid upptäckta i en dolomitiserad kalkstenstuff från Indian Springs, Nevada skulle kunna hjälpa att förstå kemin inblandad i bildandet av dessa samt bildningsmiljön i mer detalj. Syftet med detta projekt är att presentera en detaljerad morfologisk beskrivning av dessa rör samt försöka beskriv miljön i vilken de bildades. Undersökningen gjorde genom att först studera rören med olika mikroskoperingsmetoder inklusive ett optiskt mikroskop samt med ett svepelektronmikroskop (SEM), sedan analyserades proverna med Energidispersiv röntgenspektroskopi (EDS) för att detektera och kartera de grundämnena som fanns i rören. Resultaten av dessa metoder är att rören är cylindriska eller cigarrformade samt har en väggstruktur av kiseldioxidkristaller som sitter ihop som strängar av pärlor. Rören är huvudsakligen raka och har en längd på mellan 0,23 och 0,25mm, även böjda och förgrenade rör hat hittats, dock var mer sällsynta än de raka. Den kemiska analysen av ett tunnslip på några rör visade att de består till mestadels av kiseldioxid (SiO2) men koncentrationer av kalcium (Ca) hittades som indikerar att dessa kanske agerade som små frön för kiseldioxid att växa runt. En jämförelse av dessa rör med andra liknande fossilmed samma struktur och från samma tidsperiod är presenterad samt en diskussion kring rören som biosignatur och dess potentiella biologiskt ursprung samt användning i framtida forskning inom ämnet.

Paracetamol är den aktiva substansen i ett flertal smärtstillande läkemedel. Paracetamol äräven ett vanligt ämne vid självmordsförsök, då en överdos kan leda till livshotandeleverskador. Laboratoriet Klinisk Kemi i Karlskrona hade för avsikt att införa ett nyttreagens för kvantitativ in vitro analys av p-paracetamol på instrumentet Alinity serie cifrån Abbott®. Detta på grund av att reagenset från Abbott® inte behövde kalibreras likaofta som tidigare reagens. Syftet med studien var därför att genomföra en metodverifieringav reagenset Abbotts® Acetaminophen på två Alinity serie ci instrument. För attgenomföra en metodverifiering behövdes reagensets repeterbarhet och riktighetkontrolleras, samt en metodjämförelse genomföras. Detta gjordes genom att analysera enhög och en låg kontroll 25 gånger på masterinstrumentet och 20 gånger påslavinstrumentet. Därefter analyserades samma kontroller 5 gånger över fem dagar påmasterinstrumentet, samt 35 patientprover på både referensmetoden och den nya metoden.Det resultat som erhölls var att samtliga inomserie- och mellanserieprecisioner hade envariationskoefficient inom de riktlinje som företaget angivit. Metodjämförelsen visade ettlinjärt förhållande mellan de båda reagensen med en korrelationskoefficient på 0,9999.Den slutsats som drogs var att det fanns en god repeterbarhet för både master- ochslavinstrument gällande samtliga kontrollnivåer för inomserieprecisionen. Vidare, förmellanserieprecisionen på masterinstrumentet gav även detta en god repeterbarhet för bådakontrollnivåerna. Metodjämförelsen gav ett linjärt samband mellan de två metoderna ochhade en låg bias mellan varandra. Metodverifieringen kunde därför godkännas och den nyametoden Abbotts® Acetaminophen (Abbott Diagnostics) kunde tas i bruk på Klinisk Kemii Karlskrona.

Nowadays, Spanish television series and their characters are living a great moment with a unique success and appreciation. This success has come together with technical improvements and new projects that considerably expand the national fiction outlook. Within the first years of the 21st century, several works with a great stylistic quality and variety of genres and formats have been made, which turn the Spanish market into a very interesting case study. With the aim of providing an exhaustive and objective analysis, the first part of this work is devoted to theoretical investigations. In this part, we study both the literary theories and their application to television. Their influence on characters, the form of addressing time, the use of narrator, etc., are valid for the typical characteristics of television stories or how are adapted to them. The second part includes the analysis that approaches the twelve use cases selected and the productive context of the Spanish market. It is related to television in general and to the fiction macro genre in particular. Both the dissertation and the analysis itself are presented in following sections under the premise that characters and their interrelated dynamics, which cause the main stories, have a very special importance. The main hypothesis of this thesis revolves around this fact, and it is based on the typical needs of fictions in series, defined by their extension in time without a clear anticipated date of completion. Throughout the twelve fictions, with different formats and genres, we study the diversity of the Spanish market and the importance of characters among the rest of narrative and audiovisual elements. / Las series de televisión españolas y sus personajes viven un momento dulce, con un éxito y un reconocimiento sin precedentes. Este éxito ha ido acompañado de una mejora técnica y nuevos proyectos que han ampliado considerablemente el panorama de la ficción nacional. En los primeros años del siglo XXI se han realizado obras de gran calidad estilística y con una gran variedad de géneros y formatos que hacen del mercado español un objeto de estudio muy interesante. Con la intención de realizar un análisis profundo y objetivo, la primera parte del trabajo se dedica a una investigación teórica donde se hace un recorrido desde las teorías literarias hasta su aplicación a la televisión y se estudia cómo estas teorías sobre los personajes, el tratamiento temporal, el uso del narrador, etc., son válidas para las características propias del relato televisivo o cómo se han adaptado a estas. La segunda parte corresponde al propio análisis de los doce casos escogidos y al contexto productivo del mercado español en relación con la televisión en general y al macrogénero de la ficción en particular. La premisa fundamental de la tesis doctoral que se expone a continuación, y que ha motivado el análisis, es la especial importancia que tienen los personajes y las dinámicas que se forman entre ellos y que dan lugar a las historias. La hipótesis principal del trabajo gira entorno a este hecho basándonos en las necesidades propias de la ficción seriada, que se define por su extensión en el tiempo, sin tener clara una fecha de finalización. A través de doce ficciones de diferentes formatos y géneros se estudia la variedad del mercado español y la importancia de los personajes entre el resto de elementos narrativos y audiovisuales. / Les sèries de televisió espanyoles i els seus personatges viuen un moment dolç, amb un èxit i un reconeixement sense precedents. Este èxit ha anat acompanyat d'una millora tècnica i nous projectes que han ampliat considerablement el panorama de la ficció nacional. En els primers anys del segle XXI s'han realitzat obres de gran qualitat estilística i amb una gran varietat de gèneres i formats que fan del mercat espanyol un objecte d'estudi molt interessant. Amb la intenció de realitzar una anàlisi profunda i objectiu, la primera part del treball es dedica a una investigació teòrica on es fa un recorregut des de les teories literàries fins a la seua aplicació a la televisió i s'estudia com estes teories sobre els personatges, el tractament temporal, l'ús del narrador, etc., són vàlides per a les característiques pròpies del relat televisiu o com s'han adaptat a estes. La segona part correspon a la pròpia anàlisi dels dotze casos triats i al context productiu del mercat espanyol en relació amb la televisió en general i al macrogènere de la ficció en particular. La premissa fonamental de la tesi doctoral que s'exposa a continuació, i que ha motivat l'anàlisi, és l'especial importància que tenen els personatges i les dinàmiques que es formen entre ells i que donen lloc a les històries. La hipòtesi principal del treball gira entorn d'este fet basant-nos en les necessitats pròpies de la ficció seriada, que es definix per la seua extensió en el temps, sense tindre clara una data de finalització. A través de dotze ficcions de diferents formats i gèneres s'estudia la varietat del mercat espanyol i la importància dels personatges entre la resta d'elements narratius i audiovisuals. / Vacas Gómez, MM. (2017). La ficción televisiva española del s.XXI a través de sus personajes [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/85133 / TESIS

Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo. Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione? Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale. / In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.

Detta projekts mål har varit att undersöka tre olika 2D-materials triboelektriska egenskaper och därmed placera dem i en triboelektrisk serie. Detta utfördes genom att använda en triboelektrisk nanogenerator (TENG) och mäta den resulterande spänningen. Tio stycken motmaterial applicerades mot varje 2D-material på nanogeneratorn. Utifrån resultatet var det möjligt uppmärka typiska vågformer för en TENG, alltså kunde resultatet från mätningen antas vara från den triboelektriska effekten. 2D-materialen placerades tillsammans med dess motmaterial i en triboelektrisk serie och sorterades sedan för att bestämma dess elektronaffinitet. För de tre 2D-materialen hade de gemensamt att ETFE och FEP tillhör den positiva sidan av den triboelektriska serien relativt de 2D-materialen. Resten, alltså: cellofan, kapton, LDPE, nylon, PEEK, PEI, polypropylene och PTFE, placerades negativt i deras respektives 2D-materials serie. Dock blev resultatet ej som förväntat, då ordningen på motmaterialen i serien kunde antas vara samma för alla 2D-material, men detta var inte vad som hittades. Anledningen till detta kan möjligtvis vara ytladdningar som kan ha överförts till materialen medans de hanterades, eller på grund av ytstrukturen av 2D-materialen. Därför föreslås att detta arbete kan förbättras genom mer varsam hantering och spridning av materialen över dess plattform.

This study applies social identity theory to analyze social identification, social categorization, social comparison, and stereotypes in the first season of Vikings Valhalla. The analysis focuses on the portrayal of different stereotypes associated with the selected ethnic groups: Christians, pagans, and Christian Vikings, through clothing, behavior, language, and beliefs. These stereotypes serve as tools to establish character identities and differentiate between the groups. Despite the limited application of social identity theory in popular culture studies, this study demonstrates its usefulness in understanding group membership and social relationships in a fictional context. By applying social identity theory, the study provides insights into the social relationships among the chosen ethnic groups in the first season. It is observed that individuals strive for a positive social identity through group membership, identifying with and supporting their group members while also establishing boundaries against other groups. This can lead to the emergence of stereotypes, prejudices, and conflicts between the groups, which also shape perceptions and behaviors towards other groups. The study employs a qualitative content analysis method with a focus on visual aspects. It addresses three research questions related to religious and cultural stereotypes, social categorization, and social relationships. The findings of this study contribute to a deeper understanding of the religious and social dynamics portrayed in the first season of the TV series Vikings Valhalla. By analyzing the behaviors and interactions of the characters, it provides insights into how group membership, boundaries, and conflicts shape individuals' identities and influence their relationships with other groups in the series. This research emphasizes the complexity and fluidity of social identities and raises new avenues for future research in the field.

La presente investigación tiene como objetivo caracterizar las configuraciones relacionales de un asesino serial mediante la revisión y análisis de sus narraciones. Para tal fin se realizó un estudio desde una metodología cualitativa empleando información de tipo secundaria. Así, el material principal (corpus) consistió en una transcripción de una audiencia judicial realizada a Edmund Kemper. Por otro lado, también se empleó información recabada de un libro con fines complementarios al análisis. Una vez consolidado el data set, el tratamiento de la información se efectuó a través de un análisis temático deductivo e inductivo (Braun & Clarke, 2013). Los resultados sugieren la existencia de dos configuraciones relacionales predominantes, las cuales, si bien presentan diferencias que las demarcan, también contemplan similitudes importantes. Así, en la primera configuración (CR1) se encontró el deseo de ser reconocido/atendido desde un sufrimiento. Mientras que, en la segunda configuración (CR2), se ubicó el deseo de ser reconocido desde una competencia/virtud. En ambas configuraciones, la experiencia respecto a la respuesta del Otro es de rechazo esencialmente. Asimismo, en ambos casos, tal vivencia decanta en afectos aversivos y agresión por parte del Self. Finalmente, para una integración entre la teoría y los resultados, se discutieron estos últimos a la luz de los presupuestos teóricos formulados por el psicoanálisis. / This research aims to depict the Relational Configurations of a serial killer through the review and analysis of it´s narratives. For this purpose, research was carried out from a qualitative methodology using secondary data (pre-existing information). Thus, the main material (corpus) consisted in the transcript of an Edmund Kemper parole hearing. In addition to this, information collected from a book was used for the analysis complementary purposes. Once the data set was formed, the information was processed through a deductive and inductive thematic analysis (Braun & Clarke, 2013). The results suggest the existence of two predominant relational configurations, which, although their differences, both show important similarities. Thus, the desire to be recognized/attended from suffering was found in the first RC1. While, in the second configuration (RC2), the desire to be recognized from a competence/virtue was located. In both configurations, the experience regarding to the Other's response is essentially of rejection. Likewise, in both cases, such experience leads to aversive affects and aggression by the Self. At last, in order to link theory with results, the latter were discussed and examined by the psychoanalytic theory.

The purpose of this paper is to study the adaptation process of the TV-show Game of Thrones. This paper focuses mainly on how David Benioff and D.B. Weiss and HBO adapted the TV-show from George R.R. Martins book series A Song of Ice and Fire and what, in the adaptation and in the reception of the TV-show, made it such a global cultural phenomenon. The analysis has been done by analysing interviews and studying behind-the-scenes material that has been available through articles and bonus material provided by the web and on the DVD and Blu-Ray features of the show. Mary H. Snyders Analyzing Literature-to-Film Adaptations provides a ground tool of analysing adaptations where particularly her “A Marriage of Media” theory has significantly helped the study. The paper analyses fantasy as a genre, the book series that the TV-show is based on, and the adaptation process itself and the different components that make up for the TV-show called Game of Thrones. After the adaptation analysis there is a study on how the internet has helped distributing both the show’s popularity and the show itself through the use of illegal downloading. The result is that the adaption is a successful “Marriage between media”, to use Snyders words, where the internet can be seen as product of that metaphorical marriage. The confidence and trust that both the author of the books and the show runners of the TV-series has placed in each other is the binding fundament that made the adaption as successful as it is. HBO as a cable network company also play a significant part where the financial support to the show’s production and the non-existent censorship regarding the adult content otherwise wouldn’t have been provided for, had the show been produced and/or aired by any other network company for example. The previous successes of other fantasy adaptations such as The Lord of the Rings and the Harry Potter-series could also be seen as necessary initiators regarding the industry’s newfound openness towards large scale fantasy projects.