Henning Rohwer wird im Dorf Esau genannt, weil sein Vater sich dazu entschieden hat, die Erbfolge zu durchbrechen und seinen Bauernhof nicht dem erstgeborenen Henning zu übertragen, sondern dem zweiten geeigneteren Sohn Fritz. Fritz soll Anna Harder heiraten. Henning versucht, durch Anritzen des Pferdegeschirrs die Brautfahrt der beiden mit einem tödlichen Unfall enden zu lassen und sich auf diese Weise den Hof zurückzuerobern. Diese Geschichte, die in der 1975 posthum publizierten Baasdörper Krönk andeutungsweise enthalten ist, wurde von F.E. Peters zu Lebzeiten auf Hochdeutsch veröffentlicht. Sie erzählt von dem sozialen Abstieg eines Verstoßenen und den archaischen Selektionsmechanismen und Abwehrstrategien einer Dorfgemeinschaft, die Verstöße ihrer Mitglieder gegen den bäuerlichen Sitten- und Ehrenkodex hart ahndet.

Ein alter Major stößt zu einer Reisegesellschaft, die sich auf einem Dampfer nach Hallig Hooge befindet. Durch seine verbalen Ausfälle und seine Trunksucht verspielt der Major allmählich die Achtung, die ihm anfangs entgegengebracht wurde. Eine genaue Beobachtung von gesellschaftlicher Gruppendynamik und unterschiedlichen Rollenverhalten in der Konfrontation mit einem Außenseiter.

Die Demütigung eines armen Dichters durch einen selbstherrlichen Beamten.

Konkurrensen mellan hotellen har ökat på grund av förändringar i samhället, även kundernas behov och önskemål har förändrats. I dagens samhälle blir det allt vanligare att hotell inte enbart kan konkurrera med bra service och pris. Det krävs något extra, något utöver det vanliga för att locka kunder och öka konkurrensfördelarna. Hotellen måste hitta nya sätt att differentiera sig på och det har blivit allt viktigare med ett starkt varumärke som kan ge ett mervärde till kunderna. Det har blivit vanligt att hotell använder sig av storytelling och tema för att bygga upp sitt koncept och varumärke. Syftet med uppsatsen är att undersöka hur hotell i Sverige kan använda sig av storytelling och tematisering för att bygga upp varumärket. Syftet är deskriptivt men även till viss del normativt. I studien används en deduktiv metod och ett antal telefonintervjuer har genomförts. Detta för att exemplifiera hur en varumärkesuppbyggande process kan se ut inom storytelling- och temahotell. Studien fokuserar på den interna varumärkesuppbyggande processen. Resultatet i denna studie är inte generaliserbart utan vägledande för hur man kan bygga upp sitt varumärke med hjälp av storytelling och tematisering. Denna studie bidrar med ny fakta inom ett relativt obeforskat område som tema och varumärken. Studien visar att den varumärkesuppbyggande processen skiljer sig mellan varusektorn och tjänstesektorn. Detta eftersom andra delar då blir mer betydelsefulla, detta redovisas i en egen modell i studiens analys. Slutsatserna av studien visar att det är viktigt att vid uppbyggandet av storytelling- och temahotell vara; konsekvent, trovärdig, ha bra och välinformerad personal som kan förmedla storyn och temat samt att det finns en röd tråd genom konceptet. Om hotellen inkluderar dessa delar när de bygger upp sitt varumärke kan detta leda till en minnesvärd upplevelse. Slutsatserna visar även att storytelling och tematisering kan bidra till ett ökat mervärde till gästerna vilket leder till gratis reklam genom word-of-mouth samt skapa ökad uppmärksamhet i media. Det skapar även ökade konkurrensfördelar då det går att differentiera sig från konkurrenterna. Detta bidrar till att ett immateriellt varumärke byggs upp. Avslutningsvis visar studien att storytelling kan vara ett starkare koncept jämfört med tematisering. / Competition in the hotel industry has increased depending on changes of today’s society and of the needs and wants of the hotel guests. Hotels today should compete with something more than just a good service and pricing, since it has become something ordinary. They need to have something special, something extraordinary to attract customers and add to their competitiveness. The purpose of this paper is to investigate how hotels in Sweden can use themes and stories to build their internal brand. In this study a deductive method has been used and telephone interviews have been made which are declared in the empirics. This has been done to exemplify how the internal brand building process may turn out in story-telling hotels and theme hotels. Our conclusions from this study are that the brand building process may be different depending on how companies build their immaterial brand. The difference is due to other parts of the process may become more important, which we also implicate with our brand building model that you will find in our analysis. The study also shows that it is very important for hotels with a theme and story-telling to be credible, have well informed staffs that are able to mediate the story or theme and to be coherent through the whole concept. If the hotel management has all this in mind while building their brand, it will lead to a memorable experience for the guests. It also helps to build an immaterially strong brand. The conclusion is also that the use of story-telling can be seen stronger than a theme. This study contributes with new information about theme and brands which still is a relatively unresearched area.

This thesis examines the roles of the sublime and the beautiful in the works of eighteenth-century French landscape painter Claude-Joseph Vernet. An introduction to the study, a history of the sublime and beautiful, and an overview of the way these ideas are portrayed in Vernet's calm and storm pendants are provided. How commissions for these pendants relate to theoretical developments of the sublime and beautiful and how Vernet became aware of the these ideas are addressed. The thesis shows Vernet was not dependent on British patrons or on the century's most influential aesthetic treatise on the sublime and the beautiful by Edmund Burke, because Vernet started painting such themes well before Burke's treatise (1757) and did so in response to French patrons.

到目前為止，針對出現在kakeru構文中的意義解釋上的差異，在現有的研究中並沒有做出明確的探討。本論文的目的，是利用LCS，有系統性地統一掌握該差異，並給予明確的說明。在過去的研究裡，說明了藉由動詞的aspect來確定kakeru構文的解釋是「動作開始前的用法」或是「動作發生途中的用法」。但該動詞分類的基準不明確，同時又侷限了對解釋的說明。即使試著做整體性的說明，卻還是會產生矛盾。因此，在本論文中，首次嘗試將LCS理論導入kakeru構文的研究，藉此來客觀整理每個動詞所擁有的成立點（語彙上的aspect），並將該成立點會對kakeru構文的解釋帶來何種影響，做出系統性的論述。　　　 本稿共分為六章。在諸論，說明本論文的目的和動機、方法、架構、以及研究範圍。在第一章，舉出過去的研究，並指出其問題點。在第二章，用LCS來探討Vendler四分類的動詞擁有什麼樣的成立點之後，將本論文的主張做出整理，並提出理論。從第三章以後，根據第二章所提出的理論，如在第三章的activity、第四章的achievement、及第五章的accomplishment，根據過去的研究，將各個動詞再做更細部的分類，並舉出用例，來證明其理論的有效性。最後在第六章做出結論。 從以上論述，可將kakeru構文的意義總結為「動詞（句）表示的動作未到達成立點」，由此根據文脈，導出「将動相」「将変相」的解釋並做出結論。

Corporate storytelling is a recognized marketing strategy, however the usage of it is regarded to be unclear from a theoretical perspective. Further, the internal usage of storytelling among organizations is more common than the external use. Hence, this research was aimed towards storytelling for external stakeholders.

This thesis explores creation of new themed entertainment attractions for the Theme Park Industry. The creative process of new work, centering on the devising, designing, and preproduction stages of this industry and theatre is the focus of this thesis. The product is an Equestrian/Western Production Show including live vocalists, recorded music, lighting, scenic design, and costume design. The extending goal is to begin to prepare documents for a pitch proposal to a major Theme Park/Themed Entertainment Corporation for inclusion in their Western themed entertainment offerings. This themed entertainment attraction is created to introduce people to historical Rodeo and Western Variety show traditions and spectacles. Honoring these traditions and forms of entertainment provides thrilling visual experiences for the audience. Research, development, and show content focus upon historical and present day western shows. Production concepts outlined include the show concept, soundtrack, script, lighting design, scenic design, sound design and costume design. Central to the creation of the production show is the script and full sound design which are included as a part of this thesis. Scenic Design renderings, ground plan and centerline section illustrate the layout of the performance space. Lighting research images, storyboards, renderings, plot and centerline section illustrate the further visual composition. Costume elements are presented through research morgues broken down by character, act, and clothing look. / text

The goal of this research study is to develop a model of information that will enable media conglomerates and other companies, with theme park investments, to make informed and effective decisions based on scholarly and empirical evidences. In order to do this, the following research study uses historic, scholarly, journalistic, and focus group evidences to consolidate the information necessary to create a model to support concepts and designs. The paper begins with establishing why it is important for media conglomerates, with theme park investments, to integrate cinema into the park’s design. Then it looks back through the history of cinema and theme parks, identifying the similarities and differences. Furthermore, it analyzes the development of Universal Studios Hollywood and Disneyland. The study uses the history of Hollywood from its beginning to the decentralization to parallel the development of the movie-based theme park, and how the decentralization of Hollywood and the rise of the movie-based theme park support one another. As the idea of the convergence of one media with another is not a new concept, information on media convergence is used as part of the scholarly research in this area. Because movies and movie-based attractions are each forms of storytelling, the study includes prolific information on media, film, literary, and psychological theories as supporting evidence. The empirical research method utilized in the research, specific to this study, includes four focus groups in Florida, New York City, Cincinnati, and Los Angeles and one interview with a theme park president. Throughout the study, concepts of narrative, spectacle, pleasure, character, and setting are addressed in terms of how these elements work in movies and movie-based theme park attractions.

The influence of Vonnegut’s didactic purpose of writing on the treatment of theme  and structure in Slaughterhouse-Five is investigated in this study. The following  elements of structure are studied: point of view, the treatment of time, characterization,  the use of other sources, and imagery. These are constantly related to  the novel’s themes, such as war, cruelty, death, time, innocence, survival, free  will, fantasy and regeneration. Since Vonnegut himself survived the Dresden  bombings during World War Two, his novel is very personal, which is particularly  reflected in his point-of-view technique, the subject of Chapter One. Vonnegut creates  double narrators in Slaughterhouse-Five : a personal one, including authorial  intrusions, and an impersonal one. This division is a direct reflection of the  dichotomy between reality and fantasy that prevails in the novel.  In Chapter Two, Vonnegut’s treatment of time is demonstrated to be a process of  spatialization. Structurally, this means a fragmented narrative split into several  time levels that chiefly form what the author calls his ”telegraphic schizophrenic"  style. Thematically, the protagonist comes "unstuck" in time, thus succeeding in  confronting an absurd world and finally transcending death.  Vonnegut uses the depiction of character mainly to express ideas and to reinforce  themes, since he regards his characters as "bugs in amber," involuntarily stuck,  excepting their capacity for fantasy. To facilitate the reader’s recognition of  these sketchy characters, Vonnegut has equipped them with marks of recognition,  often repeated, and names that provide clues to their personalities. All characters  are shown to be isolated and lonely, except on Tralfamadore where a dream woi;ld  exists.  In the fourth chapter, Vonnegut’s use of other sources is examined. His carefully  chosen quotations fall into two groups: first, historical sources that verify facts,  such as the Dresden catastrophy; second, fictional sources that stimulate the human  imagination, which turns out to be the protagonist's means of survival.  Finally, imagery in Slaughterhouse-Five, studied in Chapter Five, is found to be  used for enrichment of a style otherwise characterized by great economy. Much of  the imagery strikes a humorous tone. A simple, quotidian vocabulary is developed.  War imagery is used to deglorify war. Animal imagery is invoked to ridicule and to  show man’s true place in the universe. Several oxymora further reinforce the incongruity  prevailing in the Vonnegutian world. The negative effect of imagery is  also found in symbols pertaining to Billy’s life situation. As a contrast, however,  there are also positive symbols emphasizing nature’s annual cycle of rebirth signifying  hope and regeneration.  Many of the stylistic elements studied reveal that Vonnegut has chosen thematic and  structural solutions that make his novel accessible to a large reading audience.  The fragmented, at times circular, structure of Slaughterhouse-Five is indeed a  "dance with death." In a thematic sense, death is the writer’s own muse that he  must dutifully dance with in order to create his work of art. Slaughterhouse-Five  is not only Vonnegut’s account of his own war experience but also a statement on  the human condition. / digitalisering@umu