This study brings the insights of Slavoj Žižek’s Lacan-inspired approach to bear upon a series of influential 20th century plays and their engagement with what Lacan calls the Real. The plays to be explored share a focus on experiences, events or encounters which transcend, exceed, disrupt, and in some cases shatter characters’ normal, familiar realities. Examined through the lens of Žižek, these confrontations with the sublime and the fantastic reveal a crucial relation to the plays’ contemporary contexts, prompting us to “look awry” upon the dynamics of our own symbolically-regulated reality and the ever-changing and precarious nature of our relation to it. Similarly crucial is the relation of the Lacanian Real to our theatrical forms and modes of perception in the theatre. In staging “encounters with the Real,” these plays prompt us simultaneously to explore the ways in which the Real operates —and “appears” — in our own theatrical experience, ensnaring our gaze and the force of our desire. The study offers a Žižekian approach to works including Peter Shaffer’s Equus, John Mighton’s Possible Worlds, S. An-sky’s The Dybbuk, or Between Two Worlds, Caryl Churchill’s The Skriker, Tony Kushner’s The Illusion, and Eric-Emmanuel Schmitt’s Enigma Variations.

This dissertation offers an analysis of the image of loss in modern American drama at three levels: the loss of physical space, loss of psychological space, and loss of moral space. The playwrights and plays examined are Tennessee Williams's The Glass Menagerie (1945), Arthur Miller's Death of a Salesman (1949), Marsha Norman's 'night, Mother (1983), and Paula Vogel's How I Learned to Drive (1998). This study is the first scholarly work to discuss the theme of loss with these specific playwrights and works. This dissertation argues that loss is a central trope in twentieth-century American drama. The purpose of this dissertation is to analyze how the image of loss is modified and transformed in each playwright's work leading these images to reveal an emotional truth that transcends the plight of particular individuals or families and casting a universal appeal to a diverse audience. Chapters examine specific themes related to the theme of loss. As part of the critical methodology, the live spectacle of performance has been acknowledged. This study analyzes how Williams, Miller, Norman, and Vogel modify and transform the image of loss by focusing on the myth of the American dream, illusion versus reality, empowerment, and the complexity of human relationships. Although these plays are meant first and foremost to be appreciated as theater, that is to say "live performance," this study deals with these plays as drama, that is, as written texts. The audience observing the "live" spectacle and the reader of the text are both challenged to define their "own space." Williams, Miller, Norman, and Vogel, modify and transform the image of loss to reveal a common humanity that is not only a force in their work, but also a strong presence in the works of American dramatists as diverse as Eugene O'Neill and Adrienne Kennedy. From domestic drama to the drama of social and political criticism, Williams, Miller, Norman, and Vogel along with a medley of American playwrights, have taken the genre of American drama from backseat status (secondary to the novel and poem) into the forefront of recognized American literature.

This study brings the insights of Slavoj Žižek’s Lacan-inspired approach to bear upon a series of influential 20th century plays and their engagement with what Lacan calls the Real. The plays to be explored share a focus on experiences, events or encounters which transcend, exceed, disrupt, and in some cases shatter characters’ normal, familiar realities. Examined through the lens of Žižek, these confrontations with the sublime and the fantastic reveal a crucial relation to the plays’ contemporary contexts, prompting us to “look awry” upon the dynamics of our own symbolically-regulated reality and the ever-changing and precarious nature of our relation to it. Similarly crucial is the relation of the Lacanian Real to our theatrical forms and modes of perception in the theatre. In staging “encounters with the Real,” these plays prompt us simultaneously to explore the ways in which the Real operates —and “appears” — in our own theatrical experience, ensnaring our gaze and the force of our desire. The study offers a Žižekian approach to works including Peter Shaffer’s Equus, John Mighton’s Possible Worlds, S. An-sky’s The Dybbuk, or Between Two Worlds, Caryl Churchill’s The Skriker, Tony Kushner’s The Illusion, and Eric-Emmanuel Schmitt’s Enigma Variations.

Today the conception of human rights is an idea that preserves its intransitive, inalienable and indivisible quality with a cross-cultural reference. The idea of human rights, entering our lives from the 18th century onwards, has gained a worldwide recognition through the Universal Declaration of Human Rights. The idea occupies place both at the level of rules and principles as a project and at the level of our daily problem solutions, modifications and the daily course of our lives as a pragmatics. The political framework provides the idea of human rights such a justification that it constitutes a significant part of our decisions, thoughts and actions. On the other hand, the grounds of the idea has been questioned as a part of the Enlightenment project since it was first articulated and especially in recent decades certain radical criticisms originating from Nietzche&rsquo / s thought became prevalent. The thesis questions this easy alliance between Nietzsche and radical attacks to human rights thought. In the first chapter, I first provided a brief historical overview of the idea of human rights. Then, I had a closer look towards the principles of universality, equality, autonomy and is-ought distinction with special reference to Kantian formulations of these concepts and in the second chapter, I elaborate Nietzsche&rsquo / s perception of these same principles and our understanding of conventional morality in general, to reach an articulated answer to the question: Would Nietzsche be categorically against human rights? I conclude that his philosophical attitude to these four principles differ from each other. In this context the thesis regards Nietzschean informal structures over the Kantian formal ones as complementary for a full grasp of the idea of human rights by offering a connection of the transitionality between Kant and Nietzsche.

How does the brain generate our experience of being in control over our actions and their effects? Here I argue that the perception of events as self-caused emerges from a comparison between anticipated and actual action-effects: if the representation of an event that follows an action is activated before the action, the event is experienced as caused by one’s own action, whereas in the case of a mismatch it will be attributed to an external cause rather than to the self. In a subliminal priming paradigm I show that participants overestimated how much control they had over objectively uncontrollable stimuli, which appeared after free- or forced-choice actions, when a masked prime activated a representation of the stimuli immediately before each action. This prime-induced control-illusion was independent from whether primes were consciously perceived. Results indicate that the conscious experience of control is modulated by unconscious anticipations of action-effects.

Stocks, Bonds, and Long-Run Consumption Risks. Bansal and Yaron (2004) show that long-run consumption risks and time-varying economic uncertainty in conjunction with recursive preferences can account for important features of equity markets. I bring the model to the term structure of interest rates and show that a calibrated version of the model can simultaneously explain properties of bonds and equities. Specifically, the model accounts for deviations from the expectations hypothesis, the upward sloping nominal yield curve, and the predictive power of the nominal yield spread. However, an estimation of the model using Simulated Method of Moments yields less convincing results and illustrates the difficulty of precisely estimating parameters of the model. Real (nominal) interest rates in the model are positively (negatively) correlated with consumption growth and real stock returns move inversely with inflation. The cyclicality of nominal interest rates and yield spreads is shown to depend on the relative values of the elasticity of intertemporal substitution and the correlation between real consumption growth and inflation. The “Fed-model” and the Changing Correlation of Stock and Bond Returns: An Equilibrium Approach. This paper presents an equilibrium model that provides a rational explanation for two features of data that have been considered puzzling: The positive relation between US dividend yields and nominal interest rates, often called the Fed-model, and the time-varying correlation of US stock and bond returns. Key ingredients are time-varying first and second moments of consumption growth, inflation, and dividend growth in conjunction with Epstein-Zin and Weil recursive preferences. Historically in the US, inflation has signaled low future consumption growth. The representative agent therefore dislikes positive inflation shocks and demands a positive risk premium for holding assets that are poor inflation hedges, such as equity and nominal bonds. As a result, risk premiums on equity and nominal bonds comove positively through their exposure to macroeconomic volatility. This generates a positive correlation between dividend yields and nominal yields and between stock and bond returns. High levels of macro volatility in the late 1970s and early 1980s caused stock and bond returns to comove strongly. The subsequent moderation in aggregate economic risk has brought correlations lower. The model is able to produce correlations that can switch sign by including the covariances between consumption growth, inflation, and dividend growth as state variables. International Bond Risk Premia. We extend Cochrane and Piazzesi (2005, CP) to international bond markets by constructing forecasting factors for bond excess returns across different countries. While the international evidence for predictability is weak using Fama and Bliss (1987) regressions, we document that local CP factors have significant predictive power. We also construct a global CP factor and provide evidence that it predicts bond returns with high R2 across countries. The local and global factors are jointly significant when included as regressors, which suggests that variation in bond excess returns are driven by country-specific factors and a common global factor. Shocks to US bond risk premia seem to be particularly important determinants for international bond premia. Motivated by these results, we estimate a parsimonious no-arbitrage affine term structure model in which risk premia are driven by one local and one global CP factor. We find that international bond risk premia are driven by a local slope factor and a world interest rate level factor.

Datorkraft och hastighet har på senare år ökat exponentiellt, men våra förväntningar och mentala modeller om vad datorsystem är kapabla till har inte följt med. I fall där människor inte tror på att systemet kan utföra de uppgifter som begärs så snabbt som de gör kan artificiell väntan appliceras för att förväntningarna ska komma närmare verkligheten. Syftet med denna studie är att undersöka ifall security theater fungerar i kontexten av bankapplikationer och vad som händer med användarens förtroende ifall illusionen av säkerhet brister. Genom denna undersökning har vi fått fram att security theater är ett fenomen som fungerar och tillför ett värde för användaren. Dock ska kontexten ifråga utvärderas noggrant, då security theater i fel kontext kan ses som ett störande moment. Vi kom fram till att majoriteten av testpersoner inte påverkas negativt, och istället ser security theater som ett värde även efter illusionen genomskådats. / Computer power and speed have increased exponentially in recent years, but our expectations and mental models of what computer systems are capable of have not kept up. In cases where people do not believe that the system can perform the requested task as quickly as they do, an artificial wait can be applied to closer match the reality. The purpose of this study is to investigate whether security theater works in the context of banking applications and what happens with the users trust if the illusion of security fails. Through this paper we have found that security theater is a phenomenon that works and adds value to the user. However, the context in question must be carefully evaluated, as security theater in the wrong context can be seen as a disturbing element. We came to the conclusion that the majority of our test subjects are not negatively affected, and instead sees the value in security theater even after the illusion have been revealed.

Text in English / India’s film production industry, referred to commonly as Bollywood, and the film production industry of America, referred to as Hollywood, have created a large number of musical films since sound was introduced into motion pictures. Both create fictional stories—illusions, if you will—through the use of prerecorded sound and playback technology coupled with lip-synching interpolated onto filmed images. While studies exist that treat the music of both production centres, there is very little research that compares both, and very little research on playback singers. Playback singers in both Bollywood and Hollywood may or may not be the actors who are seen on the screen; however, people in the Bollywood system—its directors, producers, creators, as well as the journalists who write about it—are very open about this practice, and playback singing is a highly respected career. Conversely, in the Hollywood system, playback singing that is done by an individual other than the on-screen actor remains uncredited or under-credited, and those who do the work are just hired workers; they are not respected as artists in the same way that their Bollywood counterparts are. I believe this difference has a cultural basis, shaped by variation in the way that illusion and reality are expressed by film production staff and interpreted by audiences in the two cultures. Through primary and secondary research, this project seeks to discover the differences and to understand how cultural implications of illusion and reality affect the playback singers in both film centres. / Art History, Visual Arts and Musicology / D. Litt et Phil. (Musicology)

In the last decade, neuroscience and psychology alike have paid increasing attention to the study of affective touch, which refers to the emotional and motivational facets of tactile sensation. Some aspects of affective touch have been linked to a neurophysiologically specialised system, namely the C tactile (CT) system. While the role of this system for affiliation, social bonding and communication of emotions have been investigated, less is known about the potential role of affective touch in the awareness of the body as our own, i.e. as belonging to our psychological 'self'. This thesis attempted to contribute to the knowledge on affective touch and its relation to body awareness, by exploring the potential role of this modality to the way we perceive and make sense of our body as our own. Specifically, this work aimed to advance the current state of knowledge by investigating: 1) the effect of affective touch on the sense of body ownership, which is a fundamental aspect of body awareness; 2) the relation between interoceptive modalities, originating both internally (i.e. cardiac awareness) and peripherally (i.e. affective touch), and exteroception in body awareness; 3) the effect of intranasal oxytocin on the perception of affective touch and bodily awareness; 4) the perception and social modulation of affective touch in psychiatric patients who show difficulties in body awareness, namely patients with Anorexia Nervosa, and 5) the modulating role of self-other distinction and of self-other relation in the perception of affective touch and body awareness. In a first experiment (N = 52) the rubber hand illusion paradigm was used to investigate the role played by CT-optimal, affective touch in the sense of body ownership. The results showed that slow, pleasant touch enhanced the experience of embodiment in comparison to faster, neutral touch, suggesting that affective touch might uniquely contribute to the sense of body ownership. The following study (N = 75), used a similar methodology to test whether interoceptive sensitivity as measured by a heartbeat counting task would modulate the extent to which affective touch influences the multisensory process taking place during the rubber hand illusion. The results could not confirm a systematic relation between interoceptive sensitivity and the perception of affective touch, nor its influence on body ownership. The next study (N = 41) included a double-blind, placebo-controlled, randomised, cross-over design testing the effect of intranasal oxytocin on the perception of affective touch and body ownership, as measured by means of the rubber hand illusion. There was no evidence supporting the hypothesis that intranasal oxytocin could influence the CT system as tested in this study. The next study (N = 55) applied some of the above methodologies to investigate the perception of CT-optimal touch in patients with anorexia nervosa and its emotional modulation by top-down factors. The results confirmed the hypothesis that people with anorexia nervosa show a reduced perception of affective touch compared to healthy controls, but its perception was not influenced by top-down affective modulation, in the sense that both patients and healthy controls perceived touch as more pleasant when presented concurrently with positive facial expressions compared to neutral and negative faces. Finally, the last two studies (N = 76 and 35 healthy volunteers, respectively) focused on the relationship between affective touch and body awareness in the context of social cognition. These studies used both online and offline social modulation paradigms to investigate the role of self-other distinction and of self-other relation in the perception of affective touch. The results showed that positive top-down social information can enhance the perceived pleasure of tactile stimulation. Taken together, these studies point to the central role of affective touch in body awareness and social cognition. Finally, they also pave the way for future studies examining the role of disruptions of the CT system in the development of neuropsychiatric impairments of body awareness and social cognition.

I present complex of artistic works, which I created durring my Masters studies and its interruption, so since 2012 till 2017. My topic which I worked with was cartography transfer of space to flat with manipulations of sizes and visual shortcuts and visualisations of outvisible spaces. Together with my activity I will introduce also work of another 5 artists, which I ofered them the topic of map of parallel Universe to their focus and visions.