With the enlightenment thought in the 18th century, progress of man’s development grew to something better. Throughout this era all the way to the 19th century, the thought that the human kind can develop and evolve was every man’s pursue. It was believed that with the help of education, deaf and blind people could be given a chance for a normal set of life. That given the right tools they could be removed from the outline of society and brought into the social world. Throughout this time-period there where two different active ways of education that inspired educationalists in Europe and America. The German school, which focused on the development and use of speech and the French school which taught and focused on the visual language, i.e. sign language. This report puts interest in the development of the Swedish teacher Elisabeth Nordin’s chosen education system and its results. It was essential to study the background of education and care for the deaf and blind, in order to understand its progress. Furthermore, it gives a comparison of Sweden’s development in this area. Presenting a result of which the system of education for deaf and blind has gone from crippling them, to enchanting them a life of independency.

Das digitale Spielen hat in den letzten Jahren stetig zugenommen und scheint heute ein selbstverständlicher Teil im alltäglichen Leben vieler Menschen zu sein. Eine deutliche Verbindung zwischen der digitalen Welt und der englischen Sprache ist zu beobachten, und man kann sich fragen, ob es immer so war. Ziel der Arbeit ist es, die Verwendung von Anglizismen in der digitalen Computerspiel- und Videospielwelt zu untersuchen, um herauszufinden, ob und inwiefern sich eine zunehmende Globalisierung in der Domäne des digitalen Spielens nachweisen lässt. Dazu wird der Sprachgebrauch ausgewählter Benutzer-Kommentare eines deutschen Spieleforums aus dem Jahr 2013 (teilweise auch vom Beginn des Jahres 2014) und der von 2004 untersucht. Die grundlegende Frage lautet: Wie unterscheidet sich der Gebrauch von Anglizismen in der digitalen Spielwelt, wenn man die Situation heute mit der von 2004 vergleicht?

By the means of a questionnaire the present work examines the attitudes among pupils between the 5th and 9th grade towards choosing French, Spanish or German as their third language. The main question to be answered is "What needs to be improved to raise the interest in choosing specifically German as their preferred third language?". The other questions posed are for example "Do they want to study a language at all?", "Which language do they want to study and why?" or "What motivates them to keep studying generally?". The results show a high motivation and that the most pupils have already decided for a specific language at the middle of the 5th grade. Family and friends play a crucial role in choosing their language in combination with other factors such as the experiences of visiting countries or settings where the target language is used. To raise the popularity of German as the chosen language is not a short time project. More variation in teaching and real contact with German people, for instance language trips, needs to be done or improved. Nearly all of the pupils want to use modern techniques like chat or video conversations instead of just reading a text book.

Abstract  This thesis deals with the linguistic concept of mediation. Although mediation is very common and oc- curs naturally in communication between people, there is no uniform international definition of this linguistic phenomenon. One of the aims of this thesis is to gain clarity about the term and three different definitions of mediation are presented in the theoretical part of the thesis. The Common European Framework of Reference for Languages: Learning, Teaching, Assessing (CEFR) was published by the Council of Europe in 2001 and in the framework, mediation is presented as one of four linguistic activi- ties, alongside production, reception and interaction. In 2018, the CEFR was complemented by a com- panion volume, in which new descriptors for aspects of mediation are presented. The CEFR and the companion volume are documents that have a major influence on the design of curricula and syllabuses for foreign language education in many European countries, to some extent also in Sweden. Neverthe- less, mediation is deliberately omitted from Sweden's school legislation. The reason given for this is that it should be possible to hold lessons solely in the target language (Skolverket 2011b: 11). Transla- tion and interpreting, both aspects of mediation, should therefore not be taught in class. As shown in this thesis many aspects of mediation can however take place within a single language. The result of the text analysis of the Swedish school legislation for the subject German as a foreign language is that some mediation aspects are implemented in the Swedish school legislation, even if they are named differently.

Even before I started studying at the SKH Opera, I was already contemplating what would happen afterwards. So it all started with the idea that I'd like to apply to an Opera Studio after graduation. I realised that the largest market for opera studies is in German-speaking countries, where I could continue to develop my talent and simultaneously earn money working in my profession. For example, in the Opera Studio, an Opera provides a monthly salary. So when I applied to the university, I had to submit the so-called document "Independent project". I didn't write much, so I'd like to quote it here: “The idea for my project consists of organising and performing a few concerts of German classical music in Scandinavia. In order to best prepare for that event, I would first like to build my vocal technique at a high level. This is my main goal. In the next coming year I would like to work on German musical literature but one of the biggest dreams is to prepare a role of Papageno from The Magic Flute.”As you can see, the goal was focused on potential future work and earnings. I was mostinterested in improving my vocal technique and working on the German repertoire. Even though German was never my favorite language and I avoided it as much as I could, I decided that during this year, I'd focus on the German repertoire while also honing my technique. It's worth mentioning - I usually and almost always sang in Slavic or Latin languages, and my favourite language in the opera world is Italian. But why the role of Papageno and the opera “The Magic Flute”? While browsing through the opera repertoire currently in production in the German language, I noticed that “The Magic Flute” was one of the most frequently performed, so I thought it could be a fascinating adventure. While perusing the opera score, I found a character for myself: Papageno5, a role not too low, not too high in the vocal tessitura, a role for a baritone voice. Even though I usually sang bass-baritone roles, I decided to take up the challenge of preparing the baritone part.

When crises develop, people are confronted with difficulties beyond those experienced in normal everyday activities.  Due to the perceived threats inherent to such situations, familiar behaviors may prove ineffective, and such attempts can pose dangerous and unpredictable risks. Crises are extreme situations, occurring at the very edges of human experience. Oral communication in such situations cannot be casual; the seriousness of the situation demands exceptional communicative performance on the part of the participants. Therefore, certainties about everyday communication conventions are called into question. The following work examines conversations during which the participants were involved in an extreme situation. In this particular crisis, a politically motivated kidnapping, the personal involvement of the interlocutors is substantial. A clear and present fear of the situation escalating and the possibility of a failure to anticipate the resulting reactions from the other party(ies) characterize the communicative acts of those involved. Recorded telephone calls during the occupation of the West German Embassy in Stockholm by members of the Red Army Faction (RAF) on April 24, 1975 comprise the basis for this analysis. One of the occupiers speaks with various interlocutors located in an adjacent embassy building. These interlocutors are relatives of the hostages, the Swedish Minister of Justice, and a German official charged with leading the negotiations. In this study, the communicative processes of the crisis are reconstructed. In order to show how the interlocutors attempt to reach their goals in this tense situation with the resources available to them, as well as what they in fact achieve, ethnographic methods of analysis have been employed. This study shows how, despite strong conflicting interests and motives, a shared reality is built through the actions of the interlocutors. The interaction between two key figures in the early stages of the crisis can even be characterized as a form of coalition building. An explanation as to why this collaboration is not retained in the subsequent course of the events, however, leading to an escalation of the situation, is also presented. Furthermore, the following work sets forth qualities needed to interactively build a coalition in a precarious crisis situation, which has arisen between parties characterized by diametrically opposed aims.

When I studied to become a musician on my instruments violin and nyckelharpa at the Department of Folk Music at the Royal College of Music (KMH) in Stockholm. Musikhögskolan (KMH) in Stockholm, I wrote an artistic bachelor thesis in music. In the thesis, I made a style analysis between the Näck-tuned melodies of Tyska klockorna performed by Pelle Björnlert, Gustaf Wetter and Pär Näsbom. The analysis included a comparison between these fiddlers and musicians with history and notation. I studied their melodies, rhythms, harmonies, tempos, moods, stringing, phrasing, dynamics and sound. I also studied and compared their emotions/values, contextual associations, expression, musical structure, performance/technique and general conditions in three different stylistic mappings between these fiddlers and musicians. At the oral presentation, I performed these three melodies of the Tyska klockorna on my violin, playing as close to Björnlert, Wetter and Näsbom's playing styles as possible. My twin sister Caroline Eriksson and I studied at KMH at the same time. When we started our degree projects, a graduation concert was included. We chose to have a joint “Sister Concert”, where two graduation concerts became one. The concert reflects the years before KMH, the years during KMH and the years after KMH. A varied concert with 24 fantastic fellow musicians and dancers, where we performed the music that is very close to us, both traditional and newly written, with a focus on interaction, play to dance and dance to play. / När jag studerade till musiker med mina instrument fiol och nyckelharpa på institutionen för folkmusik på Kungl. Musikhögskolan (KMH) i Stockholm, skrev jag ett konstnärligt kandidatexamensarbete i musik. I examensarbetet gjorde jag en stilanalys mellan de näckstämda melodierna Tyska klockorna framförda av Pelle Björnlert, Gustaf Wetter och Pär Näsbom. I analysen ingick en jämförelse mellan dessa spelmän och musiker med historia och notation. Jag studerade deras melodier, rytmer, harmonier, tempon, stämningar, stråkföringar, fraseringar, dynamik och klang. Jag studerade och jämförde även deras emotioner/värden, kontextuella associationer, uttryck, musikstruktur, utförande/teknik och generella förutsättningar i tre olika stilistiska mappningar mellan dessa spelmän och musiker. Vid den muntliga redovisningen framförde jag dessa tre melodier av Tyska klockorna på min fiol och spelande så nära Björnlert, Wetter och Näsboms spelsätt och spelstilar som möjligt. Min tvillingsyster Caroline Eriksson och jag studerade samtidigt på KMH. När vi påbörjade våra examensarbeten ingick en examenskonsert. Vi valde att ha en gemensam ”Systerkonsert”, där två examenskonserter blev en gemensam. Konserten speglar åren innan KMH, åren under KMH och åren efter KMH. En varierad konsert med 24 fantastiska medmusiker och dansare, där vi framförde den musik som ligger oss mycket nära. Både traditionell och nyskriven, med fokus på samspel, spel till dans och dans till spel. / <p><strong>Systerkonsert </strong></p><p><strong></strong></p><p><strong>Examenskonsert </strong></p><p><strong></strong></p><p><strong>Madliene Ahlström Eriksson &amp; Caroline Eriksson </strong></p><p><strong></strong></p><p>9 september 2023, kl. 16.00 Kungasalen, Kungl. Musikhögskolan i Stockholm  </p><p></p><p><strong>PROGRAMORDNING </strong></p><p><strong></strong></p><p><strong>Rulin &amp; Ericsson </strong></p><p><strong></strong></p><p>Musik: Polska efter Carl Viktor Rulin, Lerbäck, Närke &amp; Polska efter Pehr Ericsson, Helgarö, Södermanland.</p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Eder bröllopsdag </strong></p><p><strong></strong></p><p>Musik: Brudmarsch till Markus och Rebecca Kviberg, komponerad av Madliene Ahlström Eriksson från Trosa, Södermanland. </p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Näckstämda - Tyska klockorna </strong></p><p><strong></strong></p><p>Text: Madliene, bearbetad av Carin.</p><p>Musik: Pelle Björnlert från Vråka, Kalmar. Björnlerts variant av <em>Tyska klockorna</em> har han från boken <em>Svenska låtar </em>20, Östergötland, med Arvid Bergvall och Pelle Fors, de båda från Rönö socken, Östergötland.</p><p>Gustaf Wetter från Katrineholm, Södermanland. Gustaf har sin variant av <em>”Tiska klocko” / Tyska klocko</em> efter Anders Petter Andersson och August Widmark, de båda från Vingåker socken, Södermanland. Ur A.P. Anderssons bok <em>Låtar och visor från Södermanland och Närke</em>. </p><p>Pär Näsboms född i Tierps kyrkby, Uppland, men nu boende i Winterthur, Schweiz. Proveniens Uppland. Näsboms variant av <em>Tyska klockorna</em> har han efter "Viksta-Lasse", Leonard Larsson, Viksta, Uppland.</p><p>Arr. &amp; musiker: Madliene</p><p>Koreografi &amp; dansare: Carin &amp; Jan-Olof </p><p></p><p><strong>Hornlåt efter Liss-Mats Anna </strong></p><p><strong></strong></p><p>Musik: Hornlåt efter Liss-Mats Anna Ersson från Dalbyn, Ore. </p><p>Arr: Madliene </p><p>Musiker: Caroline, Ida Maria, Leif &amp; Madliene </p><p></p><p><strong>Lästringe storpolska </strong></p><p><strong></strong></p><p>Musik: Lästringe storpolska efter Anders Andersson, Lästringe, Södermanland.</p><p>Arr. &amp; musiker: Caroline, Leif &amp; Madliene </p><p></p><p><strong>Dans till Fryksdalsmelodi </strong></p><p><strong></strong></p><p>Dansen: Dans till Fryksdalsmelodi finns i sex stycken olika Fryksdalsmelodier och som har använts genom historien. Här får ni höra en av dem som vi tycker om att spela.</p><p>Musik: Dans till Fryksdalsmelodi</p><p>Arr: Troligt komponerad inom folkdansrörelsen och L. Johansson </p><p>Musiker: Caroline, Leif &amp; Madliene</p><p>Dansare från Skansens folkdanslag: Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa.  </p><p></p><p><strong>Åttamanengel </strong></p><p><strong></strong></p><p>Dansen: Österbotten har- och är ett svenskt kulturområde och i dansen får ni se danserna; engelska, kadrilj, galopp och polska som flätas samman i två låtmelodier. Första låten går i 2-takt och andra låten går i 3-takt. 3-takts polskan är väldigt lik “Skräddarepolskan” från Sörmland upptecknad efter K.P. Leffler. C.M. Bellman använde Skräddarepolskan-melodin i utbildningssyfte om sexdondelspolskans stil, för att kunna konstruera fram en grundmelodi på åttondelar i åttondelspolskestil av samma polska. Melodin passar lika bra som både åttondelspolska och sexdondelspolska. Bellman namngav därför melodin till “Fackeldansen” som ingick i hans utbildning om “Balen på Gröna Lund” och utlärningen om åttondels- och sexdondelspolskans likheter och olikheter.</p><p>Musik: Åttamanengel från Korsholm i ÖsterbottenArr: Folkdansrörelsen och L. Johansson</p><p>Musiker: Caroline, Leif &amp; Madliene</p><p>Dansare från Skansens folkdanslag: Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa.  </p><p></p><p><strong>Lilla Barn </strong></p><p><strong></strong></p><p>Text: Stina Engelbrecht</p><p>Musik: Jens Engelbrecht</p><p>Arr: S &amp; T. Engelbrecht, Caroline, Daniel &amp; Madliene</p><p>Musiker: Caroline, Daniel, Josephine &amp; Madliene </p><p></p><p><strong>När musiken spelar </strong></p><p><strong></strong></p><p>Text &amp; musik: Trad.</p><p>Arr: Madliene </p><p>Musiker: Josephine &amp; Madliene </p><p></p><p><strong>Vågsveparn  </strong></p><p><strong></strong></p><p>Musik: John McSherry, originaltitel “The Wave Sweeper”, Irland.</p><p>Arr: Caroline, Daniel &amp; Magnus</p><p>Grupp: Albatross: Caroline, Daniel &amp; Magnus. </p><p></p><p><strong>Konstant </strong></p><p><strong></strong></p><p>Musik: Komponerad av Caroline Eriksson från Trosa, Södermanland. </p><p>Arr: Caroline</p><p>Grupp: Albatross: Caroline, Daniel &amp; Magnus. </p><p></p><p><strong>T-korsning &amp; Kärl-eken </strong></p><p></p><p>Musik: Komponerad av Caroline Eriksson från Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Musiker: Caroline, Cecilia, Elsa, Gustav, Hanna, Hannes, Jakob, Madliene, Nora &amp; Torunn. Samt Daniel &amp; Magnus från Albatross. </p><p></p><p><strong>Slängpolska efter Anders Larsson från Sexdrega </strong></p><p><strong></strong></p><p>Musik: Slängpolska efter Anders Larsson från Sexdrega, Västergötland.</p><p>Arr: Caroline</p><p>Musiker: Caroline, Cecilia, Elsa, Gustav, Hanna, Hannes, Jakob, Madliene, Nora &amp; Torunn. Samt Daniel &amp; Magnus från Albatross.</p><p>Dansare: Marita &amp; Thomas    </p><p></p><p><strong>Slängpolska i östra Södermanland <em>- en jämförelse mellan fyra spelmän </em></strong></p><p><strong><em></em></strong></p><p>Musik: Slängpolska efter Axel Axelsson, Östtorp &amp; Anders Andersson, Lästringe, Södermanland. Caroline har den efter Leif, Ulf och Christina.</p><p>Musiker: Caroline </p><p></p><p><strong>Blekingepolskan </strong></p><p><strong></strong></p><p>Musik:Caroline och Madliene har den efter Bo “Bosse” Larsson, Björklinge, Uppland. Som i sin tur har den efter "Viksta-Lasse", Leonard Larsson, Viksta, Uppland.</p><p>Arr. &amp; musiker: Caroline &amp; Madliene </p><p></p><p><strong>Lilla Lasse  </strong></p><p><strong></strong></p><p>Musik: Slängpolskor från Mörkö, Södermanland. Nummer 659 och 649 från Sörmländska Låtar. </p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva.</p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare  </p><p></p><p><strong>Vi ska dansa med Sara </strong></p><p><strong></strong></p><p>Text &amp; musik: Vispolska från Mörkö, Södermanland. Nummer 662 från <em>Sörmländska Låtar</em>. </p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare  </p><p></p><p><strong>Ragatan </strong></p><p><strong></strong></p><p>Musik: Ragatan komponerad av Caroline Eriksson från Trosa, Södermanland. Samt<em> Korta Rosenberg</em>, slängpolska efter Anders Gustaf Rosenberg från Mellösa socken, Södermanland.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Skärborgarvisan </strong></p><p><strong></strong></p><p>Text &amp; musik: Skärborgarvisan från Trosa efter Claes Hagström, som har den efter sin far Gotthard Hagström Stensund/Trosa, Södermanland. Samt låt nummer 661 från Anders Gustav Andersson från Mörkö, i samlingen <em>Sörmländska låtar</em>.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Äh, jag tror ja’ ska ta å’ gå hem ja’ </strong></p><p><strong></strong></p><p>Musik: Schottis av Madliene Ahlström Eriksson från Trosa, Södermanland och Sofia Svahn från Ore, Dalarna.</p><p>Arr. &amp; Musiker: Caroline, Madliene &amp; Sunniva. </p><p>Dans och korreografi: Carin &amp; Jan-Olof.</p><p>Grupp: Tradpunkt med dansare </p><p></p><p><strong>Burr i magen </strong></p><p><strong></strong></p><p>Musik: Burr i magen av Caroline Eriksson, Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Koreografi: Caroline</p><p>Musiker: Caroline, Cecilia, Danie, Elsa, Gustav, Hanna, Hannes, Ida Maria, Jakob, Josephine, Leif, Madliene, Magnus, Nora, Sunniva &amp; Torunn.</p><p>Dansare: Carin, Jan-Olof, Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa. </p><p></p><p><strong>No poker face </strong></p><p><strong></strong></p><p>Musik: No poker face av Caroline Eriksson, Trosa, Södermanland.</p><p>Arr: Caroline</p><p>Koreografi: Carin &amp; Jan-Olof</p><p>Musiker: Caroline, Cecilia, Danie, Elsa, Gustav, Hanna, Hannes, Ida Maria, Jakob, Josephine, Leif, Madliene, Magnus, Nora, Sunniva &amp; Torunn.</p><p>Dansare: Carin, Jan-Olof, Marita, Mattias, Mikael, Mira, Olle, Thommas, Wendi &amp; Åsa. </p><p></p><p>______________________ </p><p></p><p><strong>Alla medmusiker och dansare: </strong></p><p><strong></strong></p><p>Carin Alnebratt - Dans</p><p>Caroline Eriksson - Fioler, nyckelharpa, oktavnyckelharpa och sång</p><p>Cecilia Etterlin - Fiol</p><p>Daniel Fredriksson - Mandora och mandola</p><p>Elsa Örde - Fiol</p><p>Gustav Stavbom - Fiol</p><p>Hanna Areskoug - Fiol</p><p>Hannes Ahlinder - Nyckelharpa</p><p>Ida Maria Schwahn - Fiol</p><p>Jakob Grunditz - Nyckelharpa</p><p>Jan-Olof Johansson - Dans</p><p>Josephine Betschart - Sång och rytminstrument</p><p>Leif Johansson - Fiol</p><p>Madliene Ahlström Eriksson - Fioler, nyckelharpa, oktavnyckelharpa, sång och gitarr</p><p>Magnus Lundmark - Slagverk</p><p>Marita Lagergren Lindberg - Dans</p><p>Mattias Lindberg - Dans</p><p>Mikael Lindberg - Dans</p><p>Mira Loringer - Dans</p><p>Nora Lilja - Fiol</p><p>Olle Hovmark - Dans</p><p>Sunniva Abelli - Nyckelharpa, oktavnyckelharpa och sång</p><p>Thommas Andersen - Dans</p><p>Torunn Thurfjell - Nyckelharpa</p><p>Wendi Löffler - Dans</p><p>Åsa Hannegård - Dans <strong></strong></p><p></p>

<p>On account of their practically unchallenged status as guardians of objective knowledge, dictionaries are influential elements of societal discourses. They are thus an authoritarian producer and reproducer of societal norms and ideas, and as an interesting object of investigation in critical lexicography consequently lend themselves to the investigation of authoritarian and normalising societal discourses on specific themes. However, dictionaries have to date only been used as primary sources for critical analysis on rare occasions. This study is an attempt at a corrective which explores the presentation of Islam in three editions of the Duden German Universal Dictionary (<em>Deutsches Universalwörterbuch</em>).</p><p>The dictionaries studied present Islam to all intents and purposes as the Other. Christianity is established as a norm and the Self, and the Christian way of practising religion is depicted as prototypical for all other religions. However, the emphasis on Christianity and the exclusion of Islam also has a positive effect on the portrayal of Islam, as old prejudices on the alleged brutality of Islam are thus not reproduced.</p>

The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar study to be found on this topic in the extensive literature on Eichendorff. The search for models of types of similes brought me back to antique rhetoric as well as to Middle High German epic poems. In the first analysis, the types of similes occurring in the corpus are presented. The syntactic structures of image receivers and image givers are used as criteria. Four structures of similes occurred: a) classical similes and b) similes with image givers, which represent adverbial clauses and c) as / as if – clauses or are d) subject-related. The frequency and the development of frequency of types of similes are presented as well. In the second step of the thesis, I investigate whether similes tend to depict conditions/qualities or procedures/actions. It turned out that similes reflecting conditions/qualities, i.e. epic similes, dominated strongly. The high number of similes could possibly be explained by the functions carried out by epic similes in narrative texts. In the third part, I concern myself with the question whether the similes of the corpus are imaginative representations only and what kind of sensorial perceptions they express. Admittedly, the dominating percentage of the similes proved to be images, but more than fifteen per cent consist of sounds and other sensorial perceptions. Furthermore, imaginative similes, but also sounding similes express motion, so that they illustrate pictures in motion and sounding motion respectively. These come close to synaesthesia, whereas only five similes illustrate „pure“ synaesthesia. In contrast, subject-related similes are perceptions of different sensations and feelings, illustrating the inner life of a character not shared by any other character. Finally, the semantic content of the similes is investigated in order to determine the metamorphosis, i.e. the trope transfer from proprium to improprium. It turned out that only the classical simile originating in antique rhetoric is suitable for a semantic analysis. Above all, there is great variation in the trope transfer. The metamorphosis human being → nature dominates strongly, which makes the narrative text appear as a palimpsest, in which yet another world glimmer in front of the human being behind every character. However, the many trope transfers that convey reality → unreality could be interpreted as transitions and as a “magical code” of Eichendorff. Furthermore, the semantic analysis uncovers content and motives of classical similes. It becomes clear that pre-constructed – and only pre-constructed - content is imitated here. Consequently, it can be asserted that Eichendorff’s great number of similes constitute or at least contribute to the formulaic manner (according to Kohlschmidt) and the intertextuality (according to Nienhaus) in Eichendorff’s narrative work. Above all, the subject-related simile type turns out to be a typical representative of Romanticism because of its subjectivism. Together with its preformed semantic content, it constitutes the “romantic formula” of Eichendorff’s work.

The concept of "family" has undergone major changes over the past 50 years. This thesis examines changes in attitudes and values that can be detected in German and Swedish during this time. In order to investigate these changes in the concept of "family" I have analyzed how the German focus word Familie and the Swedish focus word familj are used in newspaper articles from the 1960s, 1980s and early 2000s. The empirical data consists of German and Swedish newspaper corpora from the three different periods. The theoretical point of departure is a social constructionist perspective, where family is considered to be something constructed and negotiated in language use. The method is corpus linguistic discourse analysis: compound words, collocations and multi-word patterns that include the focus words are analyzed using large text corpora. The study is both about changes in HOW the words familj and Familie are used and WHAT is said about the family in public language use. The thesis shows changes in both Swedish and German language use. I conclude that two different sub-concepts are being constructed and negotiated: the family as a GROUP OF PERSONS and family as a WAY OF LIVING TOGETHER. As regards the family as a group of persons this sub-concept has undergone major changes during the period studied. Differences in Swedish and German language use indicate more and sometimes earlier changes in the Swedish concept of family. The sub-concept of family as a way of living together is more constant. The observed changes can also be seen against a background of Swedish and German conceptual norms of family that do not change to the same extent. New family structures such as nätverksfamiljer (reconstituted families) and regnbågsfamiljer (rainbow families) are partly constructed as deviations from these conceptual norms. The thesis also shows that the sub-concept of family as a group of persons has become even more complex, especially in Swedish language use and particularly in so-called bio boxes, where pets are mentioned as family members and couples without children label themselves as familj. / Begreppet ”familj” har genomgått stora förändringar de senaste 50 åren. I den här avhandlingen studeras vilka förändringar i synsätt och värderingar som kan upptäckas i det tyska och det svenska språkbruket under denna tid. För att undersöka dessa förändringar i begreppet ”familj” analyseras hur det tyska fokusordet Familie och det svenska fokusordet familj används i tidningstext från 1960-talet, 1980-talet och början av 2000-talet. Det empiriska materialet består av tyska och svenska tidningskorpusar från de tre olika perioderna. Den teoretiska utgångspunkten är ett socialkonstruktivistiskt perspektiv, där familj betraktas som någonting som konstrueras och förhandlas i språkanvändning. Metoden är korpuslingvistisk diskursanalys: med hjälp av stora textkorpusar analyseras sammansatta ord, kollokationer och flerordsmönster där fokusorden ingår. Det handlar här både om förändringar i HUR orden familj och Familie används och i VAD som sägs om familj i offentligt språkbruk. Avhandlingen visar på förändringar i både den svenska och den tyska språkanvändningen. Jag kommer fram till att två olika delbegrepp konstrueras och förhandlas: familj som PERSONGRUPP och familj som SAMLEVNADSFORM. När det gäller familj som persongrupp genomgår det delbegreppet stora förändringar under den studerade tidsperioden. Förändringarna visar sig vara större och ibland tidigare i det svenska materialet än i det tyska materialet. Delbegreppet familj som samlevnadsform är mer konstant. De förändringar som kan observeras sker också mot en bakgrund av svenska och tyska normbilder av familj, som inte förändras i samma grad. Nya familjebildningar som nätverksfamiljer och regnbågsfamiljer konstrueras delvis som avvikelser från dessa normbilder. Avhandlingen visar också att delbegreppet familj som persongrupp blir allt mer mångfacetterat, särskilt i svenskt språkbruk och i synnerhet i s.k. faktarutor, där även husdjur nämns som familjemedlemmar och par utan barn får etiketten familj.