Bakgrund: Att förlora ett barn är en stor sorg som uttrycks på olika sätt hos olika individer. Sorgen drabbar inte bara familjen utan även vårdpersonal som upplever att det får svårigheter att identifiera föräldrars behov och stödja dem i deras sorgeprocess. Därför är det viktigt att få reda på hur föräldrar upplever vårdpersonalens stöd efter att deras barn dött. Syfte: Syftet med litteraturöversikten var att beskriva föräldrars upplevelser av vårdpersonals stöd efter att deras barn dött. Metod: Studierna berör föräldrars upplevelser av vårdpersonals stöd efter att deras barn dött och valdes från databasen CINAHL complete och genom två manuella sökningar. Litteraturöversikten har utgått från Fribergs metod och presenterar resultat från tio vetenskapliga engelskspråkiga artiklar. Resultat: Resultatet innefattar tre huvudteman: Behovet av samtal och information, Behovet av kontinuitet och en god relation och Behovet av uppföljning och engagemang. Diskussion: Metoddiskussionen beskriver litteraturöversiktens styrkor och svagheter och vad som kan ha påverkat både utformningen och tillvägagångssättet. I litteraturöversiktens resultat diskuteras hur föräldrar vars barn dött på sjukhus upplevde vårdpersonalens stöd efter beskedet om barnets diagnos, vad som är viktigt vid dödsögonblicket samt efter det att barnet dött och hur uppföljning påverkar föräldrar. I resultatet diskuteras även vad föräldrar önskar av vårdpersonalen i de olika faserna. Resultatet diskuteras även utifrån Travelbees omvårdnadsteori med fokus på begreppet människa. / Background: Losing a child is a great sadness that is expressed in different ways by different individuals. Grief affects not only the family but also health professionals who describe difficulties identifying parents' needs for support. Therefore, it is important to explore how parents perceive the health care professionals support after their child died. Aim: The aim of this literature review was to describe the parents' perceptions of support from health care professionals after the death of their child. Method: The studies concern parental perceptions of health professionals’ support after their child died and was selected from the database CINAHL complete and through two manual searches. The literature review was based on Friberg’s method and presents results from ten English scientific research articles. Results: The result includes three main themes: The need for conversation and information, The need of continuity and a good relationship and The need of follow up and commitment. Discussion: Method discussion describes the literature reviews strengths and weaknesses and what may have influenced both the design and approach. The literature reviews results discusses how parents whose children died in hospitals experienced health care professionals support after information about the child's diagnosis, what is important at the moment of death and after the child died and how follow-up affects parents. The result also discusses what parents want from health care professionals in the different phases. The results are also discussed based on Travelbees nursing theory with focus on the concept of man.

The purpose of this research was to determine teachers’ perceptions of the degree to which research-based characteristics exist in alternative high schools and programs in the Commonwealth of Virginia and the importance of these characteristics to effective education. In addition, this research investigated whether or not these perceptions were related to the teachers’ perception of efficacy. These seven characteristics were (a) clearly identified enrollment criteria, (b) low ratio of student to teachers, (c) one-to-one interactions between staff and students, (d) social skills instruction, (e) effective academic instruction, (f) parental involvement and parental support programs, and (g) specific training for teachers who are working with at-risk youth. Alternative school teachers were also administered the short form of the Tschannen-Moran and Woolfolk Hoy (2001) Teachers’ Sense of Efficacy Scale that is specifically designed to assess the respondents’ perceptions of their self-efficacy as teachers. The data show that alternative school teachers in Virginia ranked “low student to staff ratio” as the most important and “parental involvement and parental support programs” as the least important research-based characteristics for the academic focus of their schools. It was also evidenced by the data that none of the research-based characteristics were shown to have “strong evidence” of existence in Virginia’s alternative schools and programs. Finally, the data showed that there is a positive correlation between the existence of the research-based characteristics and the reported self-efficacy of the alternative school teachers.

Les westerns de l’âge d’or étasunien (1948-1962) mettent en scène un "gender trouble" en créant des personnages de femmes et d’hommes qui empruntent les uns et les autres aux caractéristiques genrées associées par la société nord-américaine et occidentale en général aux genres binaires du féminin et du masculin. Ce trouble genré se développe entre autres par la volonté de trois hommes de recréer la cellule familiale nucléaire conventionnelle dans "Red River" (1948) de Howard Hawks, par le rapport de peur et d’oppression du groupe social sur les individus dans "High Noon" (1952) de Fred Zinnemann et "Johnny Guitar" (1954) de Nicholas Ray, ainsi que par la rencontre opposant l’homme de l’Est et l’homme de l’Ouest dont les idéologies et les valeurs divergent dans "The Man Who Shot Liberty Valance" (1962) de John Ford. / Golden Age American westerns movies (1948-1962) display "gender trouble" by creating male and female characters who borrow gendered characteristics from one another. In North American and Western societies en general, these characteristics are associated with binary feminine and masculine gender constructions. For instance, "gender trouble" develops in three men's attempt to recreate a conventional nuclear family cell in Howard Hawk's "Red River" (1948), in a social group's fearful and oppressive dynamic in Fred Zinnemann's "High Noon" (1952) and Nicholas Ray's "Johnny Guitar" (1954) and in the meeting between Eastern and Western men whose ideologies and values clash in John Ford's "The Man Who Shot Liberty Valance" (1962).

Abstract This thesis sets out to explore the cultural differences between Sweden and the United States by examining the substantial changes made to Men Who Hate Women, including the change in the book’s title in English to The Girl With The Dragon Tattoo. My thesis focuses in particular on changes in the depiction of the female protagonist: Lisbeth Salander. Unfortunately we do not have access to translator Steven T. Murray’s original translation, though we know that the English publisher and rights holder Christopher MacLehose chose to enhance Larsson’s work in order to make the novel more interesting for English-speaking readers, which resulted in Murray translating under the pseudonym Reg Keeland as he did not agree to the translation made by MacLehose and Knopf. Furthermore, this thesis touches on the ethics of translation, and will likewise argue the importance of facilitating a dialog concerning misogyny and rape culture.

<p>A commonly held assumption among literary critics is that the motif of the European journey is exhausted in American literature in the post-World-War-II period. Challenging this view, the present study claims that the Old World journey narrative lives on, but in new guises, and that it continues to be a forum for the discussion of American national identity. Studying four novels about Americans traveling to Europe – William Styron’s Set This House on Fire (1960), Mary McCarthy’s Birds of America (1971), John A. Williams’s The Man Who Cried I Am (1967) and Erica Jong’s Fear of Flying (1973) – this thesis examines the ways in which the European journey is utilized for a questioning of “America.” Informed by the political debates of their time, which lead, for example, to the displacement of hegemonic ideologies such as nationalism, they share a critical stance vis-à-vis the conventional construction of national identity. They represent, however, different strands of the contemporary political counterculture; while the first two texts view national identity from the center of American society, addressing a moral and an ideological/intellectual critique, respectively, the last two represent marginal perspectives, that of the African American and feminist protest movements. The function of the European setting in the four novels is also scrutinized: in all of them the European setting provides the backdrop for a story that deals, almost exclusively, with American culture; it serves in a variety of ways, for example as a many-facetted stage, an experimental ground, or a zone of liberation. The Coda sketches recent developments in the 1980s and 1990s, finding the motif of initiation and the figure of the independent warm-hearted American girl to persist and the myth of American innocence to continue to be contested. </p>

The purpose of this study is to analyze the events that occurred throughout the Egyptian Revolution from January 2010 to February 2010 through pragmatic humanism. Tweets will be looked at from the book Tweets from Tahrir to show how the process unfolded. Building on the previous research, the tweets will be looked at through the lens of pragmatic humanism. The study will show how individuals can better the world they live in by experimenting with different methods and adapting to any failures they may encounter. The study will also show how the reach of the individual has become faster and further than previously possible. The elements of pragmatic humanism will be broken down into five main tenets. The study will take a thematic approach in analyzing the tweets through the perspective of the particular tenet. The study will also show the power of individual desires when they are able to combine with the social context of the time. The advent of Twitter has allowed individuals to test and experiment with hypotheses much quicker than before and allows them to make monumental changes to their reality in a much shorter period of time. / Graduation date: 2013

Diabetes is a major risk factor for the development of cataract [3,14,20,22]. In this thesis, we create a model that allows us to understand the incidence of one disease in the context of another; in particular, cataract in the presence of diabetes. The World Health Organization's Vision 2020 blindness-prevention initiative administers surgeries to remove cataracts, the leading cause of blindness worldwide [24]. One of the geographic areas most impacted by cataract-related blindness is Sub-Saharan Africa. In order to plan the number of surgeries to administer, the World Health Organization uses data on cataract prevalence. However, an estimation of the incidence of cataract is more useful than prevalence data for the purpose of resource planning. In 2012, Dray and Williams developed a method for estimating incidence based on prevalence data [5]. Incidence estimates can be further refined by considering associated risk factors such as diabetes. We therefore extend the Dray and Williams model to include diabetes prevalence when calculating cataract incidence estimates. We explore two possible approaches to our model construction, one a detailed extension, and the other, a simplification of that extension. We provide a discussion comparing the two approaches.

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A commonly held assumption among literary critics is that the motif of the European journey is exhausted in American literature in the post-World-War-II period. Challenging this view, the present study claims that the Old World journey narrative lives on, but in new guises, and that it continues to be a forum for the discussion of American national identity. Studying four novels about Americans traveling to Europe – William Styron’s Set This House on Fire (1960), Mary McCarthy’s Birds of America (1971), John A. Williams’s The Man Who Cried I Am (1967) and Erica Jong’s Fear of Flying (1973) – this thesis examines the ways in which the European journey is utilized for a questioning of “America.” Informed by the political debates of their time, which lead, for example, to the displacement of hegemonic ideologies such as nationalism, they share a critical stance vis-à-vis the conventional construction of national identity. They represent, however, different strands of the contemporary political counterculture; while the first two texts view national identity from the center of American society, addressing a moral and an ideological/intellectual critique, respectively, the last two represent marginal perspectives, that of the African American and feminist protest movements. The function of the European setting in the four novels is also scrutinized: in all of them the European setting provides the backdrop for a story that deals, almost exclusively, with American culture; it serves in a variety of ways, for example as a many-facetted stage, an experimental ground, or a zone of liberation. The Coda sketches recent developments in the 1980s and 1990s, finding the motif of initiation and the figure of the independent warm-hearted American girl to persist and the myth of American innocence to continue to be contested.

Conducting musical analyses over three case studies, Electric, Eclectic, Canadian: Issues of Genre and Identity in the Music of the Guess Who considers issues of genre, culture, and identity in the music of Canadian rock band the Guess Who. The first case study discusses soft rock transformations in the songs “These Eyes” (1968), “Laughing” (1969), and “Undun” (1969). The second case study examines changes in audience identification with the song “American Woman” (1970), performing comparative analyses of the Guess Who original release to Lenny Kravitz’s version (1999). The final case study discusses ideas of authenticity in the folk rock-inspired protest songs “Hand Me Down World” (1970), “Share the Land” (1970), and “Guns, Guns, Guns” (1972), comparing them to the iconic songs “For What It’s Worth” (Buffalo Springfield, 1967), “Big Yellow Taxi” (1970), “Ohio” (Neil Young, 1970 and “Southern Man” (Young, 1970). The conclusions summarise various musical and socio-political aspects of the Guess Who’s output and places it in relation to questions of national identity.