<p>This dissertation deals with Swedish upper secondary school students’ encounter and reception of various fictional texts in and outside of school. The focus of the study is how literary instruction, based on an expanded text concept, succeeds in meeting the students’ expectations and previous experiences of fictional texts. The theoretical framework consists of theories that approach reading as a transaction between text and reader in a social and cultural context.</p><p>The study is founded on qualitative methods, and the empirical material was collected through participant observation and interviews with students and teachers in four upper secondary school classes between 2001 and 2003. The research questions are: How does literary instruction develop students’ knowledge of fictional texts and reading? In what ways are the students’ textual worlds in and outside of school dialogically interrelated? How do students use different fictional texts in building their identities? Which values regarding different texts are visible in the classroom?</p><p>Findings indicate that mismatches between teachers’ and students’ literary repertoires are common in upper secondary school literary teaching. Since the literary instruction mainly drew upon traditional fiction, the students’ construction of literary worlds was not sufficiently supported. The students’ expectations of fiction reading were characterized by strong emotional involvement, and this was particularly true for the male students. The female students reported that there was a lack of female perspectives in the literary teaching.</p><p>The pedagogical implications of the study concern the importance of identifying the students’ literary repertoires and matching those with the literary instruction. Literary pedagogy should aim to expand these repertoires, and to help students acquire new reader roles. One way of achieving this is to promote dialogical teaching that encourages both efferent and aesthetic reading. Findings of the present study also indicate that teachers’ resources for working with an expanded text concept are limited. Consequently, current teacher education programmes and further training of working teachers must deal with reading of fictional texts from new and broader perspectives.</p>

<p>This dissertation is a study of social interaction in virtual worlds and virtual world design. A virtual world is a synchronous, multi-user system that offers a persistent spatial environment for iconically represented participants. Together, these form an example of social interaction design. I have applied an arena perspective on my object of study, meaning that I focus on these socio-technical systems as places.</p><p>I have investigated the persistent qualities of social interaction in virtual worlds. What I have found is that virtual worlds are as real as the physical world. They are filled with real people interacting with each other evoking real emotions and leading to real consequences. There are no fixed boundaries between the virtual and physical arenas that make up a participant’s lifeworld.</p><p>I have found that participants in virtual worlds are not anonymous and bodiless actors on a level playing field. Participants construct everything needed to create social structures such as identities and status symbols. The qualities of social interaction in virtual worlds cannot be measured against physical interaction. Doing so conceals the qualities of virtual interaction. Through the concepts of levity and proximity, I offer an alternative measure that better captures the unique properties of the medium. Levity is related to the use of avatars and the displacement into a virtual context and manifests itself as a kind of lightness in the way participants approach the interaction. Proximity is my term for the transformation of social distances that takes place in virtual worlds. While participants perceive that they are in the same place despite being physically separated, the technology can also create barriers separating participants from their physical surroundings. The gap between the participant and her avatar is also of social significance.</p><p>As a theoretical foundation for design, I have used Michael Heim’s writings and practices as a base for a phenomenologically grounded approach, which provides an alternative to the dominating perspectives of architecture and engineering. Based on an explorative design project and the earlier mentioned findings regarding social interaction, I have formulated a model for virtual world design called interacture. This model takes the interaction between participants as the fundamental building material and the starting point of the design process. From there, layers of function and structure are added, all the time balancing the design between fantasy and realism.</p><p>I have explored the possibilities of using ethnographic studies as the foundation for a participant centered design approach. I have aimed for an inside view of my object of study both as an ethnographer and as a designer. One outcome of this approach is that I have come to understand virtual worlds not just as places but also as processes where the experience of participating can change drastically over time as the participant reaches new stages in the process.</p><p>In conclusion, the method of integrating ethnography with design and the understanding of social interaction as the fundamental building material is woven into a general approach to the study and design of socio-technical systems called social interaction design.</p>

This dissertation is a study of social interaction in virtual worlds and virtual world design. A virtual world is a synchronous, multi-user system that offers a persistent spatial environment for iconically represented participants. Together, these form an example of social interaction design. I have applied an arena perspective on my object of study, meaning that I focus on these socio-technical systems as places. I have investigated the persistent qualities of social interaction in virtual worlds. What I have found is that virtual worlds are as real as the physical world. They are filled with real people interacting with each other evoking real emotions and leading to real consequences. There are no fixed boundaries between the virtual and physical arenas that make up a participant’s lifeworld. I have found that participants in virtual worlds are not anonymous and bodiless actors on a level playing field. Participants construct everything needed to create social structures such as identities and status symbols. The qualities of social interaction in virtual worlds cannot be measured against physical interaction. Doing so conceals the qualities of virtual interaction. Through the concepts of levity and proximity, I offer an alternative measure that better captures the unique properties of the medium. Levity is related to the use of avatars and the displacement into a virtual context and manifests itself as a kind of lightness in the way participants approach the interaction. Proximity is my term for the transformation of social distances that takes place in virtual worlds. While participants perceive that they are in the same place despite being physically separated, the technology can also create barriers separating participants from their physical surroundings. The gap between the participant and her avatar is also of social significance. As a theoretical foundation for design, I have used Michael Heim’s writings and practices as a base for a phenomenologically grounded approach, which provides an alternative to the dominating perspectives of architecture and engineering. Based on an explorative design project and the earlier mentioned findings regarding social interaction, I have formulated a model for virtual world design called interacture. This model takes the interaction between participants as the fundamental building material and the starting point of the design process. From there, layers of function and structure are added, all the time balancing the design between fantasy and realism. I have explored the possibilities of using ethnographic studies as the foundation for a participant centered design approach. I have aimed for an inside view of my object of study both as an ethnographer and as a designer. One outcome of this approach is that I have come to understand virtual worlds not just as places but also as processes where the experience of participating can change drastically over time as the participant reaches new stages in the process. In conclusion, the method of integrating ethnography with design and the understanding of social interaction as the fundamental building material is woven into a general approach to the study and design of socio-technical systems called social interaction design.

This dissertation deals with Swedish upper secondary school students’ encounter and reception of various fictional texts in and outside of school. The focus of the study is how literary instruction, based on an expanded text concept, succeeds in meeting the students’ expectations and previous experiences of fictional texts. The theoretical framework consists of theories that approach reading as a transaction between text and reader in a social and cultural context. The study is founded on qualitative methods, and the empirical material was collected through participant observation and interviews with students and teachers in four upper secondary school classes between 2001 and 2003. The research questions are: How does literary instruction develop students’ knowledge of fictional texts and reading? In what ways are the students’ textual worlds in and outside of school dialogically interrelated? How do students use different fictional texts in building their identities? Which values regarding different texts are visible in the classroom? Findings indicate that mismatches between teachers’ and students’ literary repertoires are common in upper secondary school literary teaching. Since the literary instruction mainly drew upon traditional fiction, the students’ construction of literary worlds was not sufficiently supported. The students’ expectations of fiction reading were characterized by strong emotional involvement, and this was particularly true for the male students. The female students reported that there was a lack of female perspectives in the literary teaching. The pedagogical implications of the study concern the importance of identifying the students’ literary repertoires and matching those with the literary instruction. Literary pedagogy should aim to expand these repertoires, and to help students acquire new reader roles. One way of achieving this is to promote dialogical teaching that encourages both efferent and aesthetic reading. Findings of the present study also indicate that teachers’ resources for working with an expanded text concept are limited. Consequently, current teacher education programmes and further training of working teachers must deal with reading of fictional texts from new and broader perspectives.

This research considers how the culture of game developer Cyan Worlds influences the gameplay environment and the culture of fans in Myst Online: Uru Live. The game has gone through two commercial releases and in both cases it was cancelled after a short time. Fans have attempted to salvage the game by producing their own server software and content creation tools. Recently, Cyan released their own source code and development tools to the fan community, giving fans an official channel for creating new content. This work builds off of Pearce's (2009b) study of the culture of Uru players and emergent play, but adds the dimension of considering the culture of developers themselves. A primary goal of this study was to determine how the culture of a game developer like Cyan shapes the constraints of the designed "play ecosystem" (Pearce 2009b: 7), and how it shapes the processes by which fans can salvage aspects of the game to create new content. One finding is that the design of Uru's gameplay environment is rooted in the cultural practices, personal philosophical goals and individual personality traits of its developers. Fans were able to assert ownership over the Uru story-world and the means of production of new content by proactively applying technical and problem-solving skills--the same sorts of skills that players must apply to solving puzzles in Myst games. This fan action, coupled with Cyan's goal of making an open-ended world, has helped to propel the initiative to provide open-source tools for creating new content. When fans produce new content, they draw significantly from an existing shared cultural repertoire of cues and conventions. These conventions are supported both by the software affordances of the development environment and by cultural precedent--they are readily adapted to Myst-like narratives and are easily "read" by experienced players.

The writer has attempted to discuss the distinction between the necessary and the contingent. It begins with a criticism against the possibility for a so-called ‘a possible worlds realism’ to give a “philosophical explanation” of this distinction. The writer argues that this is impossible, since it requires that a notion of this distinction be already accepted (more precisely that the necessity of such a theory is already accepted). After this specific criticism, the writer intends to show that this is a more general problem that follows any explanation of the contingent/necessary distinction. The writer then discusses the counter-argument that the requirements placed on these explanations are set to high, therefore the writer shows in theory the problem can be solved and sketches a more specific way how to explain and show the basis for this distinction. / Författaren har avsett att diskutera distinktionen mellan det nödvändiga och det kontingent. Det börjar med en kritik mot möjligheten för en så kallad ’möjliga världars realism’ att ge en ”filosofisk förklaring” av denna distinktion. Författaren argumenterar för att detta är omöjligt, eftersom det kräver att en sådan distinktion redan är accepterad (mer specifikt att nödvändigheten av en sådan teori redan är accepterad). Efter denna specifika kriticism, så avser författaren visa att detta problem är generellt och att det följer alla försök att förklara den kontingenta/nödvändiga distinktionen. Författaren diskuterar sedan motargumentet att de krav som ställts på dessa förklaringar är för högt ställda, därför visar författaren hur problemet kan lösas i teorin och visar också en förenklad modell av en lösningsmetod.

The aim of this study is to make an inquiry on the nature and the development of dualities in Bergson&rsquo / s philosophy. Since the nature of each duality differs from the others and the dualistic pattern inherent in Bergsonian philosophy is subject to change, we base our study on a chronological structure in order to comprehend better how this pattern changes. We claim that such an inquiry will yield relevant outcomes with regard to ontological and epistemological evolution of Bergson&rsquo / s thought. To state more precisely, we are of the idea that the modification in the dualistic pattern in Bergson&rsquo / s ontology is reflected in a parallel manner in his epistemology. The fundamental question that shows us the way to follow in our study is whether the elements of the dualities (whether they be ontological or epistemological) are reconciled by Bergson or they are left as absolutely distinct elements. At the end of the inquiry regarding that question, which we believe can be taken as an inspiring point in developing new approaches especially to epistemological problems, our conviction is that Bergson points out to a meeting point.

Across the globe, people are everyday audiences of advertising images, which have become integrated in our life worlds. Advertising images are entangled with interesting moral conflicts. This study analyses the decision-processes of advertising self-regulators, who are in the midst of such moral conflicts, with the purpose of showing how and why they decide if advertising images are acceptable or not. Two organizations based in different countries are included in the study; The Advertising Standards Authority (ASA) in the United Kingdom and The Trade Ethical Council against Sexism in Advertising (ERK) in Sweden. The empirical material consists of interviews with 38 people, images and text documents, from the two mentioned self-regulatory bodies, and some (participant) observation. The study focuses on cases of potentially offensive advertisements. The material is primarily analysed using the theory of worlds of worth, developed by Luc Boltanski and Laurent Thévenot. The thesis argues that advertising self-regulation is about ascertaining, and making compromises between, conventions of morality. The study demonstrates the pattern of how the contextual circumstances influence the moral decisions that are made. It is shown that a decisive feature of the decisions is to conceptualize the general public in a justified way. This means that decision-makers picture the public as types of people who hold one or a combination of moral logics, and assume that they use these to interpret and evaluate advertising images. How these publics are defined depends on how the settings of the different advertising images are collectively interpreted by the decision-makers. The thesis argues more generally that to understand people’s values we must look at conflict situations in which current morals surface, such as the ways they appear in relation to advertising images.

This qualitative dissertation study examined the ways that nine gifted, bilingual Mexican/Mexican-American students negotiated paradoxes in their academic, linguistic, and cultural identities in a public high school in a large, south central Texas city. One theoretical lens, Critical Race Theory/Latino Critical Race Theory (CRT/LatCrit) was combined with phenomenological research methods to privilege the students' perspectives during the data collection process. An additional theoretical lens, the concept of Figured Worlds, was used to contextualize the setting, Chase High School. Both CRT/LatCrit and Figured Worlds were used to analyze interview, classroom and field observation, participant, school, and district artifacts, federal, state and local data collected over ten months of study. The investigation revealed that the participants braided the domains of community cultural wealth -- aspirational, navigational, linguistic, social, resistance, and familial capital -- into practices that grounded them in their bilingual, bicultural Mexican/Mexican-American identities as successful students. / text

ABSTRACT Imaginative storytelling offered as an invitation to learning dovetails with the notion of Romance in cyclical, organic learning. It is upon the theme of rhythmic storytelling and its relationship to Alfred North Whitehead’s cycle of Romance/Freedom of “The Wood between the Worlds” that I concentrate in this thesis. The thesis proceeds in four chapters to facilitate such understanding. Chapter One reawakens the childlike wonder of the stories my father related to me when I was young; my personal academic trajectory traces out the Whiteheadian pattern of the overlapping tri-cycle of Romance/Freedom, Precision/Self-Discipline, and Generalization/Freedom. Chapter Two introduces the enchanted Narnian “Wood between the Worlds” envisioned by Clive Staples Lewis with reference to the literary and sensory forests I have known. Chapter Three presents the Voices of the Children from my Grade Two class over a period of one year, based upon my memories and personal anecdotal notes of their stories as well as their creative use of storytelling. I also explore Antonio Machón’s consideration of children’s drawings as storytelling. In conclusion, Chapter Four describes my journeys with First Nations pilot programs Math Warriors (Saskatoon Catholic School Board) and Indigenous Knowledge in Science (Saskatoon Public School Board), leading me to better appreciate Indigenous educational philosophy. In the process I consider insights shared by Verna Kirkness (Cree), Jo-ann Archibald (Stó:lö and Coast Salish), and others. Finally, I interpret “The Wood between the Worlds” from a Whiteheadian perspective, reflecting upon contrasts and commonalities Whitehead may share with Aboriginal thought.