(in English) This Master's Thesis focuses on the analysis of the issue of production and maintenance of authenticity as subculture capital. Analyzing the case of a decline of interest of participation in the Czech Freetekno subculture, this Thesis shows how analytically grasp the issue of authenticity and subcultural capital. The research is methodologically built on a combination of in-depth interviews and participant field observation. Primary data are then complemented with an analysis of secondary data in the form of media articles, flyers, and social networks. The main argument of this Master's Thesis is that apart from a distinctive dimension, authenticity also has a substantive dimension. Authenticity does not represent only a distinctive element that internally and externally differentiates the field of a subculture. It is also an element that gives a subculture its inner content, meaning, and sense for both current and new members. Authenticity is not only a resource used in the competition of status but is also a source of the content of a subculture and the pleasure of participating in it. Through an explanation of the decline of interest of participation in the Czech Freetekno scene, this Master's Thesis concludes that in the field of subculture studies the formalist perspective of...

Denna studie söker sammanfatta och analysera ett drygt sekels samlingsförvaltning och autenticitetsbruk av sekelskifteskonstnären Julius Kronbergs ateljé, som sedan 1922 funnits som museal miljö på friluftsmuseet Skansen i Stockholm. Problemet som utgör studiens fokus kretsar kring den bevarandeproblematik som uppstått då man i samma stund velat använda och bevara en autentisk miljö som i grund och botten har tämligen dåliga bevarandeförutsättningar. Studien har genomförts utifrån arkiv- och litteraturstudier samt en intervju, och inleds med en bakgrundshistorik följt av ett resultat som är uppdelat i fem delkapitel som alla motsvarar varsin tidsepok i förvaltningen av ateljén. De slutsatser som kan dras av resultatet visar på hur förvaltningen delvis har skiftat under seklet, att bevarandeproblematiken ofta har lösts genom att nedprioritera tillgängliggörandet av miljön, samt att miljöns materiella autenticitet genomgående har varit väldigt viktig. / This study aims to recap and analyze a century of collections management and authenticity use of artist Julius Kronbergs studio, that has been a part of Skansen open air museum in Stockholm since 1922. The problem for the study revolves around the desire to use and preserve an authentic environment that shows poor prerequisites in terms of preservation. The study has been carried out based on archive and litterature studies aswell as an interview, and is commenced with a historic context, followed by the result that is divided into five chapters based on different eras in the collections management of the studio. The conclusions shows how the management has varied some during the century, that the problem in preservation often was solved by down prioritizing the use of the museum environment, and that the studios material authenticity was very important throughout the century.

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Under coronapandemin blev det nästan omöjligt att resa, vilket ledde till att fler människor försökte hitta andra sätt att fly vardagen och upptäcka världen på. En teknik som kom i fokus då var Virtual Reality (VR) som skapade möjligheten att resa virtuellt. Det här är en deskriptiv studie som syftar till att ge en djup förståelse för hur en resa i VR upplevs av sina användare. I studien genomfördes ett experiment där fem personer testade VR-mjukvaran National Geographic Explore och genomförde en virtuell resa till Antarktis. Hårdvaran som användes i studien var Oculus Quest (gen1). Deltagarna intervjuades om sina upplevelser av resan och den data som insamlades från intervjuerna analyserades baserat på Giorgis 5 analyssteg. Slutsatser som studien kommit fram till är att tekniken fortfarande behöver finjusteras då den inte lever upp till de förväntningar som användarna har gällande bild, grafik eller kontroller. Resultatet pekar dock på att mediet skapar en känsla av verklighet som användaren ibland inte kan skilja från verkligheten. De tekniker som framför allt skapar den känslan är enligt respondenterna 360 graders filmteknik med 6 degrees of freedom, förstapersonsperspektivet samt interaktionen. En slutsats som dragits är att ju fler sinnen som tekniken lyckas aktivera desto verkligare känns upplevelsen. Experimentdeltagarna kändes sig som mest integrerade i tekniken under de tillfällen i VR-resan som de använde hela kroppen. Resultatet från den här studien pekar på att en anledning till att människan reser, både i VR och fysiskt, är för att fly vardagen, en typ av eskapism. / During the Corona pandemic it became almost impossible to travel. This led to a search for alternative ways of escaping the everyday life and to explore the world. In the light of this the technology Virtual Reality (VR) came into focus. This is a descriptive study who aims to give a deep understanding of how travelling in virtual reality are experienced by its users. In the study an experiment was made where 5 persons tried out the VR-app National Geographic Explore where they took a virtual trip to Antarctica. The hardware that was used in the study was Oculus Quest (gen1). The participants were interviewed about their experiences of the trip. The data that was collected from the interviews was analyzed based on the 5 steps method of Giorgi. Conclusions that where made is that the technology still need adjustments because it does not live up to the user’s expectations about the graphics, the photo, or the controllers. The result, however, indicates that the medium creates a sense of reality, a sense which the users sometimes can’t distinguish from the physical reality. The technologies that the users found most important to create the feeling of immersion and sense of reality was the 360 degrees filming with 6 degrees of freedom, the first-person perspective, and the interaction. A conclusion that’s been made is that the more senses the technology can activate the more integrated and closer to reality does the users feel. The situation when the users felt most integrated in the medium was during the activities when the participants used their bodies and not only their eyes. The result of this study indicates that one reason why people travel, both in VR and physical, is to escape everyday life, a type of escapism.

WEAVING PAST INTO PRESENT revolves around contradictory feelings towards, on the one hand, the lure of a mythic past, and on the other hand its absurdity and potential danger. This is done by stating that craft and weaving is inherently conservative, closely connected to nostalgia and claimed as something more authentic and pristine. In continuation used in the creation of an idealized and romanticized past generating a separation between an “us and them”. These problems are created by the main quest and question of this work, to weave the past into present and then ask; which past is woven into the present presence of the tapestries? The paper then continues to describe the methods and considerations used and made in this time-translation. Looking at the sketch and the collage as ways of materializing and enmeshing the transient flow of time through cacophonies of ephemera and threads. Concluding that I, just as the ones creating mythic pasts, am not weaving a past at all. But merely weaving a sketch trying to highlight the feeling and fear of loss apparent today in encountering the accelerated present, the eerie future, and the desirable progressive changes towards equality / WEAVING PAST INTO PRESENT rör sig kring motsägelsefulla känslor gentemot å ena sidan, lockelsen i ett mytiskt förflutet, och å andra sidan dess absurditet och potentiella fara. Detta görs genom att påstå att konsthantverk och vävning i sig är konservativt, nära kopplat till nostalgi och ansett som något mer autentiskt och ursprungligt. Fortsättningsvis används det i skapandet av ett idealiserat och romantiserat förflutet som skapar en separation mellan ett “vi och dom”. Dessa problem har uppstått tillsammans med arbetets huvudsakliga mål och frågeställning, att väva det förflutna in i nuet och fråga sig; vilket förflutet är det som vävs till den nuvarande närvaron av bildvävarna?  Uppsatsen fortsätter sedan med att beskriva de metoder och överväganden som använts och gjorts i denna tidsöversättning. Genom att betrakta skissen och collaget som sätt att materialisera och sammanfoga tidens förgängliga flöde genom kakofonier av det efemära och trådar. Slutfattningsvis att jag, precis som de som skapar mytiska förflutna, inte alls väver ett förflutet. Utan bara väver en skiss som försöker belysa den känsla och rädsla för förlust som är uppenbar idag i mötet med det accelererande nuet, den kusliga framtiden och de önskvärda progressiva förändringarna mot jämlikhet.

L’authenticité est une notion courante, qui est abondamment utilisée dans notre quotidien; qu’il s’agisse de qualifier un geste, une parole ou une personne. L’authenticité se révèle aussi être une notion fondamentale, voire omniprésente, au sein du droit de la preuve civile québécois. Il s’agit en effet d’un élément pivot, qui apparaît autant au moment d’apprécier la recevabilité de la preuve que d’en évaluer la force probante. Le législateur n’a pourtant jamais réellement tenté d’en tracer les contours ni même d’en proposer une définition. Il ne réfère généralement qu’aux effets de l’authenticité, sans toutefois se pencher sur la conceptualisation même de cette notion. Les conséquences en sont pour le moins consternantes : on ne sait pas tout à fait ce qu’est l’authenticité, mais on sait ce que ce n’est pas. C’est donc dans ce contexte que s’inscrit le présent mémoire. Il vise d’abord à déterminer ce en quoi constitue l’authenticité en droit québécois, sur le plan conceptuel. Pour ce faire, un aperçu des traditions juridiques qui ont exercé une influence marquée sur le régime juridique québécois sera réalisé, en insistant particulièrement sur les principes de la tradition civiliste européenne continentale. L’idée de cette approche historique consiste à déterrer les fondements mêmes de l’authenticité en droit québécois, telle que se concevait cette notion avant la révolution technologique. Une fois ses pourtours bien établis, le présent mémoire se penchera ensuite sur les conséquences qu’a entrainées, sur l’authenticité, la réaction législative québécoise concomitante à la révolution technologique. Sans revisiter en profondeur la notion, nous verrons que le législateur a pris une approche de décomposition fonctionnelle, qui permet de mieux en apprécier les fondements. Cette approche nous permettra, par ailleurs, de confirmer que l’authenticité est une notion polymorphe, qui demeure systématiquement associée à la qualité de la preuve, en tout ou en partie. Des effets sur le plan probatoire peuvent découler de cette qualité, mais seulement en certaines circonstances. / Authenticity is a common notion that is used extensively in our daily lives, whether it is to qualify an act, a word, or a person. Authenticity is also a fundamental, even omnipresent, notion in Quebec law of evidence. It is a pivotal element, which appears as much when assessing the admissibility of evidence as when evaluating its probative value. However, the legislator has never really attempted to define it. He generally refers only to the effects of authenticity, without addressing the conceptualization of this notion. The consequences are, to say the least, dismaying: we don't quite know what authenticity is, but we know what it is not. It is therefore in this context that the present thesis takes place. It aims first to determine what constitutes authenticity in Quebec law, from a conceptual standpoint. To do so, an overview of the legal traditions that have had a marked influence on the Quebec legal system will be provided, with particular emphasis on the principles of the continental European civil law tradition. The idea of this historical approach is to unearth the very foundations of authenticity in Quebec law, as this concept existed before the technological revolution. This paper will then examine the consequences of the legislative reaction to the technological revolution on authenticity. Without revisiting the notion in depth, we will see that the legislator has taken a functional decomposition approach to authenticity, which allows us to better appreciate its foundations. Moreover, this approach will allow us to confirm that authenticity is a notion which, although polymorphic, remains systematically associated with the quality of the evidence. Probative effects could emerge from this quality, but only in certain circumstances.

In this study of Lev Shestov, the biographical method is used to explain his philosophy. The grave crisis or nervous breakdown Shestov went through caused a total transformation of his - convictions and values. It was probably this drama that led to his repudiation of the common life and traditional philosophy with its emphasis on reason, knowledge, and ethics in favour of an extreme individualism and religious transcendence. The aim of the dissertation is to examine, amongst the great number of philosophers and writers Shestov analysed, mainly those in his view “marginal thinkers”, who were of the greatest interest to him – Fyodor Dostoevsky, Lev Tolstoy, Friedrich Nietzsche, Martin Luther, and Søren Kierkegaard. On the basis of this analysis the character of Shestov’s philosophy is defined. According to Shestov, like his own crisis, the crises that these thinkers experienced occasioned a total transformation of their convictions and values. Šestov does not let his life find complete expression in his philosophy. Instead he projects his crisis into the five thinkers’ crises and philosophy. To characterize the previous and new modes of thinking, the concepts of alienation (degeneration, degradation, depravity) and authenticity (deliverance from alienation) are used. Shestov’s judgment of the consistency of the five thinkers’ new attitudes is presented, i.e. deliverance from the common life with its emphasis on rational eternal truths and moralism. Authentic life is in Shestov’s opinion the from the individual’s everyday life concealed experience of despair in extreme situations. This constitutes a grave crisis that leads to the repudiation of all hitherto held convictions and cherished hopes. The contrast between the Russian philosopher’s personal, (after his crisis) mainly tranquil, harmonious life and his philosophy is glaring. Analyzing the five thinkers, Shestov finds that they did not persevere with their new convictions, instead they complied with the by everybody accepted and everywhere valid truths. Shestov’s “theoretical”, uncompromising and consistent stance on one side and the lack of these characteristics with the aforementioned thinkers on the other side, to a great extent places Shestov in another category than these. In Shestov’s view freedom is in the region of tragedy, which nobody enters on his own will and in the incomprehensible trust in a capricious, “inhuman” God. According to Shestov, only the philosopher, who derives his thinking from a situation, where he experiences extreme despair and hopelessness, can claim to be a true philosopher. / <p>Examinator: docent Julie Hansen; Uppsala universitet</p>

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Ce mémoire de maitrise s’intéresse à l’être-vers-la-mort dans Être et temps de Heidegger afin de montrer dans quelle mesure la pensée heideggérienne de la mort peut être comprise comme une manière d’affirmer la vie. En effet, une réflexion dirigée sur la mort permet à la réalité humaine de se comprendre à partir de la fin, selon sa finitude. C’est une caractéristique de la réalité humaine que d’être toujours « en devenir », la mort étant la possibilité limite qui vient mettre fin à ce caractère de possible. Une telle compréhension de soi permet alors le dévoilement de l’ensemble des possibilités de la vie en vue de la fin. Il s’agit de se comprendre et de comprendre nos possibilités pour ce qu’elles sont, c’est-à-dire finies. Dès lors, leur sens se trouve transformé, voire révélé. L’inauthenticité et l’authenticité sont pour Heidegger les deux façons d’affronter la mort, deux manières de vivre sa finitude. C’est dans l’authenticité que la réalité humaine sera elle-même et pourra vivre dans la pleine conscience de sa finitude. Il reste que la réalité humaine est d’abord et le plus souvent inauthentique. Ce mémoire se proposera donc en un premier temps de présenter ces deux modes d’être et de compréhension de l’être-là de la réalité humaine et accordera, en un deuxième temps, une attention particulière aux concepts d’angoisse et de fuite. La trajectoire suivra celle des paragraphes 46 à 54 d’Être et temps consacrés à l’être-vers-la-mort. La tâche finale sera de montrer en quoi une pensée de la mort permet de voir dans une nouvelle affirmation de la vie la conséquence d’un être-vers-la-mort authentique. / This master’s thesis examines being-towards-death in Heidegger’s Being and Time in order to show to what extent the Heideggerian thought of death can be understood as a way of affirming life. Indeed, a reflection directed towards death allows human reality to be understood from its end, i.e., according to its finitude. It is a characteristic of human reality to always be "in the making", death being the limiting possibility which puts an end to this character of possibility. Such an understanding of oneself then allows the unveiling of the full range of possibilities of life with a view to the end. It is about understanding ourselves and our possibilities for what they are, that is, limited and finite. Consequently, their meaning is transformed, even revealed. Inauthenticity and authenticity are for Heidegger the two ways of facing death, two ways of experiencing one’s finitude. It is in authenticity that human reality will be itself and can live in full awareness of its finitude. On the other hand, human reality is initially inauthentic. This thesis will therefore start by recalling the basic characteristics of these two modes of being and of understanding the being of human reality and will then pay particular attention to the concepts of anxiety and flight. The trajectory will follow that of paragraphs 46 to 54 of Being and Time devoted to Being-towards-death. The final task will be to show how a thought of death makes it possible to see in a new affirmation of life the consequence of an authentic being-towards-death.

Gender roles are a tool used by society to set acceptable boundaries and ideals upon the sexes, and during the early part of the twentieth century in America those gender boundaries began to blur. As a result of the 19th Amendment, men must have felt their decreasing importance because women were no longer solely dependent upon them, and gender roles shifted as woman began to occupy territory that was traditionally held by men. The “New Woman" entered the workforce, and refused to accept traditional female gender conventions. In response to the “New Woman," Theodore Roosevelt and other leading males sought to reinforce the ideal of the male as the protector and provider. As woman took on characteristics commonly associated with men, men now had to grapple with a changing gender identity that often left them confused and frustrated. Willa Sibert Cather's life reflects the fluctuating gender conventions of early twentieth century America as she struggled to define her gender identity. In her youth, Cather chopped her hair and dressed like a boy. She also spent time dissecting frogs and called herself “William Cather, M.D." Cather's cross-dressing reveals her unconventional core and her desire to define herself regardless of societal expectations. Cather also had many close relationships with woman, and these close relationships have led many scholars to label her a lesbian. Cather, however, left us a mystery surrounding her gender preference because she never openly called herself a lesbian. Cather's supposed lesbianism is useful because it reveals the ambiguity of her personality. Cather is paradox because she sought for self-definition, but she also suffered from an identity crisis. By using the shifting nature of gender roles in the America during the early decades of the twentieth century and Cather's confused and unconventional life as a backdrop, I would argue that My Ántonia (1918), The Professor's House (1925), and “Neighbor Rosicky (1932)" reveal the consequences of gender roles. Cather's novels and short story should be analyzed for her interest in exploring male reaction to prescribed gender roles which, ultimately, reveals Cather's attitude towards the existence of gender conventions. Cather advocated for a more fluid and balance way of defining male and female roles. Cather's novel My Ántonia and The Professor's House reveal the consequences of gender roles because both Jim and Professor St. Peter are frustrated, fearful, unsatisfied, ambiguous, and unhappy with the roles that they have been playing. In sharp contrast to these two novels is Cather's delightful short story entitled “Neighbor Rosicky." In this short story Cather presents a protagonist who is whole and balanced. “Neighbor Rosicky" is Cather's statement regarding the importance and beauty of self-definition. Ultimately, her literature can be viewed as a rejection of both male and female gender qualities which demonstrates that Cather and her fiction cannot be reduced to an identity agenda.