Annie Ernaux skriver i En flickas memoarer att i livets början reder vi alla ut tvånget att göra något för att försörja oss, med ögonblicket när vi ”väljer” och slutligen känslan av att vara, eller inte vara, där vi ska vara. Drömmen om att leva på sin passion tar Kiki och Karim till Akademien för dans och musikal. De går nu sista året. Att landa en huvudroll i examensshowen kommer att bli avgörande. Kiki vill sedan vidare till ett prestigefyllt danskompani, du Maurais i Paris. Med Kikis egna ord: ”Om Akademien kan ta henne i vilken slumpmässig riktning som helst, som en brisé, är en fot in hos Maurais som en flygande brisé volé rakt in i framtiden med stort F.” Karims framtidsplaner är mer diffusa, öppen som han är för vad livet har ett erbjuda och låta det avgöra hans nästa steg. Men som Ernaux säger: det fria valet är grumligt. Styrs vi snarare av allt det som händer? Stark målmedvetenhet och hård fasad skyddar inte mot känslor av osäkerhet. Bristande tillit lamslår tanke och kropp. Likt många som har valt krävande, kreativa yrken tvivlar Kiki på sitt val och sin kapacitet. Karims lojalitet och omtanke däremot har hon aldrig behövt tvivla på. Karim har länge klarat sig på egen hand eftersom hans familj inte vill veta av honom. Karim undrar om han någonsin kan bli älskad för den han är. Ändå är hans blick på sig själv, sin omvärld och livet paradoxalt nog mycket mildare än Kikis. Men hans längtan efter kärlek – leder den bara in i återvändsgränder och omöjliga relationer? Kiki och Karim. Att ha och inte ha. Danslivets vardag. I världen terrordåd och flykting-strömmar. Och så Kikis pappas grusade förhoppningar. Hur kan de ha någon som helst betydelse för två unga människor med siktet inställt på framtiden? Ett besked omkullkastar Kikis planer och hon behöver Karim mer än någonsin. Hur mycket press, prestation och konkurrens kan hon utsättas för innan hon går itu? Kikis och Karims vänskap – håller den verkligen för allt?

Spegelburen är första tredjedelen i en ungdomsroman. Ash och Angelica möts på ett slottshotell där Ash börjar sitt första sommarjobb och Angelica ska förbereda sin systers bröllop. Det visar sig att de är barndomsvänner, men har utvecklats åt väldigt olika håll. På slottet upplever de märkliga händelser och hittar en gammal dagbok som avslöjar att slottet tjänade som mentalsjukhus för unga överklassflickor på 40-talet. Dagboken är skriven av en av patienterna. De unga kvinnorna brottas med sina problem i nutiden samtidigt som de möter mörka aspekter av kvinnohistorien i spöklik gestalt. / The Mirror Cage is the first third of a YA novel. Ash and Angelica meet at a castle hotel, where Ash starts her first summer job, and Angelica comes to prepare her sisters wedding. They are childhood friends, but have grown in very different directions. At the castle they encounter weird things, and find an old diary that reveals that the castle was an asylum for upper class girls in the 40:ies. The diary is written by one of the patients. The young women struggle with their problems in the present and face a ghost shaped by the dark aspects of women history at the same time.

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Det här är en berättelse om personer och händelser i min släkt, där vi huvudsakligen får följa min morfars och min mammas liv. Historien startar i en tidigare text där jag berättar om min morfars uppväxt i ett fattigt hem i Högstena i Västergötland, hans flytt till Stockholm och etablering av ett eget skrädderi där. Hans historia utspelar sig från 1907 och cirka fem decennier framåt. Min morfars liv har jag skrivit om i Kreativt skrivande I-II.  När vi nu kommer in i historien har vi kommit fram till år 1954. Då är min mamma nybliven mor och familjen är bosatt i Skövde. Hon har därmed gjort samma resa som sin far fast åt motsatt håll. Vi får följa min mammas liv under cirka trettio år. Mitt mål med den här släktkrönikan är framför allt att ge barn och barnbarn kunskap om och minnen från tidigare generationers liv. Samt vetskap om hur dessa generationers livsval haft avgörande betydelse för deras egna liv.

Non-migrating tides are understood to be an important coupling mechanism through which lower atmospheric conditions influence the variability of the near-Earth space environment. Tidal variations have been exhaustively characterized in the mesosphere/lower thermosphere and the upper thermosphere, yet it is not quite known to what extent tides appear in the middle thermosphere due to a lack of global-scale systematic observations. This dissertation addresses the middle thermospheric "gap" of tidal observations. Using far ultraviolet (FUV) observations of the Earth, the recent NASA GOLD and ICON missions retrieve thermospheric parameters, the former from geostationary orbit (GEO) and the latter from low Earth orbit. Both missions infer the daytime column O/N2 ratio, while GOLD also retrieves the daytime thermospheric disk temperature. Traditional spectral tidal decomposition cannot be employed on GOLD data due its incomplete longitude/local solar time sampling. The known limitation introduced by ionospheric contamination of emissions at 135.6 nm and the dependence of the GOLD disk temperature on solar zenith angle both serve as additional obstacles. This dissertation proposes a pair of algorithms, based on the local time sum and difference approaches, that retrieves diurnal and semidiurnal tidal parameters for temperature and O/N2 in a single inversion, while constraining the tidal phase differences in temperature and O/N2 using a general circulation model. The first estimates of non-migrating tidal amplitudes and phases in middle thermospheric temperature and O/N2 using a geostationary observational platform are presented. Comparisons to physics-based and empirical models reveal that modeled amplitudes are generally weaker than the amplitudes retrieved from GOLD data, highlighting the need for better representation of tidal dynamics. In addition, this dissertation proposes a universal approach to systematically reduce the ionospheric contamination of O/N2 and thus determine the true thermospheric tidal variations. The approach considers biases between the remote sensing and ionospheric data sets, and due to its universality can be adapted for any retrieval of O/N2 from far ultraviolet emissions. The modified O/N2 shows a wavenumber-3 pattern indicative of the diurnal eastward propagating zonal wavenumber 2 tide (DE2), where it was not present in the original O/N2. This DE2 presence as well as the finding of DE3 and SE2 signatures in wavenumber-4 patterns is consistent with the theory that upward propagating tides influence the longitudinal structure of the thermospheric composition. / Doctor of Philosophy / A remarkable amount of variability in the upper atmosphere is not explained by the state-of-the-art description of the connected Sun-Earth system. Understanding the mechanisms of said variability is instrumental to achieving operational space weather forecasting, a capability that would alleviate the uncertainties faced by space activities such as GPS. Solar atmospheric tides have been studied as a coupling mechanism between terrestrial weather and space weather, and thus believed to be responsible for much of the variability not accounted for. These tides are periodic planetary-scale oscillations of the atmosphere, principally forced by the heating of the atmosphere by solar radiation. A subset of them, called non-migrating tides, do not track the motion of the Sun across the sky. Non-migrating tides in the upper atmosphere are forced in a myriad of ways, including but not limited to large-scale tropical weather systems and the interactions of the migrating tide with other waves. They are known to redistribute the charged particles of the ionosphere, thus influencing radio communications. This dissertation presents novel methods to studying non-migrating tides in a region of the upper atmosphere, the middle thermosphere (around 150 km altitude), where observations of them are sparse. A pair of methods was devised to overcome the limited sampling of temperature and composition from geostationary orbit, where a satellite appears fixed to a ground-based observer. Another method addresses a limitation that has afflicted prior investigations of non-migrating tides in neutral composition based on far ultraviolet observations. These methods use data collected by the NASA GOLD and ICON missions, modern space-based Earth observation missions that make crucial measurements of the middle thermosphere. The successful development of these methods paves the way for better understanding the nature of upper atmospheric variability introduced by tides. Comparison to models indicate that models generally underestimate the tidal amplitudes. Analysis of neutral composition variations is consistent with the theory that upward propagating tides influence the longitudinal structure of thermospheric composition.

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DocumentUS is an original orchestra and choral composition by Stanley Garth Gibb, based on events in American history.

According to Deborah Britzman, a queer pedagogy enables a destabilization of identity, a destabilization of various socio-cultural and economic norms, and recognition that language reflects current dominant socio-cultural ideologies. While queer pedagogies have been applied to courses in various disciplines and queer texts and readings have been presented within a range of literature courses, the role of a queer text in the composition classroom bears further examination. To answer the question, "What purposes can be served by using a queer text in a composition course?" I conducted qualitative research, using interviews, observations, and textual analysis in three first-year composition classes as three teachers and nine students read, discussed and wrote about Eli Clare's text, "The Mountain," for the first time. The language and style of the text disrupted assumptions about how texts should function and exposed students to stylistic techniques they challenged, critiqued or used to achieve specific rhetorical effects of their own. Students had a stronger sense that authors make specific choices and that those choices affect how an audience reads a text. However, students' and teachers' enactment and understanding of academic norms may contradict the possibilities presented by a queer text like Clare's. Understandings of academic discourse based upon an ethos of certainty tend to work against the destabilization of identity and the questioning and uncertainty Clare's text fosters. While queer scholars claim that certain pedagogical approaches to texts reflect and encourage a queered understanding of identity norms and knowledge, critics of queer theory express skepticism about its applicability with undergraduate students. This study illustrated that a queer text can enable composition teachers (even those unfamiliar with queer pedagogical techniques) to enact goals those of us who teach and study composition value, including: reading texts for multiple purposes; extensive use of revision; experimentation with substance, style and audience. Yet, the study also demonstrated that we need a better understanding of how and why a queer text works (and how to communicate that to students), a better understanding of what constitutes academic writing and more self-reflection about how identities shape and are shaped by socio-cultural and discursive ideologies and material reality.

In this dissertation I make a case for multigenre essays to be made more available to students in all disciplines, but especially to students in freshman composition classes. I also present the results of a case study where I acted as teacher/researcher investigating how students experience the writing and reading of multigenre essays. By multigenre essays I mean essays that include creative elements such as lists, letters, and interviews, in addition to traditional academic prose. By combining creative elements with academic prose I propose that writers will be able to express more of what they want to say in an essay by using both analytical and associative ways of thinking. The benefits of having students write multigenre essays are three-fold: (1) when students are given the option of including such things as dialogs, poems, and vignettes in addition to standard academic prose, they gain in rhetorical flexibility---experimenting with and finding the right genres and combination of genres that best fits what they want to say; (2) they also gain in their ability to take a more personal stance on an issue by having more options for positioning themselves in reference to a given topic; and (3) they gain in their ability to push at the perceived boundaries of a discourse. In this dissertation I discuss how eight students in an experimental writing class responded to the writing and reading of multigenre essays, to what extent they found them worthwhile and/or pleasurable, their thoughts in reference to audience and subject matter, how they used multigenre essays for cognitive travel, and how writing multigenre essays gave them a way to push against the perceived boundaries of their discipline. My data come from four essays the students wrote, reader response assignments, reflection letters, and from interviews with five of the students. Overall students found the writing and reading of multigenre essays more difficult but more satisfying than that of standard academic prose. In some cases multigenre essays made them think in new ways about audience and subject matter; for almost all students, multigenre essays made them think differently about an essay's form and how a change in form allowed them to position themselves differently within their discipline.

Polymetrics is a one-movement work for symphonic wind ensemble, of approximately 8 minutes' duration. The instrumentation includes thirty woodwinds, thirteen brasses, and ten percussionists. The pitch organization is based on two hexachords that encompass all twelve pitch classes.