Reading and analyzing literature has a long tradition of being an essential part of the teaching of English in Sweden. As the offers of entertainment have increased in popular culture with the introduction of computer games, internet and other media, interest in reading novels has decreased. Literature is still a compulsory part of English teaching and the question is how teachers of today use literature and what kind of literary instruction they use. The aim of this study is to explore and discuss the literary instruction discourse in pedagogical texts, lessons, created by and for English teachers of Swedish Upper Secondary Schools. The lessons have been collected from the site lektion.se, where teachers are able to share knowledge and lessons. The study uses an analytical method based on Norman Fairclough´s Critical Discourse Analysis in order to analyze the lessons. In the analysis aspects of language, intertextuality and assumptions are discussed. As a theoretical base, Louise M. Rosenblatt´s and Judith Langer´s ideas of reader centered literary instruction is used as well as Design Theory. The result of the study shows that the overall discourse is text orientated and, with few exceptions, there is little room for students to contribute to a creative, personal experience of literature. Furthermore, it is shown that literary texts are often used as an exercise of reading comprehension and specific literary reading is scarce. The study postulates that more effort should be put into involving the students in the reading, and less effort on literary terminology.

I detta självständiga arbete utforskas en lärandeprocess i tonsättningen av ett kortare musikaliskt verk för sång och piano, vilket beskrivs utifrån ett designteoretiskt lärande- perspektiv. Studien baseras på videoinspelade självobservationer som pågått under 3 månaders tid. Analysen av lärandeprocessen sker med hjälp av designteoretiska be- grepp som lärandets resurser och transformationscykler. Resultatet är redovisat i tre olika teman, Tonsättningens begynnelse, Kompositionsprocessens andra fas och Proces- sens slutskede. I resultatet framkom det att ett flertal resurser används såsom leken, ge- höret, seendet, notskrivningsprogrammet etcetera för att nå en tillfredställande pro- gression. Avslutningsvis diskuteras resultatanalysen i relation till vald litteratur som utgår från tidigare forskning samt från det designteoretiska perspektivet. / In this independent work my learning process in the composing of a short music piece for soprano and piano is explored and described from a design theory perspective. The study is based on video recorded self-observations, which lasted 3 months. The result of the analysis shows how the learning process takes place with the help of concepts from the design theory perspective like resources of learning and two kinds of transformation cycles. The result is represented in three different themes, which are The beginning of the compositional process, Second faze of the compositional process and Ending of the compositional process. In the result it showed that a plural resources, for instance playing as a resource, listening, seeing, notation program etcetera were used to reach a satisfied progression. Finally I discuss my results in relation to chosen literature that proceeds from previous relevant research and the design theoretical perspective.

Syftet med studien är att utforska hur några utvalda tillvägagångssätt för lärande, förmedlade av ledande slagverkare och slagverkslärare, används av och fungerar för en lärarstudents instudering av ett musikverk. Dessa tre tillvägagångssätt användes för att studera in Concerto for marimba and strings av Emanuel Sejourné.  Ljudinspelningar och loggbok låg till grund för analysen om vad som fungerade bra för mig i min egen övning och hur jag upplevde de olika metoderna under pågående övning. I resultatet framkommer att framförallt trivselfaktorn är en bidragande orsak till ett lyckat övande. Andra viktiga faktorer som redovisas är vikten av att ha kontroll på musiken innan jag som musikutövare börjar öva samt vikten av att öva som en konsert i förebyggande syfte. Avslutningsvis diskuteras arbetets resultat i relation till den presenterade litteraturen och tidigare forskningen inom området. / The aim of this study is to explore how some selected approaches of learning, mediated by leading percussionist and percussion teachers, is used by and works for one students rehearsal of a musical work. These three approaches were used when practicing the Concerto for Marimba and Strings of Emanuel Sejourné. Audio recordings and log book was the basis for the analysis of what worked well for me in my own practice and how I experienced the different methods during exercise. The result shows that above all enjoyment factor is a contributor to a successful practicing. Other important factors reported are the importance of knowledge and the music before you start to practice and the importance of preventively practicing as a real concert. At the end, the results of the study is discussed in relation to the presented literature and previous research in the subject.

Studiens syfte är att utforska en musikers kroppsspråk vid instuderingen av en orkesterstämma. Detta har observerats under instuderingen av förstaflöjtstämman i fjärde satsen av Brahms andra symfoni. Studien har sin utgångspunkt i det designteoretiska perspektivet och har genomförts med hjälp av videoobservationer under repetitionsperioden av verket. Jag har även fört loggbok under processen av självobservationen. Resultatet av studien visar att de kroppsliga resurserna kan hjälpa, men också stjälpa, den musikaliska processen och dess uttryck. I diskussionen tar jag bland annat upp hur resurserna används sett ur det designteoretiska perspektivet. / The purpose of this study is to explore a musician's body language when studying an orchestral part. The observation took place during my own practice of the first flute part in the fourth movement of Brahms' second symphony and also during the rehearsal with the orchestra. The study has its basis in the perspective of design theory and I have used video observations during the rehearsal period of the work. I have also written a logbook during the process of self-observation. The result shows that the physical resources can help, but also hinder the musical process and its expression. In the end I discuss among other things how resources are used, seen from the design theory perspective.

This research is concerned with the pre-implementation evaluation of investments in Information Systems (IS). IS evaluation is important as organisations need to assess the financial justifiability of business change proposals that include (but usually are not limited to) the introduction of IS applications. More specifically, this research addresses the problem of benefits assessment within IS evaluation. We contend that benefits assessment should not be performed at the level of the IS application, as most extant evaluation methods advocate. Instead, to study the dynamics and the interactions of the IS applications with their surrounding environment, we propose to adopt the business process as the analytic lens of evaluation and to assess the impacts of IS on organisational, rather than on technical, performance indicators. Drawing on these propositions, this research investigates the potential of dynamic process modelling (via discrete-event simulation) as a facilitator of IS evaluation. We argue that, in order to be effective evaluation tools, business process models should be able to explicitly incorporate the effects of IS introduction on business performance, an issue that is found to be under-researched in previous literature. The above findings serve as the central theme for the development of a design theory of IS evaluation by simulation. The theory provides prescriptive elements that refer both to the design products of the evaluation and the design process by which these products can come into reality. The theory draws on a set of kernel theories from the business engineering domain and proposes a set of meta-requirements that should be satisfied by business process models, a meta-design structure that meets these requirements, and a design method that provides guidance in applying the theoretical propositions in practice. The design theory is developed and empirically tested by means of two real-life case studies. The first study is used to complement the findings of a literature review and to drive the development of the design theory's components, while the second study is employed to validate and further enhance the theory's propositions. The research results support the arguments for simulation-assisted IS evaluation and demonstrate the contribution of the design theory to the field.

The study is concerned with the conceptual structure and content of the framework for characterising user-product interaction, proposed under the title – ‘Product Semantics’. The sources for the critique of design, from which the framework is derived, are identified and analysed, and the substantive theoretical and methodological content given initial consideration in terms of the deployment of the central concept of ‘meaning’, and the principal theoretical approaches adopted in the analysis of meaning and semantic concepts generally. The commitment to a cognitive and experiential approach to user-interaction is established and the concepts central to the framework, and requiring more detailed analysis, are identified. The core of the study consists in an analysis of the sequence of concepts and contexts that are chiefly used in the theoretical articulation of the framework, including - function, affordance, categorisation, artefacts, meaning and expression - of which the concept of affordance is central to the structure. On the basis of the initial consideration of the structure and content of the scheme, and in the light of the analysis of concepts, the explanatory structure of the framework is established. It is argued that the core commitment to an experiential and cognitive account, and the form of the explanatory structure, are jointly incompatible with the conceptual content of the framework, particularly in respect of the pivotal role of the concept of affordance. Proposals are advanced for an alternative interpretation which addresses the central issues of consistency and coherence, and which suggests an alternative approach to the conceptual characterisation of the framework and the form of the explanatory hierarchy. The implications of the framework, and the proposed alternative interpretation, are considered in respect of their application in shaping approaches to the development of design theory and methodology, and the experiential aspect of semantics and cognition.

Within the design community, a growing number of researchers have shown interest in extending the value context to include design, such that designers focus on maximizing the 'value' of the product or service, rather than simply satisfying a set of requirements. Thus, by applying a value-driven approach to design, the design community hopes to show that the magnitude of cost and schedule overruns may be reduced, or even eliminated. However, a common criticism of value-driven approaches is that they are difficult to implement, and not sufficiently pragmatic to be used for large scale engineering problems. Further, some argue that less rigorous methods appear to provide reasonable results in practice, and so rigor is not necessary. To reconcile these disparate viewpoints, it must be shown that value-driven approaches contribute to the design process, and can be implemented in practice at a reasonable cost. In response, I propose that the cause for the lack of practicality in value-driven approaches is attributable to the lack of well established and verified methods and tools. This dissertation presents research that attempts to address this deficiency by first developing a better understanding of effectiveness for methods that seek to enable value-driven design. This investigation leads to a concise set of desired characteristics for methods for guiding the development of value-models which then motivate the creation of a Systematic Method for Developing Value Models (SMDVM). To evaluate the SMDVM, it is applied to the design and retrofit of buildings for energy efficiency. A simulation workbench is developed as a tool to automate the development and analysis of value models for building design and retrofit contexts. The workbench enables architects, engineers, and other practitioners to easily incorporate uncertainty into analyses of building energy consumption, as part of a value-driven approach to design and retrofit.

abstract: Patterns of social conflict and cooperation among irrigation communities in southern Arizona from the Classic Hohokam through the Historic period (c. 1150 to c. 1900 CE) are analyzed. Archaeological survey of the Gila River Indian Community has yielded data that allow study of populations within the Hohokam core area (the lower Salt and middle Gila valleys). An etic design approach is adopted that analyzes tasks artifacts were intended to perform. This research is predicated on three hypotheses. It is suggested that (1) projectile point mass and performance exhibit directional change over time, and weight can therefore be used as a proxy for relative age within types, (2) stone points were designed differently for hunting and warfare, and (3) obsidian data can be employed to analyze socioeconomic interactions. This research identifies variation in the distribution of points that provides evidence for aspects of warfare, hunting, and the social mechanisms involved in procuring raw materials. Ethnographic observations and archaeological data suggest that flaked-stone points were designed (1) for hunting ungulates, or (2) for use against people. The distribution of points through time and space consequently provides evidence for conflict, and those aspects of subsistence in which they played a role. Points were commonly made from obsidian, a volcanic glass with properties that allow sources to be identified with precision. Patterns in obsidian procurement can therefore be employed to address socioeconomic interactions. By the 18th century, horticulturalists were present in only a few southern Arizona locations. Irrigation communities were more widely distributed during the Classic Period; the causes of the collapse of these communities and relationships between prehistoric and historic indigenes have been debated for centuries. Data presented here suggest that while changes in material culture occurred, multiple lines of evidence for cultural continuity from the prehistoric to Historic periods are present. The O'Odham creation story suggests that the population fluctuated over time, and archaeological evidence supports this observation. It appears that alterations in cultural practices and migrations occurred during intervals of low population density, and these fluctuations forced changes in political, economic, and social relationships along the middle Gila River / Dissertation/Thesis / Ph.D. Anthropology 2010

Syftet med denna studie är att se hur planering påverkar effektiviteten vid instudering av ny repertoar. Denna studie har ett designteoretiskt perspektiv och är baserad på idéer från personer så som Robert Schenck, Gunnar Lif, Harald Jørgensen, Johannes L. Hatfield och Roger Säljö. Jag använde mig av videoobservation samt loggbok för att dokumentera och analysera läroprocessen. I resultatet beskrivs vilka teckenvärldar och resurser som använts, vilka didaktiska metoder som använts samt vilken av de två strukturer som jämförts som fick bäst resultat. Några av de teckenvärldar och resurser som användes var kroppen, rösten, piano, iPhone och appen iReal, nothäfte, notställ och spegel. Skillnaderna mellan teckenvärldar och resurser i de olika strukturerna var främst hur tiden disponerades och de verktyg som behövdes för att hålla tiderna. De didaktiska metoder som användes var uppsjungning, repetition, scaffolding, ökande svårighetsgrad och instudering av harmonik. De skillnader som fanns var bland annat hur tiden disponerades och hur melodin instuderades. Den planerade övningen gjorde att låten blev instuderad snabbare och gjorde slutresultatet av låten bättre.  I diskussionen problematiseras resultatet för att komma fram till för- och nackdelar med de olika strukturerna. / The purpose of this study is to watch how planning affects the efficiency of the studying of new repertoire. This study has a design theoretical perspective and is based on ideas from persons as Robert Schenck, Gunnar Lif, Harald Jørgensen, Johannes L. Hatfield and Roger Säljö. I have used video observation and a logbook to document and analyze the learning process. In the results, it is described which modes and resources that have been used as well as which didactic methods that have been used. Also, which of the two structures that was compared got the best results.Some of the modes and resources that were used was the body, voice, piano, iPhone and the app iReal, sheet music book, music stand and a mirror. The differences in modes and resources between the two structures was primarily how the time was disposed and the tools needed to keep the time. The didactic methods used were a singing warm-up, repetition, scaffolding, an increasing difficulty and studying of the harmony. The differences that existed were among other things, how the time were distributed and the way the melody was learnt. The planned practice made the studying of the song faster and made the end result better. In the discussion, the results are problematized to understand the pros and cons of the two structures.

I detta självständiga arbete utforskar jag min egen lärandeprocess i en komposition för violin, flöjt och piano. Studien utgår utifrån ett designteoretiskt perspektiv och grundar sig även i litteratur och forskning inom ämnet komposition och musikskapande. Denna självstudie baserar sig på observationer från flera videofilmade, ljudinspelade och loggbokförda kompositionstillfällen under höstterminen 2017. Resultatet är indelat i tre olika faser av kompositionsprocessen: Kompositionens början, Utvecklingen av kompositionen ochSlutskedet av kompositionen. I resultatet presenteras svaret på mina frågeställningar om vilka resurser jag använder när jag skriver musik och hur själva kompositionsprocessen ser ut för mig. I diskussionen sätts dessa resultat i relation till vald litteratur, forskning och det designteoretiska perspektivet. / In this self-study, I explore my own learning process while writing a composition for violin, flute and piano. The study is based on the perspective of design theory and is also based on literature and research in the subject of composition and music-making. This self-study is also based on observations from several video, sound and log recorded compositional events during autumn 2017. The result chapter is divided into three different stages of the process of the composition: The beginning of the composition, The development of the compositionand The final phase of the composition. The result answers the two research questions and the purpose of this study: What resources do I use when writing music and how the actual process of my composition takes place. In the discussion, these results are set in relation to the selected literature, research and the design theory perspective.