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This study examines the relationship between music and image in two of Hayao Miyazaki's films. Based on literature studies on film music and narrativity, together with an analysis of how the music is used in the films Howl's Moving Castle and Kiki's Delivery Service, the study shows how the music affects the narrative. The questions discussed in this reflective essay are: What is the narrative function of Hisaishi's compositions for Miyazaki's Studio Ghibli films? What is the function of the leitmotifs and are any musical codes used? Does diegetic music appear in the films? How are the leitmotifs associated with the characters in different situations? Do the motifs convey objects, characters, emotions, places or something else? The conclusion of the paper shows that by using leitmotifs, musical themes and codes, Hisaishi has managed to strengthen and enhance the narrative of both films. Hisaishi's compositions for both Howl's Moving Castle and Kiki's Delivery Service have been shown to play a significant role in the viewer's experience of the film and its plot. Hisaishi's use of leitmotifs varies depending on the character, event or emotion it represents. Some of the leitmotifs convey the characters' emotions and expressions to the audience, which we would otherwise not see through dialogue alone. The composer also uses a lot of musical codes and even diegetic music. Several cultural musical codes can be heard that make the audience associate with a Western culture.

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Works on the Balkans currently face a crisis of representation--from Ivo Andric's fictionalized memory to Joe Sacco's humanitarian witnessing, the occidental reader must examine the Balkans within a historical context of colonialism to avoid misrepresentation. The goal of this study is threefold: to provide a firm historical grounding while observing the instruments of colonialism, to give an overview of Occidental travel writing on the Balkans with a particular focus on the formation and dissolution of Yugoslavia, and to suggest examples of travel texts that strive to read colonized worlds without losing sight of their own Occidental positioning or pretending that it does not exist. When approaching a contested space that involves a multitude of competing discourses, a hefty responsibility is thrust on both the reader and writer of Balkan representations to retain an awareness of counter and hidden discourses while resisting the urge to define, or even pursue, the definitive "true story" of the Balkans. Thus, an occidental reader of East Europe must be able to contextualize various and often contradicting texts without naturalizing recorded experiences. He or she must also maintain a poignant awareness of how Western imperialism has constructed and reconstructed the region by journalism, memoir, artificial borders, ethnography, classification, historical absolutism, and financial exploitation. If this work simplifies or answers "What is Balkan?" then it has failed utterly. We can only hope to further complicate and challenge the dominant discourse of Balkanism to keep the reader's mind alive and questioning rather than dead and assured. / Master of Arts

This essay explores whether the gender constructions in Joe Abercrombie’s Best Served Cold and Juliet Marillier’s Daughter of the Forest question or contribute to existing gender categories. The analysis is performed using Raewynn Connell’s gender structure model, Brian Attebery’s theory of fantasy as a "fuzzy set" and Maria Nikolajeva’s schedule for stereotypical gender traits. Thus, both of the texts were analyzed to determine if their contents, structures and reader responses create opportunities or act limiting, how the main characters are portrayed and how the books various power-, production-, emotional- and symbolic relations look like. The result of the analysis is that both of the books portray patriarchal worlds, sexual division of labor, misogyny and gender-binding statements. The characters in Daughter of the Forest are quite stereotypical, with some traits that exceed their gender, whilst the characters in Best Served Cold are all portrayed with traditionally manly traits (even the female main character). Therefor one can say that Best Served cold’s female protagonist is the only element in the books that fully questions prevailing gender categories.

Transit Objects   In the Master Essay I argue around two existing levels in the works presented at the graduation exhibition. On the one hand, it is about influence; on the other hand it is about the phenotypes of purpose-ness. In the introduction, I describe the relationship between the shapes that I have come to call Transit objects, and their on the one hand ideological superstructure; on the other hand, the different aspects of their shapes regarding the imitation I, in creating the objects, performed. In the case with the objects shape-aspects, I stand on the thoughts that I found during my bachelor's work, that is, to express the phenotypes of purpose-ness. When it comes to influence, I speculate about how linguistics, and particularly a branch called neuro-linguistics, illustrates how the arguments that make up our world can be transformed. I use a meta-model and a conversation model as a tool to illustrate this. When I, like that, illustrate the plasticity of meaning, and cognition, I note Catherine Malabous taught (in her book What Should we do with our brain?) on the plasticity of the brain in relation to the neo-liberal systems of capitalism. She argues for how the brain has come to stand model for the organization of different types of networks. I hint the link to a future scenario where the desire to influence takes new forms and uses the latest brain research challenges, more specifically the use of ultrasound for the treatment of pain and other similar conditions. This also can be used as generating various types of seizures, pleasant or unpleasant. The next section in my text goes into the background of the artworks on display. I describe here my process. I also here describe the background to the proposal for public art in Gävle. Now follows a more detailed description of the series of works that I created during the Master's program. I begin with a description of the Phantom Objects 001-004, 2011, which basically is more linked to the bachelor's work. I describe this in the text because many of the aspects are still relevant in the series of works my master work consists of. Then I describe the EUR-pallet in Rosewood, 2011, presented at the graduation exhibition. EUR-pallet in Rosewood, is a work in which I shifted the scale of a Euro pallet to a scale of 1:2. In this way, it has moved into a “gray area” when it comes to its purpose. This is reinforced when the material is, unlike an ordinary Euro-pallet, here elevated to the veneer in Rosewood. I have "gilded" this very common design. EUR-pallets are included in global trade, or streams. They are durable and robust object with a distinct function. They are transit objects constantly in transit or waiting for new loads. I do these things manageable, further reified, and transparent. In this way, I open their innermost being and essence, the functional, and move it into a different light for a clearer sense of their mystery, clearer sense of their tangible presence and function in space and time. I give the shape a more open body language when the burden of function is eased. Which does not mean that the function is plundered, it is partially retained, inherent in the construction design, but stripped of its anonymity, strength and the standardized measure that makes it an effective part in a logistic machinery. Then I describe the work Billboard (STEALTH-monument for Joe Hill), 2012. This work is my proposal for public works in Gävle during the collaborative project between the Konstfack College of Arts and Gävle Art Centre (The collaboration is called Hello Gävle). It is presented as an advertising pillar, which measures approximately 15x30 centimetres (scale approx. 1:13) that I have sculpted and cast in aluminium. I emphasize this in Sweden common structure used for messages and announcements, and displaces the shapes purpose; I illustrate, unmask, isolate or "exalt" in this way it’s (in all its frivolity) concrete, concentrated form. In case of construction, the shape, in one copy, be at a scale of 1:1, that is about 3 meters tall and with each side about 1.3 meters wide. Then a description of the piece container, 2012. I saw a picture in a newspaper. I was dazed and said when I saw the picture, how beautiful it was the landscape of thousands of containers in different colours. For me there was something human and inhuman at the same time in that port. I do these constructions manageable, transparent and thus their enigmatic choreography and interior approaches me. Containers exist for transporting objects from different physical locations. The global circulation these constructions are organized in are well-planned and for an outsider hard to grasp. It is a diverse duplicated place where different actors meet and negotiate. Although there is something buried inside the container. It is ubiquitous, but at the same time exclusionary. This is almost the same inaccessibility as when it comes to the celestial bodies’ cyclical paths. Is there not something demanding, a form with such a clear function. A desire to be used in accordance with its intended context. As with the message, for example, from a billboard, it call to be understood in line with the context, but the global container flow are speaking without a sender. The clear bright colours. Red, blue, green, reminiscent of stained glass windows in churches. Are these containers, in fact, the holiest of places? One room, while at the same time thousands of rooms. The doors are opened and closed, and there is delivered a flood of heard prayers. One room, which in its variety is endless. A flexible place. A capitalist utopia. Next, a description of the work Carbon-bars, 2012. During the manufacturing process for Billboard (STEALTH-monument for Joe Hill), I made some experiences that made me interested in carbon as material in a future work. I imagined doing a variation of the billboard in coal. But after consideration and new experiences, I was aware of the bars. It was during my visit to the casting-industry where I saw the bars. Thereafter, the work was ready for fabrication The Carbon-bars are manufactured in an opposite logic than that of the EUR-pallet in Rosewood. Instead of "gild" the object I have here, "charcoaled" it, a form that can directly be read as being a bar. It is a paradoxical play with symbols of value. On the one hand the bar is generally associated with gold, on the other hand, the carbon for me associated with transience and uselessness without value. The human body consists of a number of kilograms of carbon. In the global economy, I am considering the "coin base" for a human. It seems in the banking crisis and its oil's wake consists of a 'charcoal-base", a "coal-human base." A man in the global market is priced for the weight in coal. In the final discussion I argue about my interpretation of the contemporary global flow of messages and objects in relation to Brian Holmes, Edward Bernays, Slavoy Zizek, Rosalyn Deutsche, Walter Lippman and Adam Curtis. From need to desire is a general explanation of how capitalism manages a market where basic needs are satisfied and hence, according to the logic of capitalism (but perhaps also human logic) new has to be created. Edward Bernay (who coined the term public relations as a euphemism for propaganda) was a genius when it came to this type of business: to create a "friendly arrangement” between the companies and the public. The amicable agreement Bernay talking about is, I think, in fact, the The Phantom Public Walter Lippman define. It's a public with the phenotypes of public working for a friendly agreement and arrangement between the consumers/ population and the profit hungry companies/ mafia. Brian Holmes points out Thomas Frank who argues that fashion designers and advertisers have their own existential interest in transforming the system, and that "… the result…” at least during the sixties, “…was a change of 'the ideology by which business explained its dominant position in national life"'. Here sounds Bernays amicable agreement again. An agreement continuously produced and as a result of the production is accompanied by Transit Objects.

Although general information is readily available concerning the structure and composition of deciduous forests, especially in the eastern part of the United States, there seems to be little specific information concerning forest composition in the Commonwealth of Kentucky. The lack of phytosociological studies prior to the development of the land, and the extent of land development in Kentucky, has led to a paucity of information regarding the natural forest vegetation of the Commonwealth. To the author's knowledge, there are few publications dealing with the vegetational composition of relict or virgin forests in Kentucky. It is apparent that there is a special need for studies of natural areas that have been relatively undisturbed by man. A small wooded area in Barren County, Kentucky, referred to as Bonayer Forest, was chosen for a detailed phytosociological analysis in 1971 after a preliminary investigation indicated that the forest might be representative of the natural vegetation of southcentral Kentucky. This study was undertaken to describe the vegetational composition of the forest, to gain some insight into the successful development of the stand, to compare the tree composition of the forest with that of representative woodlots in the surrounding area, and to establish a record of Bonayer Forest as a basis for possible future studies of a structural or functional nature. An underlying aim of this investigation was to determine whether or not this small forest is indicative of the vegetational composition that would be present in the region if it were undisturbed by man.

<p>The concept of distorting the line between fiction and reality appears to be one of the main themes in Ian McEwan’s <em>Atonement </em>(2001) as well as in Joe Wright’s screen adaptation of the novel, released in 2007. With the focus on the main character Briony Tallis this essay explores the influence that literature and fiction have on her, how they bring her to blur the line between them and reality and, to a lesser extent, the different ways in which the novel and its screen adaptation address this issue. Briony is first introduced as an author, underlining the importance that imagination holds for her, and it is this overactive imagination that causes her to misinterpret real events and thus accuse Robbie Turner for a crime he did not commit. To redeem herself Briony turns to fiction in an attempt to re-write the past; by blurring the line between fiction and reality, as defined by the restrictions of her novel, Briony gives Robbie and Cecilia a future within the pages of her book. The literary motifs and symbols, that are present within her novel, enhance the influence fiction and literature have on her. This is also emphasized by her characters’ relationship with literature, their use of literary works, and their characters.  Briony, the character, strives to become Briony the author, thus emphasizing the importance that literature holds for her. Because Briony is trapped within the boundaries of her own imagination she has, in writing her novel, managed to hold Robbie and Cecilia captive in her imaginative world. Thus, finally achieving what she has been striving to do for during the greater part of her life: Briony, the author, can atone for the terrible ordeals that she caused decades previously.</p>

The purpose of this study was to describe the experiences of Joe Duquette High School students through listening to their stories. My approach to listening developed out of the context of the school's Aboriginal philosophy. The thesis analyzes and describes what constitutes a meaningful education within the cultural framework of Good and Right Relations from the perspective of Joe Duquette High School students.<p> The Joe Duquette High School environment is a holistic one where the Sacred Circle philosophy and the good and right relations framework serves as a guide to the pedagogy of the school.<p> The methodology used in this thesis was shaped by the cultural philosophy of Joe Duquette High School and guided by student emphasis and meaning. A number of methodologies were drawn upon in order to approach the multiple contexts of the Joe Duquette High School cultural complex.<p> The central themes identified by students through their narratives serve as an organizational framework for the findings. My interpretation of what the students said is presented through my own personal narrative. I used my own story to develop more fully those ideas/concepts/ideals expressed by the students.<p>The main contribution of this study is highlighting the Joe Duquette High School experience through the students' perspectives and the method used to tell their story came out of the cultural context of the school.

The purpose of this study was to describe the experiences of Joe Duquette High School students through listening to their stories. My approach to listening developed out of the context of the school's Aboriginal philosophy. The thesis analyzes and describes what constitutes a meaningful education within the cultural framework of Good and Right Relations from the perspective of Joe Duquette High School students.<p> The Joe Duquette High School environment is a holistic one where the Sacred Circle philosophy and the good and right relations framework serves as a guide to the pedagogy of the school.<p> The methodology used in this thesis was shaped by the cultural philosophy of Joe Duquette High School and guided by student emphasis and meaning. A number of methodologies were drawn upon in order to approach the multiple contexts of the Joe Duquette High School cultural complex.<p> The central themes identified by students through their narratives serve as an organizational framework for the findings. My interpretation of what the students said is presented through my own personal narrative. I used my own story to develop more fully those ideas/concepts/ideals expressed by the students.<p>The main contribution of this study is highlighting the Joe Duquette High School experience through the students' perspectives and the method used to tell their story came out of the cultural context of the school.