I en narratologisk studie granskas spatialitet i skönlitterär prosatext. I texten undersöks några spatiala nivåer som kan länkas till extradiegetisk berättarinstans och "normal" perception kontra drömmar och visioner hos karaktärer inom diegesen. Till den narratologiska studien kopplas undersökningsmodeller hämtade från det som med en paraplyterm kallas kognitiv poetik och som behandlar både den litterära texten och läsarens perception och kognition i läsprocessen. I studien berörs också den fiktiva berättelsen betraktad som "värld" ur ett litteraturteoretiskt och filosofiskt resonemang kring begreppen "actual world", "possible worlds" och "fictional worlds".  Det övergripande syftet är att förklara hur text och läsarkognition samspelar för att skapa mentala, rumsliga "bilder" hos läsaren, bilder som kan skifta mellan olika läsare och som resulterar i den berättelsens "värld" som läsaren upplever. Som grundtexter i avhandlingsarbetet används Eyvind Johnsons Krilonsvit.

Detta är en kvalitativ innehållsanalys av de kritiska positionerna kring den kontroversiella filmen Star Wars Episode VIII: The Last Jedi. Den innehåller en omfattande överblick om hur Star Wars kritiserats förr och nu för att sätta perspektiv på ämnet, samt information om hur fans och så kallade ”fandoms” ibland fungerar som ett ”hivemind” när det kommer till tyckande och organisering på nätets sajter och forum.

In the new generation of artists emerging in South Africa, Alexander Johnson is considered the most prolific young composer of his day. In a recent review in the Pretoria News, Johnson has been praised by eminent critic Paul Boekkooi as a composer who has “an ear for the exotic and knows exactly how to bring it off....” He continued by noting that his music is “mentally engrossing, pleasurable to the senses and seems refreshingly free from dogmatic formulas." Johnson writes for musicians and the general public to equal satisfaction. His accessible compositions and catching use of melodic materials have made his writings very popular both in South Africa and abroad. During his residency in Belgrade in 1993-94, Johnson met Croatian pianist Dorian Leljak. Impressed with Johnson's compositional ideas and output, Leljak commissioned a work from Johnson for piano and orchestra. The result was the Niš Concerto, which Johnson completed in April 1994. The world premiere took place on June 23, 1994 with the Niš Philharmonic Orchestra conducted by Anatoli Nowiestski with Dorian Leljak as soloist. The Niš Concerto received its South African premiere in 1995 during a simultaneous celebration for “Europe Day” and the new democracy of the Republic of South Africa. The Delegation of the European Commission of South Africa sponsored the celebration, which took place in the Aula Auditorium on the campus of the University of Pretoria. The performers included the Artium Symphony Orchestra, conducted by Dutch-born Prof. Henk Temmingh and Johnson himself as piano soloist.

Several factors compel graphic design companies to improve efficiency and competitiveness in their production lines. However, these companies are not prepared to take on this challenge, as they report delays in 20% of their deliveries, caused by high setup times, low machine availability, and poor work scheduling. In this context, this study proposes a new production management model fed by the interaction of lean manufacturing tools and the Johnson scheduling method. This model has been validated by direct application at the SISSA. The results obtained were the reduction of the setup time to 15 minutes, increased machine availability up to 24%, and an efficient scheduling of its tasks. All of these reduced the percentage of delivery delays from 20% to 6%.

Indicates permanent buildings, proposed buildings, future buildings, paved streets and sidewalks, unpaved streets, and spur tracks, as of 1953. Architect: Alfred H. Abernethy. Scale 1 in = 200 ft. / https://dc.etsu.edu/rare-maps/1223/thumbnail.jpg

Black and white campus map indicating 37 existing buildings and 11 future buildings during the presidency of Burgin Dossett (1949-1968). Architect: Alfred H. Abernethy. Scale 1 in = 210 ft. / https://dc.etsu.edu/rare-maps/1224/thumbnail.jpg

Black and white campus map indicating 37 existing buildings and 12 future buildings. August 16, 1962 revision of mapcoll_018_01. Architect: Alfred H. Abernethy. Scale 1 in = 210 ft. / https://dc.etsu.edu/rare-maps/1225/thumbnail.jpg

Indicates 50 existing buildings and 10 future buildings. Prepared using various incomplete plats, surveys, photos, and dimensions. Architects: Beeson & Beeson. Scale 1 in = 310 ft. / https://dc.etsu.edu/rare-maps/1226/thumbnail.jpg

Indicates 47 existing buildings and 7 future buildings along with proposed roads and walkways. Architects: Beeson & Beeson. Scale 1 in = 200 ft. / https://dc.etsu.edu/rare-maps/1227/thumbnail.jpg

As the 2016 Brexit referendum was an election largely decided by the use of language, there was merit in examining how the Leave campaign had managed to be successful. Therefore, this study asks how one of the leave campaign's main figure heads, Boris Johnson, used metaphors to frame the relationship between Britain and the EU. In addition, the ascribed conceptual role of each party was investigated. To determine this, the metaphorical framing in a pivotal speech was examined by using conceptual metaphor theory. Firstly, several linguistic metaphors were identified by using an established metaphor identification process. After careful analysis, two separate patterns in these metaphors were found and subsequently, suitable conceptual metaphors were suggested. The one relating to the relationship between Britain and the EU was proposed as AUTONOMY IS FREEDOM OF MOVEMENT. In other words, there were several linguistic metaphors exhibiting the conceptual pattern that the EU restricted Britain's freedom of movement and that this described the more abstract notion of Britain's lack of autonomy. Thus, in his speech, Boris Johnson conveyed the idea that there was an imbalance of power weighted in favour of the EU. The second conceptual metaphor, which denotes the role of the EU, was proposed as THE EU IS A MACHINE. This implies that the EU is an emotionless, non-sentient and thoughtless operation that does not inspire warmth or a sense of belonging. This pattern was not as solid as the restriction of movement pattern but other, corroborating, evidence was found. Finally, the role of Britain in the speech was not referred to using metaphors but by personal pronouns, first-person plural. This achieves the opposite effect to the conceptual metaphor THE EU IS A MACHINE. Hence, by repeatedly using we and us when referencing Britain, Boris Johnson humanises the country as he tries to foster a group feeling, a sense of togetherness. These findings highlight how politicians use the tools of linguistics to influence the electorate. Britain's unexpected exit out of the European Union had a huge impact on millions of people so it is crucial to understand how the Leave campaign had managed to swing the vote in their favour. This study shines a light on some of the techniques used to win the referendum.