I det här arbetet har jag undersökt hur min kreativitet som låtskrivare påverkas utifrån tvåolika låtskrivarmetoder. Den första metoden, det strukturerade arbetssättet, har jag utformatutifrån Pat Pattisons låtskrivartekniker till exempel flödesskrivning. Den andrametoden, det ostrukturerade arbetssättet, genomfördes utan planering, mallar och teknikeroch där magkänslan fick vara ledande faktorn för att ta den skapande processen framåt, vardet sätt jag skrev låtar på innan jag påbörjade min låtskrivarutbildning. Jag har totalt skrivitfyra låtar utifrån dessa två metoder. Det visade sig att båda arbetssätten var bra på olika sätt, detstrukturerade arbetssättet var bra att få fram idéer när jag saknade inspiration och fick arbetet framåt. Det ostrukturerade arbetssättet var bra för där fick min lekfullhet i min kreativitet mer utrymme.Jag kom fram till att de båda är något jag vill sträva efter och en blandning av de två funkar bäst förmig.

The purpose of this study has been to investigate how teachers in the subject Swedish in primary school use group work to promote students' learning. The questions that have been answered are which factors control how teachers choose to create study groups and what factors affect how often, when and how teachers choose to work with study groups. The work is based on material from previous research and the results from this study. The study was conducted by sending out a questionnaire with both qualitative and quantitative elements to active teachers in primary school. The results have shown that teachers have a positive view of group work but rarely use it. The study's responders highlight that lack of resources such as space and teacher resources are factors that affect how frequently group work is used. This essay also shows that previous research and the results from this study show different outcome. The result from several studies believe that homogeneous groups are what promote students’ learning, while the majority of the responders from this study mainly create heterogeneous groups where they believe in mixing knowledge levels. The study's responders believe that group activities can be used in all areas of Swedish teaching, but that it is the combination of individual and group work that promotes students' learning.

Innehåll/Content: The study concerns the phenomena of human interaction by using temporary object on public sculptures. The purpose was to examine whether the perception of the sculpture changes. I used semiotics, hermeneutic and perception psychology for my analysis. I studied the objects/clothes/sculptures by themselves and their combined expression. I found several purposes of human interaction such as technical, traditional, religious (or other belief), reactivation of a person or deed, artistic, contemporary critic of a social or personal nature. I also conducted a qualitative survey and I dressed up three sculptures. Dressing on sculpture sometimes border into iconoclasm. The cultural context and pre-understanding are crucial for how the viewer reads the expression of meaning. The interaction changes the meaning of the original sculpture and places the sculpture in the present. The design of the sculpture and the color of the object/clothes can strongly influence the expression and interpretation of the temporary work. Human interaction is often contemporary commenting and can be directly connected to the sculpture's design, scale, placement and expression of meaning. It can also be completely disconnected and only used as a canvas. The embedded context gives the viewer an opportunity for selfunderstanding of our existence. The dressed sculpture can actively create it´s social and cultural context. The sculptor's intention is interpreted by the viewer in a dialogue where the viewer can respond through physical clothing or other interaction. My thesis and conclusion are that temporary changes made on public sculptures, with the help of mainly perishable materials, temporarily changes the sculpture's message and the viewer's perception. It is our prejudices about art and artists that prevent us from perceiving the message.

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The factors behind the crisis in Yemen are intertwined and complicated to a large extent, and the war has completed its sixth year and is still raging without any political solutions or sustainable peace being found, as the crisis is rooted from decades and many internal and external factors have branched out and intertwined to make the scene go on a path other than evident to stop the war. Therefore, it finds a dilemma in finding regional and international influence and role in resolving the crisis in Yemen. This thesis sheds light on the direct and indirect effects of conflict, the events that took place before the war in 2015, and the extent of their impact on the current crisis, by analyzing the qualitative content according to interviews with local and international parties. International experts and this study seek to systematically process tracing events after the post-colonial, the impact of political regimes, the geographical distribution between North Yemen and South Yemen, unity in 1990 and the civil war in 1994, and the impact of political factors, conflicts, the Arab Spring 2011, outcomes of the national dialogue2014, and regional and international interventions to stop war and failure of the peace process.

This study aims to explore how the author John Ajvide Lindqvist portrays horror and unpleasantness in three of his short stories. The stories were read closely to identify and categorize the means by which the author creates a spooky and scary atmosphere and feeling. The findings were compared to the horror genre and its properties. The main finding was that Ajvide Lindqvist uses traditional horror conventions and modernises them, for example by placing the plot in desolate locations within a more modern setting. As well as this, the author also uses foreshadowing and placement of objects that evokes an ominous feeling within the reader and uses explicit and sometimes grotesque descriptions of the human body.

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Discussions about whether self-portrayals should be under non-fiction or fiction is an issuethat has engaged many through the decades. They often end up in the non-fiction literature,precisely because it is not fictional, it’s fact. But is it really possible to say that what can beread in a self-presentation is authentic facts? It's not possible. The author himself can inprinciple not promise that what he has written is completely true, because work with memoryand emotions can affect a person's choice of what he chooses to write, both consciously andunconsciously. In this essay, I will therefore discuss how the tools memory, authority andproof can be applied to the self-presentation Educated by Tara Westover to see how it relatesto austenitic design. / Diskussioner kring om självframställningar ska ligga under facklitteratur eller skönlitteraturär en fråga som engagerat många genom årtiondena. Ofta hamnar dem under facklitteraturen,just för att den inte är fiktiv utan fakta. Men går det att verkligen säga att det som går att läsa ien självframställning är autentisk fakta? Det går inte. Författaren själv kan i princip inteheller lova att det hen skrivit är helt sant, eftersom arbete med minnet och känslor kanpåverkar en persons val av vad hen väljer att skriva, både medvetet och omedvetet. I dennauppsats kommer jag därför diskutera hur verktygen minne, auktoritet och bevis kan appliceraspå en självframställningen Allt jag fått lära mig av Tara Westover för att se hur den förhållersig till autentisk gestaltning.

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No description available.