Studien följer upp vissa delar av Lars Nords avhandling Vår tids ledare (2001). Nord genomförde sina undersökningar 1993, alltså 20 år tidigare än denna studie. Vår studie utgick från frågeställningar om ledarskribenternas egenskaper, deras redaktionella produktionsvillkor och förhållande till de politiska partierna i dag och i jämförelse med år 1993. I studien undersöks även i vilken utsträckning ledartexterna behandlar lokala, nationella och internationella ämnen samt förekomsten av osignerade, signerade och signerade ledare med bylinebild. Studien utgick från teorier om journalistiska produktionsvillkor utformade av Kent Asp, Pamela J. Shoemaker & Stephen D. Reese, Armin Scholl & Siegfried Weischenberg samt Wolfgang Donsbach. Genom en enkätundersökning liknande den Nord genomförde, samt två olika analyser av ledartexter undersökte vi vad som skett på ledarsidorna sedan 1993. Resultatet visade att vissa förändringar skett. Banden till partierna har sannolikt försvagats då en betydligt lägre andel av tidningarna i dag ägs av partier. Dessutom har avsevärt färre ledarskribenter i dag partipolitiska uppdrag. Ledarskribenterna värderar aktualitet och nyhetsorientering i högre grad än 1993 och deras egna intressen styr i stor utsträckning deras ämnesval, vilket inte var fallet i Nords undersökning. Generellt ligger ett stort fokus vid ledarskribenterna i form av hög andel signerade ledare och signerade ledare med bylinebild. Skribenterna refererar också gärna till sig själva i sina texter. Även om skribenterna på många sätt närmat sig kolumnisterna, är den politiska profilen fortfarande ledarsidans djupt rotade skiljemärke. Kårens sammansättning är sig relativt lik och det verkar fortfarande vara främst nationella frågor som behandlas på ledarsidorna.

According to reviewers, bloggers, and scholars, Lars von Trier’s films, particularly Dancer in the Dark (2000) and Dogville (2003) tend to evoke multiple intense, often contradictory, emotional responses from viewers. The films’ dialectical effects can perhaps be explained by the fact that they broadcast their artifice, which results in a seeming break in the audience’s emotional immersion. The question that this thesis seeks to explore is how the films can simultaneously distance and engage viewers. Generic theories, as well as theories on emotion and film reception, are useful in exposing von Trier’s emotive strategies. In the end, it might be that von Trier endeavours to evoke emotions in viewers while also making us aware of his manipulations in order to suggest that as spectators we must constantly question the film and its creator. More troublingly, he implies that there might be something fundamentally perverse about our desire to watch films.

The ideal memory system assumed by most programmers is one which has high capacity, yet allows any word to be accessed instantaneously. To make the hardware approximate this performance, an increasingly complex memory hierarchy, using caches and techniques like automatic prefetch, has evolved. However, as the gap between processor and memory speeds continues to widen, these programmer-visible mechanisms are becoming inadequate. Part of the recent increase in processor performance has been due to the introduction of programmer/compiler-visible SWAR (SIMD Within A Register) parallel processing on increasingly wide DATA LARs (Line Associative Registers) as a way to both improve data access speed and increase efficiency of SWAR processing. Although the base concept of DATA LARs predates this thesis, this thesis presents the first instruction set architecture specification complete enough to allow construction of a detailed prototype hardware design. This design was implemented and tested using a hardware simulator.

A systematic quality work is essential for anyone working in preschool, school,kindergarten and adult education to give children and students an equal education.Skollagen (2010:800) indicates that quality work should be focused on the nationalgoals of education. According to Skolverkets allmänna råd med kommentarer omsystematiskt kvalitetsarbete - för skolväsendet (2012) is the work to develop quality acontinuous process. Everyone's involvement and participation is therefore essential.Systematic quality work means to systematically and continuously monitor theactivities, analyze performance against national targets and based on that plan anddevelop. Although the work has been driven outside governmental policy documentssince 1997 shows, among others, Skolinspektionens audits of municipalities andschools that there is major deficiencies in the obligation to conduct a systematicquality work. It appears that more than half of the surveyed schools had deficienciesin its system quality work.This is the starting position this study takes on to and through literature review,document studies and interviews of principals is the subject problematized. The studyaims to examine how the principal manages and works with the systematic dailyquality work in the business with a view to increasing achievement. This is to giveprincipals and responsible principals an insight into the current situation ofprincipals' work with the systematic quality work.Results of the study show that in recent years there has been a positive developmentof principals' work with the systematic quality work. However, it is still the case thatdocumentation supporting the process can evolve even more.

According to reviewers, bloggers, and scholars, Lars von Trier’s films, particularly Dancer in the Dark (2000) and Dogville (2003) tend to evoke multiple intense, often contradictory, emotional responses from viewers. The films’ dialectical effects can perhaps be explained by the fact that they broadcast their artifice, which results in a seeming break in the audience’s emotional immersion. The question that this thesis seeks to explore is how the films can simultaneously distance and engage viewers. Generic theories, as well as theories on emotion and film reception, are useful in exposing von Trier’s emotive strategies. In the end, it might be that von Trier endeavours to evoke emotions in viewers while also making us aware of his manipulations in order to suggest that as spectators we must constantly question the film and its creator. More troublingly, he implies that there might be something fundamentally perverse about our desire to watch films.

Zugl.: Bielefeld, Univ., Habil.-Schr., 2007

This thesis examines the translation of cultural elements from Norwegian to Italian. The analysis is made on the basis of theories of translation studies and focuses on the realia found in the contemporary Norwegian novel Svøm med dem som drukner, written by Lars Mytting and published by Gyldendal in 2014. The initial hypothesis of the work was that in the Italian translation the geographical-cultural aspects would be dominant and the plot and psychological aspects subdominant; that is, a hierarchy of dominants opposite of that of the original in Norwegian. The thesis presents the results of analytical parallel reading of the original Svøm med dem som drukner and the Italian version Sedici Alberi from 2017, translated by Alessandro Storti. During the parallel reading words and phrases specific to the Norwegian language culture (realia) were collected and grouped according to the type of realia (geographical, ethnographical or political/social as suggested by Osimo) and the translation strategy used (transcribing, creation of a new word or calque, using a different related word from the source language etc. as suggested by Osimo). While some of the strategies lead to bringing the translation close to the original (adequacy), others make the word or phrase, to a varying extent, consistent with the target culture (acceptability). The results obtained confirm the original hypothesis that Sedici Alberi would be an “adequate” translation. Further work in this area could focus on the analysis of style and language in the same translation, to see whether also these aspects conform with the translation being “adequate”.

Tesis

Submitted by Jaqueline Duarte (1157279@mackenzie.br) on 2018-04-27T21:15:44Z No. of bitstreams: 2 FRANSMAR BARREIRA COSTA LIMA.pdf: 3275378 bytes, checksum: db0e4d113869620dd2efeadb7b3f0104 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Eliana Barboza (eliana.silva1@mackenzie.br), reason: Jaque, o orientador foi trocado com um dos membros da banca. Favor alterar. on 2018-05-02T12:21:09Z (GMT) / Submitted by Jaqueline Duarte (1157279@mackenzie.br) on 2018-05-02T16:09:08Z No. of bitstreams: 2 FRANSMAR BARREIRA COSTA LIMA.pdf: 3275378 bytes, checksum: db0e4d113869620dd2efeadb7b3f0104 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Eliana Barboza (eliana.silva1@mackenzie.br) on 2018-05-02T17:39:15Z (GMT) No. of bitstreams: 2 FRANSMAR BARREIRA COSTA LIMA.pdf: 3275378 bytes, checksum: db0e4d113869620dd2efeadb7b3f0104 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-02T17:39:15Z (GMT). No. of bitstreams: 2 FRANSMAR BARREIRA COSTA LIMA.pdf: 3275378 bytes, checksum: db0e4d113869620dd2efeadb7b3f0104 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This essay intends a study of the Danish film-maker's work, Lars von Trier, as a grounding for the "cinema-thougt" that, when incorporated by a reader who assumes the reflexion in the existence, develops significant reviews. We call this reader "inspectador", because he is the initiative of incorporating the "restlessness" of the director and of assuming movie's situations in his subjectivity. The first part of the research analyzes the cinema as philosophy form Lars von Trier ideas, where the "inspectador"'s role is defined, the methodology of indirect communication and the cinema as possibility. This part also discuss the grounding and references that founds the problematic in Lar von Trier's work and how his movies stand out as "cinema-thougt. The second part analyzes the Cinema as philosophy from the "restnessless" of the existent, that is, visits Lars von Trier's production in order to reflect questions that arise in especific moments of his movie: as the Dogma 95 (Idioterne - #2, 1998), and the movies that precinds the correct formulation of the scenario, substituited by a "plan-map", as Dogviller (2003) e Manderlay (2005). / A presente tese investiga a obra do cineasta dinamarquês Lars von Trier como fundamento para o cinema-pensamento que, ao ser apropriado por um leitor que assume a reflexão na existência, desenvolve leituras significativas. Chamamos esse leitor de inspectador, pois é dele a iniciativa de se apropriar das inquietações do diretor e assumir as situações do filme em sua subjetividade. A primeira parte da pesquisa analisa o cinema como filosofia a partir de Lars von Trier, onde se define o papel do inspectador, a metodologia da comunicação indireta e o cinema como possibilidade. Trata também dos fundamentos e referências que embasam a problemática da obra de Lars von Trier e como seus filmes se situam como cinema-pensamento. A segunda parte analisa o Cinema como filosofia a partir das inquietações do existente, ou seja, visita a produção de Lars von Trier para refletir questões que surgem em momentos específicos de sua produção cinematográfica: como o movimento Dogma 95 (Os idiotas - #2, 1998), e os filmes que abstraem a formulação concreta do cenário, substituídos por uma planta-baixa, como Dogville (2003) e Manderlay (2005).

Despite critics‟ negative appraisal of Lars Von Trier's Antichrist (2009) for its ostensible misogyny, a deep thematic resonance exists between its representation of women as historical victims of patriarchal discourse, and the positive representations of women as Christ-like figures found in his Golden Heart Trilogy (1996/1998/2000). Arguably, it is important to recognize this, because these films together comprise an exercise in cinematic resistance to the narratives of the „backlash‟ against women's rights, thematized by Susan Faludi in her Backlash: The Undeclared War Against American Women; resistance which is undermined when these films are considered disparate or incongruous.