Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 22, 1999, Feb. 21, 2000, Apr. 21, 2003, and Apr. 18, 2006. Includes bibliographical references (p. 59-60).

This study problematizes the fact that media is part of creating the reality of which the society relies on. More specific it focuses on former chief of police Göran Lindberg and medias reports about him before he was arrested for sexual asult, versus after. The purpose of the study was to see how identity is constructed in news media, and also how that affect the public perception of sex offenders. It also makes a comparison between a daily newspaper and a tabloid newspaper. To answer the questions of this study semiotics and narrative analysis was used. These methods were combined with theories about journalistic writing such as framing and media logic put together with theories about story-telling. These theories and methods were chosen for their accuracy and suitability on the subject. News articles about the former chief of police Göran Lindberg was selected and divided into three sections based on time periods relevant to the events. After that the selection was narrowed down to include three articles from each period and each newspaper. These articles were analysed to see how news media uses story-telling to form identity with the tools provided by the selected theories and methods. In conclusion this study shows that media construct the identity of Göran Lindberg in a similar way of how characters are constructed in fictional stories. This contributes to a reproduction of a general perception that the most occurring sexual offender is some kind of monstrous outsider and not in fact the common man, when, at the same time, research show that most sexual abusers are known to their victim.

For more than 20 years, Christian Lindberg has been internationally recognized as the premiere trombone soloist of our time. Few, however, are familiar with his compositions. For over ten years, he has composed many solo and ensemble works for trombone. Many prominent musical organizations in the world have performed Lindberg's music, including the Chicago Symphony Orchestra, the St. Paul Chamber Orchestra, and the University of North Texas Wind Ensemble. Today, Christian Lindberg has commission requests up to 2010. Christian Lindberg completed Mandrake in the Corner, a three movement concerto for trombone, in 1999. The purpose of this dissertation is to present an analysis of the first movement of Mandrake in the Corner to provide the first in depth study of Lindberg's compositional style. This analysis borrows freely from the method of Jan LaRue, which focuses on sound, harmony, melody, rhythm, and growth of musical structure on the small, middle, and large levels. The focus of this study centers on the aspects of melody, harmony, and rhythm to explain how the piece works despite the lack of a second theme or change of key in the first movement.

<p>We model Normal Inverse Gaussian distributed log-returns with the assumption of stochastic volatility. We consider different methods of parametrization of returns and following the paper of Lindberg, [21] we</p><p>assume that the volatility is a linear function of the number of trades. In addition to the Lindberg’s paper, we suggest daily stock volumes and amounts as alternative measures of the volatility.</p><p>As an application of the models, we perform Value-at-Risk and Expected Tail Loss predictions by the Lindberg’s volatility model and by our own suggested model. These applications are new and not described in the</p><p>literature. For better understanding of our caluclations, programmes and simulations, basic informations and properties about the Normal Inverse Gaussian and Inverse Gaussian distributions are provided. Practical applications of the models are implemented on the Nasdaq-OMX, where we have calculated Value-at-Risk and Expected Tail Loss</p><p>for the Ericsson B stock data during the period 1999 to 2004.</p>

We model Normal Inverse Gaussian distributed log-returns with the assumption of stochastic volatility. We consider different methods of parametrization of returns and following the paper of Lindberg, [21] we assume that the volatility is a linear function of the number of trades. In addition to the Lindberg’s paper, we suggest daily stock volumes and amounts as alternative measures of the volatility. As an application of the models, we perform Value-at-Risk and Expected Tail Loss predictions by the Lindberg’s volatility model and by our own suggested model. These applications are new and not described in the literature. For better understanding of our caluclations, programmes and simulations, basic informations and properties about the Normal Inverse Gaussian and Inverse Gaussian distributions are provided. Practical applications of the models are implemented on the Nasdaq-OMX, where we have calculated Value-at-Risk and Expected Tail Loss for the Ericsson B stock data during the period 1999 to 2004.

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Oskar Lindberg (1887-1955) var kyrkomusiker och kompositör verksam under 1900-talets första hälft. Hans Orgelsonat i g-moll är ett ofta framfört verk som många svenska organister har på sin repertoar. Detta till trots har stycket många interpretationstekniska svårigheter. Detta arbete går därför ut på att finna lösningar på dessa problem och göra en egen tolkning genom att djupdyka i källor kring Lindbergs liv och verk och sedan applicera den kunskapen på tolkningen. Undersökningen visar att Lindberg influerats av folkmusik och att han i grund och botten var en orkestertonsättare. Det är kunskap som hjälper interpreten i sitt arbete och således främjar uppförandepraxis och då en bit av orgelkonsten.

The aim of this thesis is to describe and analyze the Swedish artist Marianne Lindberg De Geer’s public sculpture Jag tänker på mig själv in relation to the female nude as a traditional motif within the western art and aesthetic. The artwork in question depicts two naked upright standing women, one of whom is represented as emaciated and skinny and the other one as voluminous and fat. By using previous research on the subject of aberrant bodily representations as its main theoretical framework and with a methodological approach based on visual semiotics, this study has found that Jag tänker på mig själv is to be seen as a deviant representation of the female body in several ways. The way in which the female body is represented in Marianne Lindberg De Geer’s sculpture has shown to deviate not only from the traditional female nude but also from the visual norms that usually characterizes aberrant representations of the female-coded body.

I have studied the Swedish artist formation ”1947 års män” with a sociological perspective based on the ideas of Pierre Bourdieu. I initially made a study of the group as a whole, and after that I chose to focus on the sculptors Liss Eriksson, Arne Jones and Knut-Erik Lindberg. I have examined why some of the artists in the formation became more successful than others. My results show that the ones who were versed in culture or came from an economically or intellectually stronger background also were considered to be the most pioneering artists. These artists also were the ones who became noticed by the art critics at their break-through exhibition in Stockholm in 1947. The art critics’ reviews likely had an impact on the future careers of the artists, as well as on the extent of which they came to be reminded today. / Jag har studerat konstnärsgruppen ”1947 års män” utifrån ett kultursociologiskt perspektiv. Jag gjorde först en studie av hela gruppen, för att sedan fokusera på gruppens skulptörer Liss Eriksson, Arne Jones och Knut-Erik Lindberg. Jag ville undersöka varför vissa av medlemmarna i gruppen blev framgångsrika konstnärer som än idag är ihågkomna, och varför andra inte blev det. Jag kom fram till att det var de konstnärer som hade goda sociala kontakter, var kulturellt och intellektuellt bevandrade eller kom från ekonomiskt starka hem som gjorde det som uppfattades som den mest banbrytande konsten och kom att av konstkritikerna tillskrivas som mest intressanta vid tiden för deras genombrottsutställning 1947. Denna reception lär sedan också ha påverkat även konstnärernas fortsatta karriärer i form av uppdrag, utställningar och inköp till viktiga konstsamlingar och kan även ha påverkat dagens beskrivning av vissa av konstnärerna i gruppen som mer framstående än andra.