Under hösten 2020 och våren 2021 har jag forskat på en låtskrivarmetod som jag inte använt mig av tidigare. Anledningen till detta är att jag aldrig blivit riktigt nöjd med trumspåren på mina tidigare kompositioner. Syftet med detta examensarbete var således att undersöka hur jag kunde utveckla en egen röst som låtskrivare genom att skapa låtar med utgångspunkt från trumsetet. Metoden har utgått från att börja låtskrivandet med hjälp av analyser av andra kompositioner för att få inspiration. Sedan att använda olika trumkomp och därefter komponera och spela in de resterande instrumentens harmonik, melodier och texter. Resultatet har varit både positivt och negativt. Det positiva har varit att jag fått fram fyra stycken färdigställda kompositioner som jag själv inte har uppnått tidigare. Det negativa har varit upplevelsen att de inte håller måttet för att publiceras offentligt. Det jag har kommit fram till i detta arbete är att min musik har fått ett mer rytmiskt språk än tidigare. Det övriga instrumenten blev mer kontrollerade vilket ledde till att det inte uppstod någon rytmiskt krock. Melodierna blev också mer kontrollerade och fick ett tydligare tema i kompositionerna, text var däremot svårt att få inspiration till. Den originella rösten jag sökte hittade jag inte fullt ut men jag har kommit en bra bit på vägen.

Uppsatsen undersöker Vera Nilssons liv och konstnärskaputifrån hennes sociala position som kvinna och ensamstående mor. Nilsson föddes 1888 och debuterade som konstnär 1917. 1921 föder hon dottern Catharina, även kallad Ginga. Under en fjortonårsperiod avporträtteras dottern frekvent och Nilssons barnporträtt får stor uppmärksamhet. Studien har en historigrafisk ansats och undersöker kvinnors villkor inom det konstnärliga fältet. / The thesis examines Vera Nilsson's life and artistry from her social position as a woman and single mother. Nilsson was born 1888 and debutated as an artist 1917. 1924 she gives bearth to her daughter Catharina, also called Ginga. During a period of fourteen years the daughter is often seen in her work and Nilsson's portraits of children gets a lot of attention.The study has an historiographical approach and investigates women's condition within the artistic field.

ON DEMONTRE UN THEOREME DE REGULARITE SOUS LA FORME SUIVANTE: SOIENT PI : X->T UNE APPLICATION ANALYTIQUE ENTRE DEUX VARIETES ANALYTIQUES COMPLEXES CONNEXES ET Y UNE HYPERSURFACE ANALYTIQUE DE X. IL EXISTE UN SOUS-ENSEMBLE ANALYTIQUE SIGMA DE T DISTINCT DE T TEL QUE L'INTEGRATION DE TOUTE P-FORME DIFFERENTIELLE MULTIFORME OMEGA RELATIVE FERMEE ET DE CLASSE DE NILSSON SUR X/Y DONNE UNE FONCTION DE CLASSE DE NILSSON DANS CHACUN DES 3 CAS SUIVANTS: 1) PI EST PROPRE; 2) PI : U->C OU U EST UN OUVERT DE C, LA SITUATION ETANT LOCALE A LA SOURCE ET MOYENNANT UNE HYPOTHESE SUPPLEMENTAIRE (H); 3) SITUATION SEMBLABLE A 2) MAIS EN PRENANT DES CLASSES D'HOMOLOGIE RELATIVE. AVEC DES HYPOTHESES PLUS FORTES ON OBTIENT ALORS DES MICROFONCTIONS DE CLASSE DE NILSSON. LA CROISSANCE MODEREE EST MONTREE PAR UNE METHODE GEOMETRIQUE ET EN UTILISANT LE THEOREME DE DESINGULARISATION DE HIRONAKA

<p>The Swedish contemporary poet Ulf Karl Olov Nilsson (UKON) creates his poems by recycling and manipulating existing material. Though the overall opinion of his work has been positive, the idea that experimental poetry focus shape on the expense of content has led critics to either interpret the nonsensical and absurd aspects of UKON’s poetics as a consequence of the technical methods he uses to create his poetry, or to look beyond the nonsensical and absurd aspects to focus the fact that the poems creates meaning at all. The poems of UKON’s sixth collection of poems, Block (2005), differ from each other in many ways: some poems are lists and other revolves around a person – their content and construction vary and they can hardly be read as an expression of one persons thought. Still, the homogenous visual form creates a sense of uniformity – all the poems are shaped like blocks in different sizes, it has no page numbers and no names has been given the individual poems. By focusing the nonsensical and absurd aspects of UKON’s collection Block, and at the same time read the poetry through the light of the poetic context that UKON is connected to, this essays shows that UKON destroys and creates meaning in a way that is similar to the techniques used by the Victorian nonsense literature. As the Victorian nonsense literature make use of the language’s grammatical rules and genres to give the nonsense text a structure, UKON stages a reciprocal action between making use of and exceeding the conventional use of different language-contexts (e.g. erotic language or expressions such as “one must…”). Thus, the nonsensical aspects of UKON’s poetry are exposed as a consequent course of action to create and destroy meaning and Block can be read as a way to disclose how the language creates and maintains cultural clichés.</p>

The Swedish contemporary poet Ulf Karl Olov Nilsson (UKON) creates his poems by recycling and manipulating existing material. Though the overall opinion of his work has been positive, the idea that experimental poetry focus shape on the expense of content has led critics to either interpret the nonsensical and absurd aspects of UKON’s poetics as a consequence of the technical methods he uses to create his poetry, or to look beyond the nonsensical and absurd aspects to focus the fact that the poems creates meaning at all. The poems of UKON’s sixth collection of poems, Block (2005), differ from each other in many ways: some poems are lists and other revolves around a person – their content and construction vary and they can hardly be read as an expression of one persons thought. Still, the homogenous visual form creates a sense of uniformity – all the poems are shaped like blocks in different sizes, it has no page numbers and no names has been given the individual poems. By focusing the nonsensical and absurd aspects of UKON’s collection Block, and at the same time read the poetry through the light of the poetic context that UKON is connected to, this essays shows that UKON destroys and creates meaning in a way that is similar to the techniques used by the Victorian nonsense literature. As the Victorian nonsense literature make use of the language’s grammatical rules and genres to give the nonsense text a structure, UKON stages a reciprocal action between making use of and exceeding the conventional use of different language-contexts (e.g. erotic language or expressions such as “one must…”). Thus, the nonsensical aspects of UKON’s poetry are exposed as a consequent course of action to create and destroy meaning and Block can be read as a way to disclose how the language creates and maintains cultural clichés.

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<p>The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism.</p><p>The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s.</p><p>In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden.</p><p>The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as <em>the</em> most contemporary were to be questioned. The thesis ends with a summary and a discussion.</p>

The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism. The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s. In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden. The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as the most contemporary were to be questioned. The thesis ends with a summary and a discussion.

Denna uppsats undersöker de fem svenska utgåvorna av Ett barn blir till från 1965, 1976, 1990, 2003 och 2009 för att se hur den gravida kvinnan skildras i relation till medicinska yrkesgrupper och ny teknik. Genom att studera samtliga utgåvor har det varit möjligt att belysa en förändring över tid när det gäller skildringen av kvinnan, medicinen och tekniken. Det har blivit tydligt att medicinsk paternalism till stor det har övergetts för ett ökat patientperspektiv, och att de senare utgåvorna av boken tecknar en bild av mödravården istället för ett porträtt av en enskild läkare. Skildringen av den nya tekniken synliggör dels en distansering mellan kvinnan och hennes upplevelse av att vara gravid, och dels en fascination för teknikens möjligheter. De nya reproduktiva teknikerna leder dock till en ökad betoning på den heterosexuella kärleken och innebär inte någon förändring i kvinnans roll i boken. Uppsatsen visar på att det finns ett dokumentärt anspråk i Ett barn blir till och att fotografierna i kombination med text utger sig för att skildra verkligheten så som den är och att detta innebär en maktfaktor.

The aim of this master’s thesis is to examine the discourses aboutthe future of Malmö City Library expressed by the chief librariansSven Nilsson and Elsebeth Tank. Furthermore, our intention is tostudy the relation between the two. The questions posed in thestudy are: how does chief librarian Sven Nilsson express the futureof Malmö public library between 1989-1997? How does chieflibrarian Elsebeth Tank express the future of Malmö City Librarybetween 2008-2010? How does Sven Nilsson’s and ElsebethTank’s thoughts and visions of the future correlate?Our theoretical and methodical building ground is in the discourseanalytical field, with Ernesto Laclau’s and Chantal Mouffe’stheories about discourse and society, as startingpoint. The method used is discourse analysis.The results of the analysis gave us four different discourses per chief librarian. The result of Sven Nilsson reveals: The qualified personal discourse, The well supplied media discourse, The discourse of the self educated user and The discourse of the social room. The result of Elsebeth Tank reveals: The discourse of the innovative personal, The discourse of the edited media collection, The discourse of the interactive user and The discourse of the library without walls. We also found connections between the chief librarian’s visions about the future. / Program: Bibliotekarie