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Syftet med uppsatsen är att få en bredare förståelse för hur lärare upplever att de formar sin roll i interaktionen med eleverna för att kunna möta dem efter individuella förutsättningar. Svenska elevers resultat i skolan blir allt sämre och allt fler går ut grundskolan utan godkända betyg. Studien berör hur läraren formar sin roll i interaktionen med eleverna, på vilket sätt relationen mellan lärare och elev påverkar lärarens roll och även ytterligare omständigheter som påverkar läraren i interaktionen med eleverna. Vi har gjort en kvalitativ studie med en hermeneutisk metodologi där vi intervjuat åtta lärare. För att förstå vår empiri har vi analyserat utifrån tre teorier; Goffmans dramaturgiska perspektiv, Foucaults medel för god dressyr samt Aspelins perspektiv på mellanmänskliga relationer. Studien ger en bild av hur lärare formar sin roll genom respektskapande, relationsbyggande samt hur läraren i interaktionen påverkas av utomstående faktorer. Faktorerna är föräldrars syn på läraren och skolan, politik som påverkar lärarens och stöd från rektor och skolledning. Respekt bygger på samspel, en ömsesidig förståelse och samarbete. Genom att läraren i sin roll bygger på relationen med eleverna bidrar det till en mer effektiv kunskapsutveckling hos eleverna.

The concept of open innovation is about outsourcing part of the innovation process to external actors and to make use of other resources and knowledge than your own. This is one possible way to meet the challenges that today’s competitive and fast market places on companies. Open innovation has created conditions for open events such as hackathons and through these kind of events, ideas can be generated that companies can use in their business. Outside-in is a perspective of open innovation as a means to integrate external knowledge and ideas into its own operations, and this study takes place in the context of open innovation with an outside-in perspective. The study aims to find how the methods, techniques and tools affects the transition from an idea to an internal project, which results in new products and services. The study is qualitative and data has been collected through interviews with companies which have extensive knowledge of working with innovation. The result of the study shows there is a gap in the transformation of ideas and internal projects, and that there are no systematic approach to the methods, techniques and tools used to facilitate the transformation.

A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of actual landscapes have become physically used within creative presentations. The study uses key artworks that have been inspired by landscape to show the shift from documentation into interaction with the reality of the natural world. This entails the chronology of the investigation and commences with the concept of Ideal Landscape, established by Carracci, within the late 16th century, through the development of the Plein-Air tradition and culminating with particular emphasis on European landscape artists’ and movements since 1945 that have interacted with actual sites and natural materials: from the ideal to the actual. Furthermore, the European transfer and diffusion of interactive and material based landscape methods, including drawing and painting outside, the collection of organic items and photography, passed and developed from one generation to the next, informs a body of personal creative work. This is a 50/50 co-dependent strand used to illustrate the practical and creative discourses between practitioner and landscape, involving the articulation of actual land materials, found objects and Plein-Air excursions to the drawing locations of previous practitioners’, sketchbooks and journals. The insights provided, by the personal practice and associated theoretical position, aid the evaluation, analysis and description of the evolution of the creative methods inherent in the development of subject into media, but not presently described in historical accounts, therefore, presenting a Material Chronology and thus the original contribution of knowledge for this investigation.

This thesis delves into the postcolonial genre, examining the novel, The God of Small Things, by Arundhati Roy, and how it highlights the duality in gender roles, social class, and postcolonial society through the narrative style and language.

In Chaucer's Canterbury Tales, The Monk's Tale is compromised of seventeen individual tales, which instead of serving a moral lesson one would expect of a clergy member, serves as a quasi-hunt that allows the Monk to participate in his favorite, violent hobby. The Monk personifies fortune as a hunter, striking down successful men who are unsuspecting of the violent downfall which awaits them. The Monk structures his tale to resemble the different stages of a hunt and fills it with violent, animalistic, and erotic imagery that works to strengthen the Monk's perception of his own masculinity while simultaneously providing a form of sexual pleasure that he is otherwise forbidden to experience. Hunting played a significant role in medieval society and literature. Though clergy members were typically forbidden or discouraged from participating in the sport, significant aspects of the history surrounding medieval hunting shed light on the Monk's identity as primarily a hunter.

Abstract Obviously, inside mediation through individuals or institutions emerged from the conflict situations becomes an alternative way to end armed conflict as it is regarded to have more local legitimacy with a higher sense of ownership. Surprisingly, researchers in peace and conflict studies have shown more interest to mediation processes dominated by outside mediators, while little has been known about the conditions that contribute to success of inside mediators. This thesis aims to contribute to this understudied research field by answering the question; under what conditions do mediators contribute to the ending of armed conflict in fragile states? In this thesis, I focus on the role of customary leaders, a form of inside mediators. The point of departure of this research question will be the distinction between the mediator’s involvements (Inside vs outside) and how their presence contribute to different outcomes. The variances will be explained with reference to two contending concepts of success and failure of mediation process. Success of mediators’ involvement can be measured by focusing on the following three areas; the initiation of peace process, conclusion of peace process and the sustainability of peace outcomes. The causal argument suggest that mediation processes dominated by inside mediators are more likely to end armed conflicts, as they have  more local legitimacy that can  engender a higher level of ownership, and sustain peace agreements as the actors feel engaged to the peace process. By testing this theory, this thesis applies the structured focused comparison method by selecting three cases of Southern, northwest and northeast regions in Somalia that have developed differently. The empirical findings of this thesis supports the hypothesis testes, as mediation processes dominated by inside mediators in Northeast and Northwest regions displayed a higher level of local ownership and legitimacy than the Southern regions. Finally, further researches on inside mediators success in a different countries is suggested in the future in order to know the level of inside mediators’ effectiveness in ending armed conflict.

This thesis examines the constructions of madness and hysteria as diagnoses used to subjugate the protagonists in Bessie Head’s A Question of Power and Kate Chopin’s The Awakening. In juxtaposing these texts, themes including “lone womanhood” surface to identify both protagonists’ means for liberation from patriarchal and colonialist oppression. While for Edna of The Awakening, liberation from the hysteria diagnosis comes through bodily sovereignty, A Question of Power’s Elizabeth is freed from the madness rendering by reclaiming her mental interiority.

Packaging and package design is commonly thought of as a tool to attract the consumer to material goods. Packages, however, have other attributes. In Japan, packaging design is very charming because of the delicate selection of materials, images, and interaction. Different kinds of material provide different emotions and appeal to our sense of touch, which can be interpreted in many ways. Packaging lets us directly interact with an object and this experience becomes memorable and intimate. The combination of image and interaction creates another dimension of story telling. My creative project, Conceptual Packaging, is an experiment in using materials and forms to package immaterial concepts and messages such as memories.

La donation fait de l’espace une spatialité (extériorité, altérité). Tomber dans le où ? est avoir le sentiment de l’espace qui n’est pas la spatialité. Nous ne sommes plus un corps dans l’espace mais un corps-espace (pas de place pour le là). Le où ? n’est pas un dans absolu mais l’impossibilité du dans et l’impossibilité de l’événement d’être (pas d’ouverture). Il y a une immobilité où tout se meut à vide. Le où ? n’a même pas le où de la question comme réponse. Son point d’interrogation est son impossible repos. Que reste-t-il à l’artiste à donner ? Ne fait-il pas justement autre chose que donner ? L’artiste dé-crée et son œuvre pose alors cette question : où cela ne se passe-t-il pas ?. Tomber dans le où ? c’est tomber dans l’étrangeté de l’autre de l’événement. C’est accueillir l’autre, l’étranger, sans lui ôter son étrangeté. L’impossibilité d’avoir lieu s’in-crée. Le sentiment de l’espace est l’autre de la sensibilité et non pas une autre sensibilité à. Il est l’autre de la rencontre. Le sentir est pris par le corps. Tomber dans le où ? est une désinsertion de l’espace où le déjà vouloir de la donation n’a pas lieu. Accueillir l’autre c’est perdre sa demeure avec soi, c’est accueillir dehors. La désinsertion de l’espace est l’autre du départ. Le venir du dehors est l’appel du dehors, l’appel de l’il y a, mon appel. Dans l’esthétique du où ? nous ne sommes pas dans cet appel du dehors. La relation avec l’Autre sera son exhibition, son débordement, sa profanation, profanation du Tout, de l’Un. L’homme fait autre chose que vouloir, il danse. Tomber dans le où ? c’est sortir du pouvoir pour tomber dans la jouissance tragique de l’éternel retour. C’est penser où ?. / Donation turns space into spatiality (outwardness, otherness). Falling in the 'where ?' is having the feeling of space, which isn't spatiality. We are not a body in space anymore, but a space-body (no place for the here). The where ? is not an absolute into but the impossibility of an into and the impossibility of the event of being (no opening). There is an immobility in which everything runs, but idle. The where ? doesn't even have the where of the question as an answer. It's question mark is it's impossible rest. What is left for the artist to give ? Isn't he precisely doing something else than giving ? The artist de-creates and his work asks the question : where doesn't it flow ? Falling in the 'where ?' is falling in the strangeness of the other of the event. It's welcoming the other, the strange(r), with no lessening of strangeness. The impossibility of taking place un-creates itself. The feeling of space is the other of sensitivity and not another sensitivity to. It is the other of the encounter. The feeling is taken by the body. Falling in the 'where ?' is a dis-insertion from space where the already willing of the donation does not take place. Welcoming the other is losing one's abode with oneself, it is welcoming outside. The dis-insertion from space is the other of departing. The calling from outside is the calling of the outside, the calling of there is, my calling. In the aesthetics of the where ? we are not in the calling from the outside. The relationship with the Other will be it's exhibition, it's overflowing, it's profanation, the profanation of the Whole and the One. Man does something else than willing, he dances. Falling in the 'where ?' is exiting from might into the tragic enjoyment of the eternal return. It is thinking where ?