Efter fem år på Konstfack lämnar jag snart denna studietillvaro för att gå ut i verkligheten som inredningsarkitekt och möbelformgivare. Det blir ett nytt sammanhang för mig att adaptera till. Mitt examensarbete handlar därför om hur jag kan transformera den typ av arbete jag gjort i skolan till verkligheten som kommer efter skolan. Jag ser en risk i verklighetens tillvaro där jag tror att många fantastiska idéer blir reducerade till slutresultat som är berövande på de kvaliteter som varit upphov till idéerna. Jag har därför arbetat med hur jag kan minska avståndet mellan min tankevärld och den nya verklighet jag vill översätta mina tankar till. Det är viktigt för mig att det jag tänkt och känt under en process ska leva vidare i det jag gör på ett eller annat sätt, och att det känns i slutresultatet. I den praktiska delen av examensarbetet har jag därför utgått från en träkloss och associerat mig vidare i en växande process. Jag har varvat mellan konkret och abstrakt förhållningssätt och låtit träklossen transformeras om och om igen på olika sätt i en slags roterande evolution. I slutändan har det genererat en liten familj av möbelliknande objekt. På liknande sätt har jag låtit den skrivande delen av examensarbetet växa roterande med metaforer, relaterade sidospår, erfarenheter och insikter som det praktiska görandet har genererat. Tillsammans har skrivandet och görandet varit en växelverkande kraft som tagit mig framåt i processen. Det har styrt evolutionen av min möbelliknande familj och utformningen av deras personliga ”dna”.

The Mīqāt of al-Juhfa is located in the west of Saudi Arabia about 187 km northwest of the Holy City of Mecca. Al-Juhfa is one of the five fixed places called Mawāqīt, or entry stations to the pilgrimage (Hajj). These Mawāqīt were designated during the early Islamic period for any pilgrim comes through them with the intention of Hajj. During the early Abbasid period, al-Juhfa was the largest occupied Mīqāt in the Islamic world. This study focuses primarily on historical and archaeological aspects of the Mīqāt of al-Juhfa during the early Islamic period. To illustrate these aspects, the study analyzed many primary sources that mention al-Juhfa in order to reconstruct the historical and cultural development of the site and to establish the extent to which it functions as an urban center. The study benefited from important information provided by these sources in this respect, such as the chronology of the site, its strategic location, topographical features, the nature of the landscape at different times, the function of specific objects, human activities that took place at the site, and factors that led to its prosperity and decline. The study also undertook a fieldwork at al-Juhfa site—primarily archaeological survey and excavation. This fieldwork enabled us to test the results of the textual analysis and to reveal other characteristics of the site (such as its cultural role, urban elements, planning and defences, architectural functions, building technique, building material, and other features). Moreover, the study analyzed both the formal and technical qualities of all archaeological discoveries on the site, comparing them with their analogues at other early Islamic sites in the Middle East. The study derived many results that clearly indicate the great importance of al-Juhfa as an urban center characterized by several urban functions during the early Abbasid period in the late of 8th century until its importance began to decline gradually between the second half of 11th century and the first half of 12th century. This chronology is supported by both written sources and the archaeological evidence. Several architectural elements and a collection of archaeological finds of different pieces of pottery, ceramic, glass, worked stone, and metal were discovered at al-Juhfa. These discoveries provide us with more information about the extent of mutual influence and active interaction between various cultures during pre-Islamic period as well as the high cultural and commercial level achieved by al-Juhfa and the relationship it had with other Islamic sites in the Middle East. / Graduate / 2019-06-26

La thèse isole un corpus particulièrement large dans l'Europe romantique, constitué de fictions à récit-cadre oral nocturne organisées en « veillées », « nuits » ou « soirées ». Ce constat bibliographique fait apparaître un paradoxe : la littérature de l'époque romantique rêve-t-elle encore de pratiques orales alors que s'inaugurent au même moment le fonctionnement moderne de l'ordre des livres et sa régulation par des techniques commerciales ? Comment conjuguer l'idée du sacre de l'écrivain et la nostalgie apparente pour le récit de vive voix ? Le cycle de fictions nocturnes semble d'abord une survivance ou une nostalgie des formes plurimillénaires de narration orale (Le Pantchatrantra, Les Mille et une nuits) : les auteurs ressusciteraient la technique du récit encadré pour mieux profiter de la vitalité associée à l'échange direct ainsi simulé dans ces textes. Pourtant, l'étude de ce corpus montre que la relecture romantique n'a rien d'un archaïsme. D'abord, le cycle nocturne est en réalité une forme intermédiaire entre la tradition littéraire et les modifications contemporaines du champ : parfaitement adaptées à la publication journalistique, les fictions nocturnes rétablissent néanmoins une forme d'aura auctoriale en instaurant une ambivalence orale qui suggère une présence directe du conteur. Les « nuits » permettent donc de tirer parti de la mercantilisation croissante du monde des lettres, tout en continuant à bénéficier du prestige des mages romantiques et autres poètes de la nuit... / This dissertation isolates in European romantic literature a particularly broad corpus of fictions with an oral frame organized in "watches", "nights" or "evenings". This bibliographic presence underlines a paradox: why does romantic literature still dream of oral practices whereas at the same time are inaugurated the modern textualisation of literature and its regulation by commercial techniques? How to combine the idea of the sacre of the writer and the nostalgia for direct speech ? The cycle of night fictions seems initially a survival or a sign of nostalgia of the antique forms of oral narration (Panchatrantra, Thousand and One Nights) : the authors appear to resurrect the technique of the frame narrative to benefit from the vitality associated with the direct exchange simulated in these texts. However, the study of this corpus shows that this romantic intertextual reading has nothing to do with a taste for archaism. Initially, the nocturnal cycle is actually an intermediate form between the literary tradition and the contemporary modifications of the literary context : it is perfectly adapted to publication in the press, but nevertheless makes it possible to restore a form of auctorial aura auctoriale by establishing an oral ambivalence which suggests a direct presence of the storyteller. The "nights" thus allow the author to adapt to the increasing mercantilisation of the literary world, while continuing to profit from the prestige associated to the romantic magi and other « poets of the night »...

The express wood volume in meter estere (mst) sometimes need to be converted into cubical meters (m3). This is possible estimating a cubication factor (Fc). With the objective to determine the Fc for Eucalyptus grandis and its variation in pieces of wood of different lengths of 1 and 2,3m of length in reason of the time of exposure to the enviroment, in the summer and the winter. Six stacks of wood pieces 3X2X1m (width, height and depth) dimensions had been prepared and six stacks of wood pieces in the dimensions 3X2X2,3m, installed in the summer and winter. The Fc was obtained by volume reason, with CV of 4,2 to 9,5% and by angular counting with CV of 10,9 to 17%. Thus, continued analysis with Fc s average obtained by reason of volumes because they had presented minor variation. The analysis statistics for factorial experiment(2X2X6), indicated significant difference (α<5%) in the variations of principal effect, that is, in the climatic station (F=18,72) , in the time of exposure (F=6,51) and in the length of the different pieces of wood (F=35,18) .The analysis of the correlation of Pearson indicated that the Fc was also influenced by the cracks on top, the humidity of the wood and the atmospheric variable, in the two observed seasons. Evidenced variation of the Fc of the stacks in exposition, equation with use of Stepewise procedure was shaped for the independent variable: T, T2, T3, T4, T5, 1/T, 1/T2, 1/T3, 1/T4, 1/T5, log(T), log(1/T), log(lnT), 1/lnT, 1/log(T), the equation with the best adjustment was decurrent of short pieces of wood of winter for an initial period until 90 days after installation. Adjusted the equation Fc=0,70385+0,00000961(T2), with values of F and R2 equal 17,22 (Pr>F=0,2%) e 0,63, respectively. However the averages of the value of the Fc obtained by observation and the estimator are the same (0,74) and the model was more accurate, then was opted to using the average gathered by each month. The conversion chart of the volume estere in cubical volume was completed since specific average values of the Fc for the climatic stations summer and winter and for the two lengths of pieces of wood, obtained by reason of volumes. The average values of the Fc s had indicated a stabilization after ninety days of the installation of the stacks, with this subdivided the time of exposure in two periods: one from zero to ninety days and another one from ninety to one hundred and eighty days, these compared with the total of the observations (180 days), the average values of these observations had not presented significant difference by the Tukey test (α<5%). However, pieces of wood of Eucalyptus grandis had presented dimensional variation when displayed in inclement weather for a period of one hundred and eighty days (six months) making the cubication factor Fc to vary in elapsing of the period of exposition. / O volume de madeira expresso em metro estere (mst) algumas vezes necessita ser convertido em metro cúbico (m3). Isso é possível estimando-se um fator de cubicação (Fc). Com o objetivo de determinar o Fc para Eucalyptus grandis e sua variação em toretes de 1 e de 2,3m de comprimento em razão do tempo de exposição ao ambiente, no verão e no inverno. Foram confeccionadas 6 pilhas de toretes nas dimensões 3x2x1m (largura, altura e profundidade) e 6 pilhas nas dimensões 3x2x2,3m, instaladas no verão e no inverno. O Fc foi obtido por razão de volume, com CV de 4,2 a 9,5% e por contagem angular com CV de 10,9 a 17%. Assim, prosseguiu análise com Fc s médios obtidos por razão de volumes pois apresentaram menor variação. A análise estatística para experimento fatorial (2x2x6), indicou diferença significativa (α<5%) nas variáveis do efeito principal, isto é, na estação climática (F=18,72), no tempo de exposição (F=6,51) e no comprimento do torete (F=35,18). A análise da correlação de Pearson indicou que o Fc também foi influenciado pelas rachaduras de topo, pela umidade da madeira e pelas variáveis atmosféricas, nas duas estações observadas. Constatada variação do Fc das pilhas em exposição, modelou-se equação com uso de procedimento Stepewise para as variáveis independentes: T, T2, T3, T4, T5, 1/T, 1/T2, 1/T3, 1/T4, 1/T5, log(T), log(1/T), log(lnT), 1/lnT, 1/log(T), a equação com o melhor ajuste foi a decorrente de toras curtas de inverno para um período inicial até 90 dias após a instalação. Ajustada a equação Fc=0,70385+0,00000961(T2), com valores de F e R2 iguais a 17,22 (Pr>F=0,2%) e 0,63, respectivamente. No entanto as médias do valor do Fc obtidas das observações e do estimador é a mesma (0,74) e o modelo foi tendencioso, optou-se por utilizar a média obtida a cada mês, a partir da exposição. A tabela de conversão do volume estere em volume cúbico foi confeccionada a partir dos valores médios do Fc específicos para as estações climáticas verão e inverno e para os dois comprimentos dos toretes, obtidos por razão de volumes. Os valores médios dos Fc s indicaram uma estabilização após noventa dias da instalação das pilhas, com isso subdividiu-se o tempo de exposição em dois períodos: um de zero a noventa dias e outro de noventa a cento e oitenta dias, esses comparados ao total das observações (180 dias) os valores médios dessas observações não apresentaram diferença significativa pelo teste Tukey (α<5%). No entanto, os toretes de Eucalyptus grandis apresentaram variação dimensional quando expostos as intempéries por um período de cento e oitenta dias (seis meses) fazendo o fator de cubicação (Fc) variar no decorrer do período de exposição.

On september 30th 2017 the Nordic Resistance Movement (NMR) demonstrates, on the same day as the Gothenburg book fair and the jewish holy day Yom Kippur takes place. Not least opinion piece-writers wrote about the demonstration, in newspapers fron Piteå in the north and Ystad in the south. With the use of framing theory we have, by method of quantitative analysis, analyzed 88 of the opinion pieces on the subject of NMR's right to demonstrate in Gothenburg, published in Swedish newspapers. In addition to analyzing how the writers framed NMR's right to demonstrate we have, with the qualitative method argumentation analysis, analyzed the writers' attitudes toward NMRS's right to demonstrate. We find the two most prevalent frames are legal framing (29 out of 88) and democracy framing (28 out of 88). Other than that little consensus can be found amongst the writers on the topic of NMR's right to demonstrate.

The aim of this thesis is to find out the process carried out by many people to achieve a solo role for the tuba. It also explains which individuals people helped the development of the instrument so as how different composers have contributed to the music field and especially to the evolution and growth of the tuba in the last century. In the musical part, the thesis talks about different standard tuba pieces and their importance.

This master thesis discusses various mathematical problems related to the placement of chess pieces. Solutions to the problems are mostly elementary (yet sometimes quite inventive), in some cases rely on basic knowledge of graph theory. We successively focus on different chess pieces and their tours on rectangular boards, and then examine the "independence" and "domination" of chess pieces on square boards. The text is complemented with numerous pictures illustrating particular solutions to given problems.

I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composers incorporate Korean folk materials and blend them with Western contemporary techniques. An analysis of Sung-Ki Kim's Variations sur un theme populaire coréen and Chung-Sock Kim's Six Pieces for Piano ‘Nori' can be divided into three categories: harmony, rhythm, and performance-related aspects. By analyzing these two pieces, these study illustrates in greater depth their intercultural aspects, showing the way by which both composers merged traditional Korean folk idioms through the inclusion of traditional Korean rhythms, and the imitation of sounds of several traditional Korean instruments with Western contemporary technique such as non-traditional sounds and use of sostenuto pedal. Finally, this study provides some practicing suggestions and listing exercise on how to practice musical and technical challenges.

William Gillock, a 20th-century American composer and pedagogue, composed numerous works in the styles of different periods for early intermediate-level piano students. The purpose of this dissertation is to introduce Gillock's pieces to teachers of early intermediate students and illustrate how they can be used as a bridge to the study of similar music from Baroque, Classical, and Romantic periods. Gillock's Little Suite in Baroque Style is compared with Handel's Suite in E Major, HWV 430; his Accent on Analytical Sonatinas (Classical) is compared with Clementi's Piano Sonatinas, Op. 36, No. 3, 5, 6; and his Lyric Preludes in Romantic Style (Romantic) is compared with Chopin's 24 Preludes, Op. 28, No. 3, 6, 9, 16, 18, and 24. Each work is examined to reveal its compositional and technical elements along with pedagogical concepts.

In his Art of Piano Playing, the renowned Russian pianist and teacher Heinrich Neuhaus asserts that the concept of an "artistic image" can give musical meaning to the score, help pianists to understand the musical content of a composition, and help students to find pianistic expression in the details. The concept of artistic image can be applied in pedagogy, guiding young pianists to learn content and organize their practice. The artistic image is the picture of a musical idea and the musical language, which comes from melody, phrasing, musical structure, and the emotional and poetic content. Twelve Children's Pieces of Medium Difficulty, Op. 31, is one of the important works for young pianists by Reinhold Glière (1875–1956). The set has emotional characteristics that allow intermediate young pianists to grasp its rich content and then develop technically. His piano works have been little studied by scholars as part of a pedagogical approach. This pedagogical guide uses the concept of artistic image in Glière's work to help young pianists, or their teachers, prepare this work thoroughly and perform it successfully on the stage.