Utställningar kan ses som världens äldsta massmedia. Utställning innebär att man gestaltar en miljö där människor kan träffas och uppleva något med alla sina sinnen. Utställningsmediet kan ta tillvara på hela den moderna medietekniken och är därför väldigt lätt att utforma efter egna tankar och idéer.   I detta examensarbete har utställningsmediet använts som en del i marknadsföringen av Pite Havsbad men också för att fira havsbadets sjuttioårs jubileum som äger rum i år, 2013. Utställningen består av två delar, dels en digital presentation men även en traditionell del.   Rapporten avslutas med slutsatser samt rekommendationer för framtida utställare.

The activation of cytotoxic T-cell (CTL) responses requires antigen presentation by professional antigen presenting cells. Macrophages (MØ) can regulate CTL responses but little is known about the role played by splenic macrophages (Sp-MØ) in antigen cross-presentation. Here, we established, and characterized, an efficient culture method for generating Sp-MØ. By monitoring MØ markers, we found that 7-days Sp-MØ resembles the red pulp macrophages (RPMØ) phenotypic characteristics. The phagocytic capacity of Sp-MØ was increased as the cells become more differentiated. Thus, increased differentiation of Sp-MØ in vitro can be macrophage-colony stimulating factor (M-CSF) driven, which allows for an optimal condition to increase the yield of the spleen-derived MØ. As a result of examining the antigen presentation of Sp-MØ during differentiation, we reported that Sp-MØ down-regulated their ability to cross-present the cell-associated lymphocytic choriomeningitis virus nucleoprotein (LCMV-NP) but not the soluble OVA proteins without altering their capacity to directly present LCMV antigens after infection. Mechanistically, we defined the cytosolic pathway as the dominant cross-presentation pathway used by Sp-MØ. Further analysis revealed a direct relationship between Sp-MØ differentiation, phagosomal acidification, and antigen cross-presentation. As Sp-MØ become more mature, their vesicular phagosomal system acquired high acidic characteristics, which adversely affected antigen cross-presentation due to potent and enhanced antigen degradation. We also addressed the capacity of diverse LCMV antigens, generated during virus infection, to induce LCMV-specific CTL responses via cross-presentation by employing antigen donor cells (ADCs) that provide sufficient LCMV antigens after virus inactivation with no possible direct antigen presentation. Our results demonstrated that the ADCs induced LCMV-specific CTL responses in vitro and in vivo. Out of the four CTL epitopes tested (NP396, NP205, GP33, and GP276), in vitro cross-presentation were dominated by LCMV-NP396 epitope; while the in vivo cross-priming has shifted towards LCMV-GP33 and NP396 epitopes. Collectively, the data presented in this thesis have defined for the first time important factors that influence Sp-MØ culturing in vitro and highlighted a potential role for the Sp-MØ in regulating CTL iii responses via cross-presentation, and characterized how different epitopes from LCMV are cross presented in vitro and in vivo. / Thesis (Ph.D, Microbiology & Immunology) -- Queen's University, 2010-04-12 15:07:38.492

Diss. (sammanfattning) Stockholm : Karol. inst. / Härtill 5 uppsatser.

Thesis (M.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed May 17, 2010). Advisor: Nichole Egbert. Keywords: self-presentation; impression management; Facebook; self-monitoring; Machiavellianism; affinity-seeking; social networking; self-presentation tactics. Includes bibliographical references (p. 109-115).

This thesis details an experiment designed to study the effectiveness of auditory (AP) and visual (VP) presentation modes in the free recall situation.

This thesis aims to study the development of Thai theatre in the 1990s by focusing on productions adapted from traditional literary works. The study examines how traditional literary pieces are reinvented and how the characteristics of theatrical presentation are developing. Before the 1990s, Thai theatre practitioners made a few attempts to use traditional literature as a source for modern stage drama. Among them, the prominent productions were Rak thi To 'ng Mantra and Lo'dilokrat, both of which were based on the same novel, Rak thi To 'ng Mantra, adapted from the classic Lilit Phra La '. As a result of the promotion of Thainess and Thai culture in the 1990s, along with the movement of "decolonised theatre" in South East Asia, Thai theatre practitioners turned to their cultural roots in order to make their productions communicate with popular audiences. The transposition of traditional literature into modern stage drama became a dominant form in Thai theatre during the 1990s. The reinvention of traditional literature can be considered as "mythopoeia" or mythmaking, in which theatre practitioners managed to adjust the ancient contents to suit the modern social context. While the productions that merely modernised the traditional stories are regarded as modern mythmaking, those revised so as to address radical ideas are revisionist mythmaking. In reworking traditional literature to comment on contemporary issues, some female theatre practitioners looked into the texts from a feminist perspective, whereas some dramatists employed the traditional works to educate grass-roots spectators about social problems, such as drugs and AIDS. Additionally, the transposition of traditional literature also encouraged the theatre practitioners to revive traditional theatrical elements in creating the atmosphere of the stories. The juxtaposition of traditional and modern elements was a distinctive feature of these productions derived from traditional literary sources, as can be seen in costume and set designs, music and songs, as well as in dance styles. Hence, the transposition of traditional literature during the 1990s is a watershed in the development of Thai theatre.

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This report describes the background, approach, and the final results for the presentation tool PresenteraMera. PresenteraMera is an online-based, interactive presentation tool that is created to improve the quality of sales presentations and simplify the creation of presentations. The client for this project is Dempsey, a digital advertising agency and production company with headquarters in Stockholm. PresenteraMera consists of several features that make it easier for businesses to create, edit and display their presentations. The tool also allows the user to always be sure that the presentations created with PresenteraMera follows a specific design, based on their graphic manual for example.

My thesis seeks to offer a reinterpretation of George Gascoigne's literary career by interrogating the means by which he manipulated his self-presentation in print. The Introduction defines the context for this study by outlining the received version of his career, that of the prodigal who underwent a moral reformation in 1575 and wrote only moralistic works thereafter. I question Gascoigne's inclusion with the Drab poets by suggesting that his more courtly personae co-existed with his predominant selfpresentation as repentant prodigal. The subsequent discussion falls into a broadly chronological structure. Chapter I surveys the range of self-presentations and authorial voices in the early works and concludes with a discussion of Gascoigne's first publication, the anonymous A Hundreth Sundrie Flowres (1573), in which they were presented as the work of several authors. Chapter II examines Gascoigne's publications in 1575, conventionally considered the turning point in his career, with the Posies and the Glasse of Government, his Prodigal Son play. These are set against his anonymous publication of the Noble Arte in June and his performances before the Queen at Kenilworth in July. Gascoigne gave his presentation manuscript ofHemetes to Elizabeth as a New Year gift in 1576. Chapter III examines all of Gascoigne's literary activity in that year, as he continued to develop a portfolio of moralistic titles but also published his account of the Princely Pleasures, continuing the series of anonymous courtly publications. Late in the year, Gascoigne travelled to Paris and then Antwerp, and on his return published an anonymous account of the sacking of that city, the Spoyle of Antwerpe. Chapter IV discusses Gascoigne's New Year gifts in 1577, the year of his death. These are a second presentation manuscript for Elizabeth, the Grief of Joye, and a presentation letter to Sir Nicholas Bacon.