Detta arbete kommer vara inriktat på personers upplevelser om skrik i ett survival horror-spel. Bakgrunden går igenom vad skräck och rädsla är, ljudets betydelse i spel och skräckspel, och sist om människan och vår inställning till röster och specifikt skrik. Frågeställningen som utgår från bakgrunden är följande: Upplevs skrik som hotfullt eller hotat beroende på om det är kvinnligt eller manligt i ett survival horror-spel? Projektbeskrivningen går igenom artefakt som är tillhörande denna undersökning, som består av en video med skrik och enkel ambiens. Artefakten delades tillsammans med en enkät på olika forum och fick 16 svar. Resultatet från detta visar att både kvinnliga och manliga skrik kan upplevas som både hotfull och som hotade, det verkar mer bero på vad medverkande har för tidigare erfarenheter. Framtida arbete diskuteras mot slutet av denna studie, bland annat att det går att utveckla till att skriva om skrik som specifikt vapen inom spel/media. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>

This paper is a bachelor thesis in machine design where screaming screw tightenings are discussed. The research was initiated with a preliminary study in screw mechanics and the tightening process, as well as the stick-slip phenomenon. Furthermore, interviews were conducted with people at Scania and Atlas Copco who have relevant experience in screaming screw tightenings. These interviews strengthened the theory that screaming is caused by stick-slip. The natural frequency of a screw joint with a M8 x 60 mm screw and M8 M6M nut were approximated with FEM-analysis in Ansys. This in order to provide data for comparison with measured screams in future practical tests. The initial hypothesis that stick-slip causes scream was considered plausible since the natural frequency for the screw joint’s torsional oscillation is within the audible range. / Denna rapport är ett kandidatexamensarbete i maskinkonstruktion där skrikande skruvdragningar undersöks. Undersökningen inleddes med en förstudie i skruvens mekanik och åtdragningsprocessen. Stick-slip-fenomenet har även undersökts i förstudien. Vidare har intervjuer gjorts med personer som har erfarenhet inom området på Scania och Atlas Copco. Dessa intervjuer stärker teorin om att skrikfenomenet orsakas av stick-slip. Egenfrekvenser för ett skruvförband med dimensionerna M8 x 60 mm för skruven och M8 M6M för muttern togs fram genom en FEM-analys i Ansys. Detta för att i framtida praktiska tester kunna jämföra dessa frekvenser med uppmätta skrik. Den ursprungliga hypotesen om att stick-slip orsakar skrik bedömdes rimlig då egenfrekvensen för skruvförbandets torsionssvängning faller inom det hörbara intervallet.

This dissertation is devoted to a study of the homo diegetic, extra diegetic narrator (terms derived from Genets). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the a adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wars by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer’ s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intently upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans, the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and history. In contrast to the previous text the narrator emphasizes the fact that his experiences be long t o a distant past. Direct identification with an experiencing self is ruled out because of the out spoken diegetic nature of the text. The stress falls on the event rather than on the experience there of. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without except ion, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe . This s is meaningful in the characterization of the protagonist, Josias / MA, PU vir CHO, 1984

This dissertation is devoted to a study of the homodiegetic, extradiegetic narrator (terms derived from Genette). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wors by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer 1 s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intent1y upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans , the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and his story. In contrast to the previous text the narrator emphasizes the fact that his experiences belong to a distant past. Direct identification with an experiencing self is ruled out because of the outspoken diegetic nature of the text. The stress fall s on the event rather than on the experience thereof. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without exception, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe. This is meaningful in the characterization of the protagonist, Josias. / MA, PU vir CHO, 1984

This dissertation is devoted to a study of the homodiegetic, extradiegetic narrator (terms derived from Genette). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wors by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer 1 s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intent1y upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans , the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and his story. In contrast to the previous text the narrator emphasizes the fact that his experiences belong to a distant past. Direct identification with an experiencing self is ruled out because of the outspoken diegetic nature of the text. The stress fall s on the event rather than on the experience thereof. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without exception, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe. This is meaningful in the characterization of the protagonist, Josias. / MA, PU vir CHO, 1984

This dissertation is devoted to a study of the homo diegetic, extra diegetic narrator (terms derived from Genets). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the a adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wars by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer’ s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intently upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans, the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and history. In contrast to the previous text the narrator emphasizes the fact that his experiences be long t o a distant past. Direct identification with an experiencing self is ruled out because of the out spoken diegetic nature of the text. The stress falls on the event rather than on the experience there of. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without except ion, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe . This s is meaningful in the characterization of the protagonist, Josias / MA, PU vir CHO, 1984