Plusieurs films américains des années 2000 (Mulholland Drive et INLAND EMPIRE de David Lynch, The Virgin Suicides de Sofia Coppola, Memento de Christopher Nolan, The Pledge de Sean Penn, Broken Flowers de Jim Jarmusch et Zodiac de David Fincher) opèrent une remise en question de la fonction, du fonctionnement et de la représentation des indices sur lesquels s’appuient tant la littérature que le cinéma policiers. Ces films, qui reprennent certains codes du genre sans être tous à proprement parler des « films policiers », ont pour point commun de mettre en scène une enquête qui n’aboutit pas et qui se retourne contre l’enquêteur jusqu’à ébranler son identité. Ils font ainsi écho aux récits de détection dits métaphysiques (The Crying of Lot 49 de Thomas Pynchon, City of Glass de Paul Auster...) : l’indice, loin de permettre la clôture du récit, devient le moyen de son ouverture. À sa juste interprétation succède le foisonnement des lectures et des histoires possibles. Autrefois transparent, il se fait opaque ; de fluide, sa circulation devient accidentée – ce à quoi correspondent de nouvelles manières de le filmer. Les codes du genre policier visant à marquer l’indice tout en favorisant sa lisibilité et l’identification avec l’enquêteur (insert en gros plan, raccord-regard, faible profondeur de champ…) sont détournés selon diverses stratégies : inversion, exagération, etc. Celles-ci ont pour effet de déjouer les attentes des spectateurs et de les rendre inquiets en rétablissant l’incertitude fondamentale de la littérature policière, que le cinéma policier tend à minorer, tout en la mettant au service de projets esthétiques par ailleurs très différents les uns des autres. / A few American films released between 2000 and 2007 (David Lynch’s Mulholland Drive and INLAND EMPIRE, Sofia Coppola’s The Virgin Suicides, Christopher Nolan’s Memento, Sean Penn’s The Pledge, Jim Jarmusch’s Broken Flowers and David Fincher’s Zodiac) question the function, inner workings and representation of the clues on which detective fiction and film rely. These movies, which take up certain tropes of the genre without necessarily being detective films per se, all revolve around an investigation which is left incomplete and eventually turns against the investigator, to the point of shattering his or her sense of identity. They thus follow in the footsteps of metaphysical detective fiction (novels such as Thomas Pynchon’s The Crying of Lot 49 and Paul Auster’s City of Glass), in that the clue, instead of bringing about the closure of the narrative, becomes the instrument of its open-endedness. Its one correct interpretation is replaced by a proliferation of possible readings and stories. Once transparent, it turns opaque; once fluid, its circulation becomes problematic – which leads to new ways of filming it. The codes that detective films use to point out the clue, increase its legibility and foster identification with the investigator (close-up insert, eyeline match, shallow focus…) are subverted through a number of strategies such as inversion and exaggeration. These aim to deceive the spectator’s expectations and to unsettle him or her by reinstating the fundamental uncertainty of detective fiction, which detective films normally tend to repress, and which is here incorporated into aesthetic projects that otherwise differ widely.

Presen work deals with Maria Montessori pedagogy and its application in religious education. The goal of the study is to introduce the basic principles of Montessori-pedagogy and point out the use of those principles within the frame of religious education. The theoretical part is concerned with biography of Maria Montessori, her work, antropological background and the basic principles of Montessori pedagogy. Further, it discusses the issues of her work that are either implicitelly or explicitelly related to religious education. Beside this, the practical part of the thesis introduces the work of Italian catechist Sofia Cavaletti, who was inspired by Montessori pedagogy. In 60´s of the last century, Sofia Cavaletti managed a catechetical centre in Rome. She established atriums in several parishes in Rome, in which the methods of Montessori pedagogy were utilized. Subsequently, Godly Play method is mentioned in present work. The method was developed by Jeron W. Berryman, an american theologist and priest of episkopal church, who was inspired by the work of Maria Montessori as well as by the work of Sofia Cavaletti.

Collective memory emerges within our physical realm through material and spatial manifestations that link personal and collective conceptions of the past and present. The role of the memorial, as the primary urban element of collective memory, aims to encourage selective remembrance and reconciliation as part of a cultural healing process held over time. This thesis is situated in the city of Sofia, at a site of collective traumatic memory: the site of the former G. Dimitrov Mausoleum. Once considered the icon of Bulgarian communism, this building was symbolically demolished in 1999, following the collapse of the regime, leaving a scar in the heart of the city’s fabric and consciousness. This site, along with its abandoned adjacent public square, has become a significant representation of the urge found across all of the former Eastern Bloc countries, to suppress and erase the memory of the recent traumatic past, as a means to heal. However, without any efforts to commemorate, reconcile or face the past, the restrictive environment of oppression during the regime has in turn been replaced by an environment of repression, where mourning has become an impossible task. The modern tradition of public commemoration has been founded upon the notion that permanent monuments as physical objects can become representations of collective memory, preserved through time. Throughout the various attempts to create memorials, this assumption has remained for the most part unquestioned. However, the memorial as such has recently faced a major debate, as the issues of memory and forgetting have emerged as dominant concerns in dealing with the trauma that continues to haunt modern Western culture. Consciously discrediting the reality of the events and the victims associated, the Bulgarian culture has created a form of disconnect between its identity and its collective memory. Challenging the static forms and detached imagery, this proposal will reexamine the traditional definition of the monument as object on pedestal. By revisiting the site where the void left by the demolished mausoleum still haunts those trying to forget, and allowing the memory to emerge back into the collective consciousness, this proposition will allow the trace of the past to be transformed and connected to a new city narrative of remembrance. An engaged and dynamic ritual, beginning and ending at the memorial site, will draw a connection between space, time and memory through a series of new public spaces. Through the recovery of collective memory, it will offer an alternative to the healing process. The memorial is dedicated to the countless victims of censorship and control during the Iron Curtain regime.

Collective memory emerges within our physical realm through material and spatial manifestations that link personal and collective conceptions of the past and present. The role of the memorial, as the primary urban element of collective memory, aims to encourage selective remembrance and reconciliation as part of a cultural healing process held over time. This thesis is situated in the city of Sofia, at a site of collective traumatic memory: the site of the former G. Dimitrov Mausoleum. Once considered the icon of Bulgarian communism, this building was symbolically demolished in 1999, following the collapse of the regime, leaving a scar in the heart of the city’s fabric and consciousness. This site, along with its abandoned adjacent public square, has become a significant representation of the urge found across all of the former Eastern Bloc countries, to suppress and erase the memory of the recent traumatic past, as a means to heal. However, without any efforts to commemorate, reconcile or face the past, the restrictive environment of oppression during the regime has in turn been replaced by an environment of repression, where mourning has become an impossible task. The modern tradition of public commemoration has been founded upon the notion that permanent monuments as physical objects can become representations of collective memory, preserved through time. Throughout the various attempts to create memorials, this assumption has remained for the most part unquestioned. However, the memorial as such has recently faced a major debate, as the issues of memory and forgetting have emerged as dominant concerns in dealing with the trauma that continues to haunt modern Western culture. Consciously discrediting the reality of the events and the victims associated, the Bulgarian culture has created a form of disconnect between its identity and its collective memory. Challenging the static forms and detached imagery, this proposal will reexamine the traditional definition of the monument as object on pedestal. By revisiting the site where the void left by the demolished mausoleum still haunts those trying to forget, and allowing the memory to emerge back into the collective consciousness, this proposition will allow the trace of the past to be transformed and connected to a new city narrative of remembrance. An engaged and dynamic ritual, beginning and ending at the memorial site, will draw a connection between space, time and memory through a series of new public spaces. Through the recovery of collective memory, it will offer an alternative to the healing process. The memorial is dedicated to the countless victims of censorship and control during the Iron Curtain regime.

No description available.

Depictions of girlhood and young women in the media reflect prevailing power structures and norms. In order to understand and challenge these structures, it is important to underscore how they are produced on film. As Coppola's works tend to put the young woman and her experiences in focus, the exploration of how women are represented in her work as a female filmmaker can illuminate how she both adapts to and opposes patriarchal structures. By taking factors such as the intersectional aspects of gender, class and sexuality into consideration, a more nuanced interpretation of complex societal norms and power structures concerning young femininity can be identified.  This thesis examines the representation of young women in Coppolas three first films; The Virgin Suicides (1999), Lost in Translation (2003), and Marie Antoinette (2006). By using a multimodal critical discourse analysis focusing on the semiotic concepts of denotation and connotation, as well as applying an intersectional theoretical framework, the study finds similarities in the representation of young female characters in Coppola's three works. Based on the intersectional gender perspective, common depictions of women's gender, class and sexuality are made visible. The representation of the characters both challenges and reinforces patriarchal norms and social structures. Common to all young female characters is a dissatisfaction with the situations that they find themselves in due to a patriarchal social structure. Trapped by class affiliation, gender normative structures and sexual expectations, Coppola’s young women seek liberation from patriarchal structures, but despite their attempts they never fully succeed.

Made available in DSpace on 2015-04-14T14:40:53Z (GMT). No. of bitstreams: 1 409855.pdf: 4922404 bytes, checksum: f7e36aa9b13782d1671816db83ea48f1 (MD5) Previous issue date: 2009-03-04 / Este trabalho examina os tr?s filmes de longa-metragem dirigidos por Sofia Coppola: As virgens suicidas (The virgin suicides, 1999), Encontros e desencontros (Lost in translation, 2003) e Maria Antonieta (Maria Antoniette, 2006), sempre protagonizados por mulheres. Nosso prop?sito ? pensar essas personagens em di?logo com a dificuldade de definir a ideia de mulher e o feminino, questionando tem?ticas de g?nero, assim como a rigidez dos esquemas culturais da identidade sexual (Judith Butler, 2001). Coppola nos permite refletir sobre a representa??o (Francesco Casetti, 1996 e Jacques Ranci?re, 2005) das mulheres, atrav?s de personagens aut?nomas e deslocadas, que vivem em ambientes opressivos. As protagonistas desses filmes est?o unidas por temas como a explora??o do erotismo e o estado de contempla??o, que s?o sintomas das sociedades contempor?neas e mostra da incerteza do sujeito

This master’s thesis examines the Swedish gymnastics troupe, the Sofia Girls 1942-1964 from the perspective of gender and girlhood. The aim is to analyse the construction of the Sofia girl by their leader Maja Carlquist, the audience and the girls themselves, focusing on their characteristics, abilities and experiences. By applying Yvonne Hirdman’s theory of the Gender contract on another subject than the housewife, the girl, it is possible to discover a more nuanced history on gender. The results show that through her leadership of the Sofia Girls, Carlquist created the idea of a particular kind of girl to present to the world. This girl was strong, yet feminine, natural, and resolved to the ideals of womanhood while also challenging them. The girls who adapted to this construction, therefore agreeing to this particular kind of gender contract, were given opportunities to travel and were situated in positions of responsibility. This gave them self-esteem as they continued their lives. Thus, by conforming to the ideals, opportunities were created for the girls rather than holding them back. In this sense, the Sofia Girls displayed signs of progress during a period where it was rare at best.

Denna uppsats undersöker ekopoetiken i Fredrik Nybergs diktsamling Offerzonerna (2018). Analysen utgår från Timothy Mortons teori om mörk ekologi. Utifrån en tematisk, retorisk och ekokritisk läsning av Offerzonerna – som diskuteras tillsammans med texter av bland annat Kate Rigby, William Cronon och Sofia Roberg – dras slutsatserna att Nybergs ekopoetik kan beskrivas som anti-dualistisk, språkmaterialistisk, fragmentarisk och collageartad. En ödslig och utarmad natur präglad av klimatförändringar gestaltas, samt mötet mellan natur och kultur. Form och innehåll återspeglar varandra och gestaltar ett ekologiskt och anti-antropocentriskt tema.

Detta examensarbete innefattar en reflektion inför min examenskonsert och vernissage med musik och konst inspirerad av den Jämtländska fjällvärlden där jag växte upp. Min avsikt var att skapa en hyllning till den plats jag håller närmst om hjärtat, samt att genom olika medel göra ett försök att skildra den.  Mitt stilanalysarbete kretsar kring folksångerskan Kirsten Bråten Berg och hennes framförande av den norska visgenren Nystev. Syftet med arbetet har varit att försöka beskriva Kirsten Bråten Bergs sångsätt och uttryck, och därtill kartlägga nystevens struktur och gestaltning.  Studien har som avsikt att väcka intresse hos den som visar nyfikenhet för den skandinaviska folkmusik- och vokaltraditionen. Min förhoppning är att vederbörande ska få ta del av verktyg, inspiration och material gällande ämnet, och att detta ska leda till ett vidare utforskande av genren. / <p><strong>Program examenskonsert:</strong></p><p><strong></strong></p><p><strong>Årstider</strong></p><p>S. Hultqvist Kott</p><p></p><p><strong>Gamlestev</strong></p><p>Trad. efter Kirsten Bråten Berg</p><p></p><p><strong>Tiden flyr när vill du börja / Erotokritos</strong></p><p>Trad. efter Anders Hoas / trad. Grekland</p><p></p><p><strong>O sommartid så skön och kär</strong></p><p>Trad. efter Dansar Edvard Jonsson</p><p></p><p><strong>Kalhygge</strong></p><p>S. Hultqvist Kott</p><p></p><p><strong>Improvisation ur Gryning över Kalahari</strong></p><p>Författare Lasse Berg</p><p></p><p><strong>Sven Svane / Gåtegangar</strong></p><p>Trad. efter K. Bråten Berg / A. Myrin &amp; G. Nergaard</p><p></p><p><strong>Seint var det om kvelden</strong></p><p>Trad. efter Paul Sveinall</p><p></p><p><strong>På dig jag hoppas</strong></p><p>Trad. efter Gustav Jönsson</p><p></p><p><strong>I norr</strong></p><p>S. Hultqvist Kott</p><p></p><p><strong>Jämtländsk vaggvisa</strong></p><p><em>A. Edwall</em></p><p><em></em></p><p><strong>Medverkande:</strong></p><p>Sofia Hultqvist Kott — sång, shrutibox</p><p>Susanne Rosenberg — sång</p><p>Óskar Guðnason — sång</p><p>Siri Flensburg — sång</p><p>Jim Base — elgitarr</p><p>Albin Myrin — klarinett</p><p>Leif Ottosson — dragspel</p><p>Olov Lindroth — tramporgel</p><p>Christian Mohr Levisen — kretensisk lyra</p><p>Gard Nergaard — hardingfela, altfiol, pedal steel </p><p></p><p><strong>Video och ljudupptagning: </strong></p><p>Alexander Wallin</p>