<p>Orsakerna till andra världskriget är väl analyserade och finns berättat om i många verk. Det här arbetet applicerar två klassiska teorier, realism och liberalism på de orsaker till krig som Stephen Van Everas bok ”<em>Causes of War”</em> förtäljer. Syftet med arbetet är att undersöka, om det är möjligt, vilken av två utvalda teorier som bäst förklarar orsakerna <em>till krigen</em> under andra världskriget. Min problemformulering är: <em>Vad har realismen och liberalismen för syn på orsakerna till varför ett krig bryter ut och hur förklarar de i sådana fall orsakerna till andra världskriget?</em></p><p>  För att ge svar på de här frågorna kommer jag att använda mig av en kvalitativ textanalys. Metoden har två syften i arbetet. Det första är att ta reda på vad liberalismen och realismen har för syn på orsaker till krig. Det andra syftet är att utifrån <em>”Causes of War” </em>finna orsakerna till krigen som utspelades under det andra världskriget.</p><p>  De slutsatser jag kommit fram till genom appliceringen av teorierna på orsaker till krig, är att stater agerade utifrån ett realistiskt säkerhetspolitiskt tänk, vilket även bekräftar tidigare forskning inom ämnet. Det finns dock en spårbarhet av liberalism i orsakerna till varför länderna gick i krig med varandra. De liberalistiska förklaringarna av orsaker till krig har visat sig bestå av kollektiv säkerhet eller ett misslyckande i överstatliga överenskommelser. De realistiska förklaringarna av orsaker till krig utgörs av den egna statens säkerhet gentemot andra stater.</p> / <p>The causes of the Second World War are well analyzed and are described in several literatures. In this study two classical theories, realism and liberalism, are applied on the causes of war described in Stephan Van Everas book “<em>Causes of War”</em>. This essay aims to examine, if possible, which one of the above mentioned theories that best describes what caused the Second World War.</p><p>  Presentation of the problem: <em>What are the causes of war from a realistic and liberal perspective, and how can the theories explain the causes of the Second World War?</em></p><p>In order to answer these questions I use a qualitative text analysis. In the essay this method has two purposes. The first is to find out what realism and liberalism describes as causes of war. The second purpose is to find out, on basis of Stephen Van Everas <em>“Causes of War”,</em> what caused the wars during the Second World War.</p><p>  My conclusion is that states act on a basis of realism when they justify an act of war. This conclusion corresponds with former studies. However, there are also conclusions based on liberalism that describes causes of war between countries. These conclusions constitute collective security and failure of international agreements between states. According to the realist theory, the security of the state versus other states is a possible cause of war.</p>

Orsakerna till andra världskriget är väl analyserade och finns berättat om i många verk. Det här arbetet applicerar två klassiska teorier, realism och liberalism på de orsaker till krig som Stephen Van Everas bok ”Causes of War” förtäljer. Syftet med arbetet är att undersöka, om det är möjligt, vilken av två utvalda teorier som bäst förklarar orsakerna till krigen under andra världskriget. Min problemformulering är: Vad har realismen och liberalismen för syn på orsakerna till varför ett krig bryter ut och hur förklarar de i sådana fall orsakerna till andra världskriget?   För att ge svar på de här frågorna kommer jag att använda mig av en kvalitativ textanalys. Metoden har två syften i arbetet. Det första är att ta reda på vad liberalismen och realismen har för syn på orsaker till krig. Det andra syftet är att utifrån ”Causes of War” finna orsakerna till krigen som utspelades under det andra världskriget.   De slutsatser jag kommit fram till genom appliceringen av teorierna på orsaker till krig, är att stater agerade utifrån ett realistiskt säkerhetspolitiskt tänk, vilket även bekräftar tidigare forskning inom ämnet. Det finns dock en spårbarhet av liberalism i orsakerna till varför länderna gick i krig med varandra. De liberalistiska förklaringarna av orsaker till krig har visat sig bestå av kollektiv säkerhet eller ett misslyckande i överstatliga överenskommelser. De realistiska förklaringarna av orsaker till krig utgörs av den egna statens säkerhet gentemot andra stater. / The causes of the Second World War are well analyzed and are described in several literatures. In this study two classical theories, realism and liberalism, are applied on the causes of war described in Stephan Van Everas book “Causes of War”. This essay aims to examine, if possible, which one of the above mentioned theories that best describes what caused the Second World War.   Presentation of the problem: What are the causes of war from a realistic and liberal perspective, and how can the theories explain the causes of the Second World War? In order to answer these questions I use a qualitative text analysis. In the essay this method has two purposes. The first is to find out what realism and liberalism describes as causes of war. The second purpose is to find out, on basis of Stephen Van Everas “Causes of War”, what caused the wars during the Second World War.   My conclusion is that states act on a basis of realism when they justify an act of war. This conclusion corresponds with former studies. However, there are also conclusions based on liberalism that describes causes of war between countries. These conclusions constitute collective security and failure of international agreements between states. According to the realist theory, the security of the state versus other states is a possible cause of war.

O debate da imagética mental consiste de uma controvérsia iniciada nos anos 1970 a respeito da forma das representações mentais, e foi travada principalmente entre Stephen Kosslyn, que propunha uma forma imagética, e Zenon Pylyshyn, que propunha um formato simbólico-estrutural, além de apontar falhas conceituais na teoria da afiguração implícita no modelo pictorialista. Nesta dissertação, apresenta-se um balanço filosófico deste debate, levando em conta também críticas adicionais de Daniel Dennett aos pressupostos da abordagem pictorialista. / The mental imagery debate is a controversy that began in the 1970s concerning the form of mental representation, and was carried out mainly by Stephen Kosslyn, who defended a picture-like representation, and Zenon Pylyshyn, who proposed a symbolic-structural format. The latter also pointed out conceptual problems of the pictorialist model. This thesis presents a philosophical discussion of the debate, also taking into account additional criticisms by Daniel Dennett to the presuppositions of the pictorialist approach.

Uppsatsen redogör för översättningen av en novell skriven av Stephen King. Förutsättningar för vald översättningsprincip är polysystemteori, deskriptiv översättningsvetenskap, tänkt målgrupp och resultatet av en stilanalys av källtexten där en riklig förekomst av bildspråk tydliggjordes. En analys av bildspråk i måltexten visade på en övervägande adekvansinriktad översättningsstrategi och på Stephen Kings status i målkulturen som hög snarare än låg. Problem under översättningsprocessen var främst översättningen av bildspråk. / This study deals with the translation of a short story written by Stephen King. Prerequisites for the selected translation principle were polysystem theory, descriptive translation studies, intended audience, and the result of a style analysis of the source text in which an abundance of imagery was clear. An analysis of the imagery in the target text found that a predominantly adequacy-oriented translation strategy was used and that Stephen King's status in the target culture can be viewed as high rather than low. Problems during the translation process were mainly associated with the translation of imagery.

Piano instructors often have to work as a bridge connecting music from the past and the future. From a pedagogical viewpoint, contemporary works should be considered just as important as those in the standard repertoire. Yet, most piano instructors are skewed towards modern music and their teaching materials are focused on eighteenth and nineteenth century repertoire. It is essential for them to introduce various kinds of music from different periods and cultures in order to fully develop a student's musicianship. The purpose of this study is to compare two modern works that are designed mainly for pedagogical purposes: 32 Piano Games by Ross Lee Finney (1906-1997) and Amusements by Stephen Chatman (b. 1950). These compositions are intended for beginner and intermediate students and incorporate a number of contemporary elements and techniques. This study can help instructors and students understand how these elements are being used and the ways they have evolved over time. Most importantly, this dissertation can provide teachers with a distinct methodology that enables them to present modern pieces to beginning level students in a more approachable fashion, further providing theoretical and technical assets that will allow them to play advanced contemporary music in the future.

Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.

This study traces the public life of Stephen Dorsey chronologically from his service in the Civil War to the end of his political career, which came with his failure to have a friend appointed governor of New Mexico Territory in 1889. Traditional interpretations of Dorsey are based on a combination of scant evidence, carpetbagger stereotypes, and the assumption that he was guilty of masterminding the monumental swindle of the Star Route Frauds. Closer examination of Dorsey's public life, however, reveals that this traditional view is distorted. A major conclusion of this study is that the assumption on which most traditional views of Dorsey are based, that he was the mastermind behind the Star Route Frauds, is not supported by the evidence. This study shows that it is impossible to study a Gilded Age political figure without also considering his business interests. Many of Dorsey's political activities, for example his involvement in the Compromise of 1877, can be traced to his business enterprises. Although Dorsey was not entirely innocent in the frauds, he was not guilty of the crimes with which the government charged him. This study also concludes that Dorsey was left vulnerable to the prosecution which ended his career in national politics by the peculiarly personal nature of the Republican party in the Gilded Age. That personal control had contributed to Dorsey's rise to power in the Republican party; it also led to his destruction.

In this essay, I am analysing and discussing the possibility of didactic intention and message in the intertextual analysis. The main focus is to connect the intertextual analysis to the Swedish and English curriculum in the Swedish secondary school. Thus, in the analysis, I have used Stephen King’s novels The Gunslinger (I), The Waste Lands(III) and The Dark Tower(VII), and searched for intertextual citations, allusions, and references to the two poets T.S Eliot and Robert Browning. In conclusion, I have found intertexts to Eliot’s The Waste Land and Browning’s Childe Roland to the Dark Tower Came. However, the strongest connection has been found in Eliot, and therefore the intertextual analysis of the novels has its main focus on King’s use of Eliot’s The Waste Land in The Dark Tower-novels, and how these intertexts can be interpreted and used in the Swedish secondary school. The intention of the essay is to encourage the use of more methods whilst teaching literature and hopefully foster students to look at literature with more curiosity. The analysis is made with the prospect of bringing more perspectives to the already scientifically based methods that are used in the Swedish secondary school.

The dynamic nature of drama is reflected in the inherent dichotomous composition of text and performance. The continuing controversy about the infrequent public performances of the almost 250 published texts in African languages and the literary approach towards Northern Sotho texts have prompted the present survey. Two main reasons are identified for the existing textual centricity in the approach towards Northern Sotho dramas, namely text-external and text-internal factors. The latter forms the main focus of attention in this study. The role of the didascalies as semiotic sign-system - referring to all aspects of the dramatic text which contain instructions for a potential performance - are investigated. The scrutiny of the stage directions afforded an unequalled vantage point in revealing the ostensive or performance nature of the three dramas by M.S. Serudu. In conclusion possible solutions for the future are offered against the background of the findings arrived at in the analysis. / African Languages / M.A. (African Languages)

This dissertation develops the premise that, whilst conceding the difficulties inherent in the medium, musical theatre should be regarded as an art form, worthy of serious critical evaluation. This view is supported by a detailed examination of four works, chosen from different periods of Sondheim's career: A Funny Thing Happened on the Way to the Forum (1962); Sweeney Todd (1979); Into the Woods (1988) and Assassins (1991). The argument develops through the application of accepted literary critical procedures and systematically examines the thematic and prosodic content of the lyrics, as well as their dramatic potentiality, growing in Sondheim's more mature works, which suggests a seriousness of intent manifest in other forms of the dramatic arts. The emotional and dramatic contribution of the music is examined, in the way it creates mood and atmosphere and modifies or comments on action and character, promoting a musical vocabulary that accommodates a dramatic function. / English Studies / M.A. (English)