Projektet handlar om att i en förskolebyggnad sammanföra flera funktionersom. I byggnaden ryms förskoleverksamhet, ett så kallat nattis samt en restaurang med stort arbetskök. En kombinerad verksamhet sparar resurser fysiskt samt ekonomiskt. Restaurangen är öppen för allmänheten men är främst en del av förskoleverksamheten. Målsättningen är att skapa en byggnad som lever dygnet runt. Att på den givna platsen placera en förskola, öppen dag som natt, förändrar omgivningen och får platsen att upplevas trygg dygnet runt. Tomten ligger i gränslandet mellan stenstad och park. Den geografiska placeringen återspeglas i byggnadens utformning. Mot Ringvägen och de kantiga bostadskvarteren upplevs förskolan som en strikt och kontrollerad fortsättning av kvartersstaden. Mot Tantolundens friare form och grönska öppnar byggnaden istället upp sig på ett mer lekfullt sätt. Tomtens spännande höjdskillnad tas tillvara då restaurangen och de nattöppna avdelningarna nås från Ringvägen medan förskolans dagavdelningar har entréer som nås från markplan nere i parken. / The project is about a preschool building that merges several functions. The building contains a preschool, a so-called “nattis” (Which is daycare during the night) and a restaurant with a large working kitchen. A combined operation saves resources, the restaurant is open to the public but is primarily a part of the daycare operation. The aim is to create a building that lives during all hours of the day. A preschool that is open both day and night changes the perception of its surroundings, and makes it a safer place for everybody. The site lies on the boundary between the stone city and a park. its geographical location is reflected in the design of the building. Against “Ringvägen” and the angular residential areas the preschool is presented as a strict and controlled continuation of the city ​​blocks. Against the park the building opens up in a more playful way. The sites thrilling height difference is utilized in the way that the restaurant and the “Nattis” are accessed from “Ringvägen” while the preschool entrances are accessible from the ground level in the park.

Slänten är en byggnad som innehåller två olika lager, ett privatare mer skyddat i form av förskolan och ett offentligt lager i form av danslokaler,restaurang och ett parkdäck på taket. Platsen är vald eftersom även den innehåller två tydliga lager i olika höjdnivåer. Ett trafikseparerat cykeloch gångstråk där man nästan utan att passera en enda gata kan nå ändå fram till medborgarplatsen, det andra lagret är ca 5 meter ovanförstråket i form av den hårt trafikerade ringvägen. Konceptet utgår ifrån att synkronisera platsens förutsättningar med programmet och skapa en intressant dynamik mellan två egentligen oberoende programdelar. Byggnaden är också tänkt att aktivera och stärka entren till Tanto både vid Zinkens väg och vid ringvägen. / The slope is a building containing two different layers, one is more private and protected in the form of a pre-school, and the other is more public in the form of dance halls, restaurant and a park deck on the roof. The location is chosen because it also contains two distinct layers in different height levels. The lower level is a traffic separated bike and pedestrian path where you without crossing a single street can reach all the way to medborgarplatsen, the second level is about 5 meters above the lower one, in the form of the busy Ringvägen. The concept then is based on synchronizing the site conditions with the programand create an interesting dynamic between the two really independent program components. The building is also designed to enable and enhance the entrance to Tanto, both via Zinkens väg and Ringvägen.

Idag lever vi lite grann på var sitt håll i Sverige. Var generation för sig. Platserna där barn, vuxna och pensionärer umgås är få. Förebilder och närstående är begränsat av kärnfamilj och karriär. Barnen får husera i baracker omgärdade av stängsel, medan föräldrarna arbetar heltid på annat håll.   I det här projektet kombineras en förskolas program med danslokaler, restaurang och ett publikt torg.   Danslokaler därför att det har med pedagogik, tradition, självkänsla och identitet att göra och utgör tillsammans med musik några av de viktigare pedagogiska verktygen på förskolan. Restaurang för att höja standarden på barnens mat och locka andra generationer till förskolan. Publikt torg för att skapa en mötesplats generationerna emellan omgärdade av barnens värld istället för tvärtom, vilket oftast är fallet.   Ambitionen med det här projektet har varit att genom olika arkitektoniska grepp höja statusen på barnens rum, barnens plats i staden, och med det, förstärka deras kontakt med omvärlden. Att eftersträva en arkitektur som hjälper barn/människor att bli nyfikna, kontaktsökande och trygga, snarare än isolerade, misstänksamma och ensamma. / Today the different generations in Sweden live their lives very much apart. Places where children, grown-ups and elderly get to know each other are few. The children’s’ role models and kin are restricted by that of their parents pursue of career and their aim to live their lives as a nuclear family. The young ones are left to depriving environments constituted of makeshift preschools. Often built out of building barracks, enclosed by fences or in other cases crammed in to the dark of the ground floor of the more congested parts of Stockholm. Not somewhere you choose to spend your time in. If you get to choose. This project combines the programme of a preschool with that of dance studios, a restaurant and a public square. The focus is on how to achieve an environment where the generations can meet, without risking the children’s security. On how to create spaces that subjects the adults to that of the conditions of the children. Where the extra programmes fit because they could encourage this, or at least bridge the gap between some of those generations by their acts of conduct. The aim has been:  to use architecture in order to heighten the status of the preschool. To engage more role models for the children. To strive towards curiosity, forwardness and security instead of the direction the society is heading towards today, where fear, isolation and suspicion inhibit our children’s ability to grow.

Barn ska få möjligheten att växa upp med, och uppleva, vuxna sammanhang samt visuell komplexitet i sin omgivning. Utan dessa utbyten och objekt i sin omgivning utvecklas barns delaktighet i samhället som ansvarsfulla medborgare långsammare. Detta är projektets utgångspunkt. Förskolan Bullerbyn är, precis som namnet tyder på, en liten by med olika verksamheter där förskolan ligger i fokus med en central gård. Barnen kommer i kontakt med vuxna som arbetar i byggnaderna intill: bageriet levererar bröd och fika, restaurangen lagar mat till lunchen, ett snickeri delas med ateljéerna, utställningslokalen drar till sig både vuxna och barn i sin verksamhet och kontorsfolket kommer och går genom uteplatsen. Den samhällskomplexitet som barnen förtjänar och växer av finns genom denna variation.   Den visuella uppbyggnaden av byn bygger på samma idé, att komplexitet är något som barnen behöver för att växa och förtjänar för att må bra. Med hjälp av platsens historiska kontext skapas en by med en basal men även abstraherande ornamentik för att dels fånga barnens intresse och dels skapa lager av ornament som leder till flera tankar och utforskningar. / Children should be given the opportunity to grow up with and experience an adult context and visual complexity in their surroundings. Without these exchanges and objects in their surroundings, the children’s ability to partake in society as responsible citizens is considerably diminished. This is the projects starting point. Kindergarden Bullerbyn is, just as the Swedish name Bullerbyn entails, a little village with different types of occupants and agencies where the kindergadren is the central occupant along with the large central square. The children come in contact with the adults that work in the adjacent buildings: the bakery comes with bread and snacks (fika), the restaurant prepares the food for their lunch, the woodshop is shared with the ateliers, the exhibition space draws in both adults and children to its happenings and the office workers come and go through the central space. It is through this variation that the children are given the societal complexity that they deserve and thrive in.   The visual composition of the village builds upon the same idea, that complexity is something that the children need to grow and deserve so that they can be glad. Through the use of the locations historical context, the village is created with a combination of abstract ornamentation to firstly interest the children and secondly to create several layers of ornamentation that lead to further thoughts and explorations of the space.

Even when given the exact same moral dilemma, equally rational peers, colleagues, and friends will disagree about the right course of action. Pro tanto principles are one way to resolve moral conflicts such as these. When broadening the conflicts to real life situations, such as those seen in public policy, pro tanto principles prove to be an extremely useful tool. This paper explores the difference between the way that the individual interacts with pro tanto principles and the way that public policy interacts with such a moral system. In the end, difficulties in public policy attempt to be resolved by using this framework.

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.

This paper criticises the famous “”ought” implies “can”” on the grounds that its main claim - that there can be no unfulfillable obligations - is false. The first part of the paper investigates the use, history and previous literature on the topic, as well as the proper understanding of the principle. The second part presents the main argument, directed at the interpretation of “”ought” implies “can”” as a conceptual truth. It is argued that it must be possible to split the meaning of the term “ought” into component parts, parts that must each be quite capable of functioning on their own. The result is that we cannot conclude that one part of the term “ought” (such as whatever is its moral content) must disappear just because another part of it (such as “can”) does so. Finally, in the third part, we tackle some common arguments and intuitions in favour of the principle, and provides a few concluding words and a summary. / Den här uppsatsen kritiserar den berömda “”bör” implicerar “kan””-principen, (här tolkad som “konceptuell implikation), på så vis att principens viktigaste punkt är falsk, nämligen idén att det inte kan finnas några ouppnåbara plikter. Uppsatsens första del undersöker användningen, historien och litteraturen bakom ämnet, samt formuleringen av principen. Den andra delen presenterar huvudargumentet, riktat mot ””bör” implicerar ”kan”” som en konceptuell sanning. Argumentet fungerar på så vis att det måste vara möjligt att dela upp meningen i termen ”borde/bör” i komponenter, komponenter som måste vara kapabla att fungera även på egen hand. Resultatet blir att vi inte kan dra slutsatsen att en del av termen måste försvinna (såsom dess moraliska innehåll) bara för att en annan del av termen (såsom ”kan”) gör det. Slutligen, i den tredje delen, så behandlar vi några vanliga argument och intuition som förs fram till principens försvar, och summerar texten.

El propósito de esta tesina es analizar el comportamiento grupal en los cuentos Queremos tanto a Glenda y Las Ménades del escritor argentino Julio Cortázar. La investigación se basa en las ideas de Carl Jung, y más específicamente en sus teorías sobre el inconsciente colectivo y los arquetipos. También hemos consultado algunos de los escritos que ha presentado Jung sobre la relación entre el individuo y el colectivo, y sobre el arte. El objetivo del estudio ha sido investigar la razón detrás de la reacción del grupo en los cuentos elegidos, y mirar más de cerca cómo esta reacción afecta al desarrollo de la historia. La conclusión de nuestro análisis es que la fuerza impulsadora detrás de la reacción grupal, en ambos cuentos, es el deseo inconsciente, de los miembros de los grupos, de cumplir con los arquetipos. A través del colectivo se fortalecen los impulsos de los arquetipos hasta volverse imposibles de detener. Esto causa el fin inesperado e infeliz, tanto en Queremos tanto a Glenda, como en Las Ménades.