För att på ett fördjupat sätt förstå innebörden i olika svårigheter som elever i årskurs 2–3 kan ha gällande tidsavläsning från den analoga klockan är detta en intervjustudie med sju elever som besvarar frågeställningen: vad urskiljer/urskiljer inte eleverna när de löser olika uppgifter som handlar om att avläsa tid från den analoga klockan? Som teoretisk utgångspunkt används variationsteorin då dess olika begrepp är centrala för att förstå hur en annan person uppfattar ett specifikt ämnesinnehåll. I resultatet redovisas de olika aspekter av innehållet kring tidsavläsning från den analoga klockan som eleverna urskilt eller inte urskilt som i sin tur leder till att olika svårigheter identifieras. Vidare diskuteras studiens styrkor och svagheter i relation till metodval samt hur resultatet förhåller sig till tidigare forskning, styrdokument och yrkesverksamheten. Sammanfattningsvis framgår det ur resultatet att en övergripande svårighet har att göra med att eleverna inte urskilt att klockan är uppbyggd på 60 minuter och till stor del förlitar sig på minnesassociationer vid avläsning av minutvisaren. / This is an interview study with seven students. To understand the deeper meaning of various difficulties that students in grades 2–3 may have regarding time telling on the analogue clock this study answers the question: what does the students discern/not discern when they solve different tasks involving time telling on the analogue clock? As a theoretical framework, the variation theory is used as its various concepts are central to understand how another person perceives a specific curriculum content. The result shows the different aspects of the content, regarding time telling on the analogue clock, that the students did discern or did not discern, which in turn leads to the identification of various difficulties. Furthermore, a discussion is being held regarding the strengths and weaknesses in relation to the chosen method as well as how the result relates to previous research, curriculum documents and the profession of education. In summary, it is clear from the result that an overall difficulty has to do with the students not discerning that the clock is built up in 60 minutes and largely relies on memory associations when reading the minute hand.

This study shows how the official death-declaring of bodies in 20th century Sweden became inextricably linked to the modulation of a population’s health through transplantations. In its critical examination of the terms of possibility to declare a body as dead in the latter half of 20th century Sweden the study not only relates to medicinal humanities and studies in contemporary biopolitics but, more broadly, the diverse field of Queer Death Studies. With its interdisciplinarity, the study approaches Swedish official governmental material in a genealogical manner and aims not only to show how bodies historically became declared as dead but, more importantly, to shed light on hidden points of intersections within western biopolitics. While the study reveals several distinctive trajectories—e.g. death-entry from self-evident to dissolved to eventualized—it also highlights biopolitical tactics in attempts to reach desirable outcomes and circumvent obstacles such as the public. Among these, it exposes an ambiguous right to declare bodies as dead with its possibility to produce exceptions from the judicial system—exceptions brought forth through a truth-telling of bodies bare life in tandem with an extraction of previously unattainable organs. Thus, the study suggests that to further understand contemporary governing, and not risking an intensification of it, Agamben’s approach towards hidden intersections between juridico-institutional and biopolitical needs to be extended to encompass a third vector of truth-telling.

This dissertation approaches the concept of beauty. Looking through the consistent efforts ofphilosophers and artists over the centuries to define and capture beauty, we come to the conclusionthat such a thing is impossible in its entirety. The rules and the standards that measure out thebeautiful. By being something that can be defined and measured, I come to the conclusion thatbeauty and the way we talk about it and recognize it, forms a set of rules that establish a system.This system helps the dominant beholding part of power to maintain its status. Nietzsche, throughhis genealogical method, managed to prove that perhaps the easiest way to define or try tounderstand a concept is to examine how it evolved in various historical contexts. Nietzsche realizedthat distinct historical periods give a variable conceptual results for a certain value. The onesregulating those standards of evaluation, are the relations of power within a society. Foucault,evolving Nietzsche's hypothesis and thought, finds that the respective systems of power are the onessetting the specifics of evaluation that better suit them in order to maintain control. Systemsaccording to Foucault define and set the limits for our actions and thoughts. The respective socialvalue systems set the limits for the beautiful in our case and its definitive characteristics, resultingto a series of variable beauty standards that have been dominant in different historical periods. Themost effective tool of the dominator is the creation of regimes of truth. Regimes of truth arehistorically specific mechanisms that produce discourses which function as true in particular timesand places. These systems of truth are being regulated through narratives. In our time screentechnology has achieved something unprecedented in the communication chronicles of humanity,the possibility of globalized broadcast. The emergence of cinema has managed to influence anddefine the standards of beauty with unprecedented results in pop culture.

The Story Art and Tech merges storytelling and technology together to elucidate the animated filmmaking process for readers who are interested in animation. The author's path to animation director is traced from beginning to end starting with writing ideas and moving on to forming storyboards and animatics to completing animations for the screen. Two 3D short animated films and three storyboards with animatics are presented. A storyboard primarily shows the audience the thought process of storytelling; it previsualizes a script or an idea. It is then narrated into moving images called animatics; a preliminary version of a film. Animatics are important references for animators to animate shots and characters. Eventually the rest of the animation pipeline makes it into a final product: an animated film. As an artist who writes stories and animates them with 3D technology, presenting how a storyboard is made into an animated film is the most immediate way to inform the audience of this process with entertaining stories. In this paper, an extended discussion of the author's creative thought and development processes are presented with two distinct parts: storytelling and technology. / Master of Fine Arts / The Story Art and Tech shows how storyboards are made into movies. The author utilizes storytelling and media technology together such as 3D animation and game-engine rendering. It is the author's intention to make entertaining animated movies for the audience as a prospective animation director. When a director comes up with a movie script or an idea, the quickest way to visualize it is to sketch it out on a storyboard. This profession is called a 'story artist.' Story artists simplify characters and backgrounds on the boards to catch a glimpse of the final movie. To make the storyboards more detailed, story artists make them into 'animatics', which show more animated images and characters. Animatics are then taken by the 'animators' to animate everything in the final phase which is eventually produced as an animated film. In entirety, concept arts, storyboards, and animatics are presented together to show the audience the 'behind the scenes' of animated films. This helps them understand the thought process of the author and how she moved from story idea to completed animation. In this paper, the journey of a filmmaker in the animation field is extensively discussed.

No description available.

This thesis aims to explore the history of blind diviners in Korea, using a review approach toexamine the existing literature in Korean on the topic. Beginning with a discussion of theorieson the origins and practices of blind diviners during the pre-modern period, and then movinginto the drastic changes that occurred during the Japanese colonial period, the thesis ends withan exploration of how the situation has developed for blind diviners in the modern period. Thethesis utilizes four main sources: Chu (2008, 2020), Pak and Chŏng (2019), and Son (2019).With this exploration of the topic, this thesis aims to amend the lack of available literature inEnglish by exploring the phenomenon of blind diviners, especially the disability aspects oftheir existence, utilizing some of the literature available in Korean. / Syftet med denna uppsats är att utforska blinda siares historia i Korea genom en litteraturreview av den befintliga litteraturen på koreanska inom ämnet. Uppsatsen inleder med deblinda siarnas ursprung och arbete under den förmoderna perioden, och övergår sedan till dedrastiska förändringar som inträffade under den Japanska kolonialtiden. Uppsatsen avslutasmed en utforskning av hur situationen har utvecklats för blinda siare under den modernaperioden. Uppsatsen använder fyra huvudkällor: Chu (2008, 2020), Pak och Chŏng (2019)och Son (2019). Med denna utforskning av ämnet syftar denna uppsats till att fylla ut en delav avsaknaden av litteratur på engelska, särskilt de mindre utforskadefunktionsnedsättningsaspekterna av blinda siares existens, genom att använda en del av denlitteratur som finns tillgänglig på koreanska.

Gender inequality has during the past decades become an increasingly studied topic in the field of peace and conflict. However, there are still many gaps to fill. This thesis is an aim at explaining a phenomenon that has yet to be uncovered, namely the relation between conflict related gender inequality and women’s attitudes towards reconciliation processes that include truth-telling and reintegration of ex-combatants. The thesis builds upon prior qualitative and quantitative studies of gender inequality in relation to conflict, and its potential consequences, as well as trauma-related psychology. Using a direct and structured comparative method of comparison between Rwanda and Sri Lanka, it is found that gender inequality both during and after conflict affect women’s attitudes towards peacebuilding negatively.

No description available.

The indigenous ontology has been differentiated from the western one by having a close relationship between humans and non-humans, and by not exerting human supremacy against the rest of the living beings. Nevertheless, throughout the periods of colonization and western influence to which they have been subjected, the notion of human supremacy and the fracture between humans and all beings have been reinforced. These relationships have been altered, perhaps forgotten, due to the aspiration to follow economic models of progress based on extractive activities such as mining that not only affects their territories but also the loss of their culture and identity causing serious socio-environmental problems.  In order to deepen these relationships, raise awareness and understanding the changes that vulnerable populations have to face in a dominant system, this work studies the Harakbut indigenous community of Puerto Luz, in the Madre de Dios region of Peru, and relates a design field in the form of journey which involves research and analysis with stages of knowing and non-knowing from the social science and humanities perspective. Through the anthropological framework, the indigenous and western ontological postulates are understood allowing the development of a creative writing and the correspondence between an interaction of ethnography with the production of new knowledge realities that allow for the verification of the changes this indigenous society, influenced by western dominant power, experiences. This somewhat decolonizing design process gives on to the understanding of new knowledge and challenges that address realities outside Western spheres to generate awareness and change.

In Canada mental health related concerns are estimated to cost the economy $20-$50 billion annually. 500,000 Canadian each week have to take time off of work because of a mental health disability. This study explores the experiences of people living with a mental health disability in the workplace. The goal is to provide an opportunity to highlight many of the obstacles they face every day. This study relies on qualitative methodologies, using semi-structured interviews to get a more detailed understanding of their experiences. This study not only highlights the perceptions, experience and challenges of people living with a mental health disability, it highlights coping strategies and suggestions for building mentally health workplaces. The participant’s personal narratives can help by providing a chance for a community to build and be used to challenge the stigma and discrimination associated with mental health. / October 2016