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<p>The problems of the world today are global and thus we must act on a global level to solve them. We need to establish a perpetual and global peace and we also need to create global justice. How is this to be done? In 2008 the philosopher Torbjörn Tännsjö tried to provide an answer on these questions in the book Global Democracy – The Case for a World Government. In his book Tännsjö argues for an institutional cosmopolitan approach, trying to convince us that a world government would guarantee both a global and perpetual peace, as well as global justice. In this thesis I will present Tännsjö´s main argument and then share my thoughts and give my critique on them.</p>

Syftet med denna uppsats är att undersöka debatten för och mot eutanasi. Med eutanasi menas här när en läkare aktivt och avsiktligt avslutar avslutar en patients liv på dennes begäran. Ett av motargumenten är att den palliativa vården är fullt tillräcklig för att lindra lidande och erbjuda patienter ett värdigt slut på livet. Jag kommer därför att undersöka vad den svenska palliativa vården har att erbjuda i form av smärtlindring till patienter med svåra smärtor. John Keown är en av de mest framgångsrika kritikerna mot eutanasi och jag kommer att granska hans argument för att se om de är hållbara. Jag kommer även att granska argument av Torbjörn Tännsjö som argumenterar för eutanasi. Jag kommer sedan att visa i denna uppsats att Keowns argument som stödjer sig på studier från Nederländerna (där eutanasi är lagligt) inte är hållbara främst pga. att han räknar in fall där döden påskyndats med hjälp av t.ex. avbrytande av behandling, vilket är lagligt i de flesta länder.Efter att ha granskat den palliativa vården i Sverige kommer jag visa på att det tyvärr finns patienter, för vilka det inte finns någon lindring vid smärta. Därmed argumenterar jag för att eutanasi behövs som komplement till den palliativa vården vilket stödjer Tännsjös argument.

The problems of the world today are global and thus we must act on a global level to solve them. We need to establish a perpetual and global peace and we also need to create global justice. How is this to be done? In 2008 the philosopher Torbjörn Tännsjö tried to provide an answer on these questions in the book Global Democracy – The Case for a World Government. In his book Tännsjö argues for an institutional cosmopolitan approach, trying to convince us that a world government would guarantee both a global and perpetual peace, as well as global justice. In this thesis I will present Tännsjö´s main argument and then share my thoughts and give my critique on them.

Formålet med arbeidet er å som tubaist finne metoder for et uanstrengt spillende. Jeg vil undersøke hvordan man kan systematisk arbeide mot et spillesett der tekniske utfordinger, og mentale sperrer i minst mulig grad hindrer det musikalske uttrykket. Det har skjedd gjennom studier av relevant litteratur av Peter Ralston og Kenny Werner, i kombinasjon med innstudering og analyse av Torbjörn Iwan Lundquists konsert Landskap for tuba, strykeorkester og piano. Studiens metode består av litteraturstudier og praktiske øvinger. I tillegg vil det bli gjort rede for material som utnyttes i innstuderingen og fremføringen av stykket Landskap. I studien kom jeg frem til at det kan være av stor nytte å systematisk analysere et verk, med fokus på tekniske utfordringer, og mulige løsninger. Jeg kom også frem til at man kan gjøre store forbedringer som musiker, ved å metodisk arbeide for å spille mer uanstrengt. / <p>Landskap, Torbjörn Iwan Lundquist</p><p>Medvirkende: Asuka Nakamura - piano</p><p>Sontatine, Eugène Bozza</p><p>Medvirkende: Tamás Mészáros - trompet</p><p>Adam Skogh - trompet</p><p>Amelia Fridfors - trombone</p><p>Jonas Brodin - trombone</p>

During the 21st century, Society has again begun to focus its attention on working class literature and on issues related to social class. In the media contemporary working class literature is often mentioned as a distinct phenomenon. I my view, the meaning of this phenomenon have not been adequately formulated. The aim of this Master’s Thesis is to reconstruct, using a discourse oriented text analysis, a picture of how the contemporary working class literature is described in today’s society. This approach falls therefore within the framework of the Sociology of Literature and is based on the assumption that the discourse of working class literature is undergoing change. Utilizing an established definition of working class literature, I have created five nodal points around which I believe the discourse is mainly formed and changed. Links are then made to these points from chains of equivalence, based on essential ideas concerning the identities that have been ascribed to different subjects and objects. In order to show how the discourse is contextually constructed, the results are seen in relation to a discussion in contemporary research and literature about class society and the welfare state. My empirical data consists mainly of reviews and interviews in leading daily newspapers in Sweden concerning five writers who have published novels between 1999 and 2007 and who have been associated with contemporary working class literature. These writers are Lena Andersson, Torbjörn Flygt, Tony Samuelsson, Susanna Alakoski and Åsa Linderborg. The results show that the working class writer is a “class traveller”, who today holds a prominent position within the literary public sphere. The main purpose of the literature is to criticize the class society of today and to make it more visible. The novels reflects findings from social science research showing that the modern welfare state is a segregated and unequal society where the losers mainly consist of the unemployed and immigrants who often live in suburbs that were built during the million dwellings program. They also show today’s working class that primarily consist of people within the caring and service sectors and therefore largely are women. / Uppsatsnivå: D

This dissertation investigates the mediation of art on Swedish television during the 1950s and 1960s. The aim is to examine how the new medium of television was put to use in the dissemination and promotion of contemporary and modernist art during this time. The primary research question concerns the significance and consequences of television as a media form for the practices of art popularization and art education. The introduction of the new medium coincided with the post-war emergence of the welfare state and ambitions of governmental and non-governmental organizations and initiatives to make modern art an integral part of modern society. This dissertation investigates the role and significance of television in these endeavours from the point of view of Sveriges Radio/TV, by focusing on the actors involved as well as the form and content of arts programming at the time. The study makes use of mediatization theory and the concept of remediation, in order to capture and analyse the dynamics as well as the conflicts between television and art at the time. The study uses the method of media-specific genre analysis, inspired by cultural theory, asserting that arts programming is a cultural category made up of practices and processes and interwoven with ideological structures and power relationships. The dissertation is divided into three chapters investigating different aspects of the phenomenon of art on TV during the specific historical period.  The dissertation shows how the 1950s and 1960s witnessed great hopes for television as a way of disseminating art and educating the public on matters of art, aspirations closely connected to notions of art distribution as a way to achieve cultural democratization. First and foremost, however, the close study of the practices of arts programming shows how the relationship between television and art at the time was also characterized by problems and conflict. Using the terminology of mediatization theory, it is possible to speak of conflicts between distinct logics. These conflicts can further be understood on several levels, adhering to the twin logics of remediation: transparent immediacy and hypermediacy. The actors involved all shared a view of television as the great medium of the future when it came to disseminating and promoting art to the wider public. However, they also shared notions of television’s limitations when it came to the matter of ”doing justice” to a work of art when broadcast. This was first and foremost considered to be purely a matter of technical limitations, such as the lack of colour and the small screen size. It is however also evident that the actors’ view of their task and that of the medium with regard to arts programming, to represent works of art to the viewers as honestly as possible, delimited the form and content of shows and programming. On another level, the conflict between art and television was a matter of art’s supposedly critical and societal value. According to the actors, art was considered something other than regular programming, in the sense that art constituted different ways of seeing and perceiving the world. The function and importance of arts programming, then, was considered to be in the ways it differed from regular programming, making possible to educate the TV-viewing public in critical thinking towards the manipulation of media as well as providing ways of developing the form and aesthetics of the television medium.

The aim of this essay is to show how the novel Underdog by Torbjörn Flygt can be read as a critique of the Swedish folkhem. I use a geocritical perspective in my analysis to show that the novel criticizes the folkhem primarily through the portrayal of the characters Monika and Roger and their complex relation with the suburban area Borgmästaregården, in which the story takes place. By the history of the Swedish folkhem, I discuss how and why the development of the two characters, as well as the story of the novel, are influenced by Borgmästaregården. By focusing on the characters Monica and Roger, I discuss how the Swedish folkhem was inspired to help women and children by the ideas of Ellen Key and Alva and Gunnar Myrdal. During the folkhem era, functionalism was used to plan and modernize old city centers as well as new suburban areas, such as Borgmästaregården. But components of the functionalist city planning have been heavily criticized by Jane Jacobs. I argue that the story of Underdog shows how the characters are influenced by the suburban area in which they live, but in a way that is more in line with the negative consequences that Jacobs has described than the visions of the Swedish folkhem.