Avhandling--Lund. / Résumé en anglais. Bibliogr. p. 311-[331].

Zugl.: Hildesheim, Univ., Diss., 2009

Texte remanié de: Diss.--Fakultät für Philologie--Bochum--Ruhr-Universität, 1989. / Bibliogr. p. 263-333. Discogr. p.333. Index.

Detta konstnärliga examensarbete kretsar kring övning - eller mer specifikt när övningen av olika skäl inte fungerar som man vill. Genom att föra en slags övningsdagbok över inlärning av Carl Stamitz violakonsert i D-dur, sats 1, har här undersökts möjliga orsaker till att hamna i en övningssvacka för att sedan utforska olika sätt att såväl undvika som att komma ur denna övningssvacka. Syftet med studien var att komma underfund med hur man som musiker på mest effektiva sätt förebygger och återhämtar sig efter en övningssvacka. Därigenom eftersträvas att vända något som känns som dålig övning til bra övning. I studien har metodiskt testats två olika sätt att komma ur en övningssvacka: genom mindset/mental träning och genom övningsteknik. Resultatet har sedan utvärderats. Studiens resultat indikerar att det som musiker är mycket viktigt att kunna identifiera och preventivt förebygga övningssvackor, men också att snabbt kunna ta sig ur dem när de väl har inträffat. Övningssvackor genereras av självtvivel och prestationsångest, vilket kan eskalera i en ond spiral. Övningssvackor kan preventivt undvikas och effektivt hanteras genom lugn och självtillit, vilket ger stimulans till inre motivation, nyfikenhet och lustfylldhet. Att ge sig själv de bästa förutsättningarna för en övningssession kan ske genom basala komponenter som sömn, mat och motion och tillgång till bra musikaliska redskap samt mer intellektuella aspekter som musikanalys och strukturerad planering. Allt detta i kombination gör det lättare att uppnå flow, som är målet för en bra övningssession.

Uppsatsen är en motivstudie av hur den skrivande kvinnan skildras i romanerna Ingen manskvinna (1919) av Ulla Bjerne, Kärlek i Europa (1981) av Birgitta Stenberg och Grand final i Skojarbranschen (2011) av Kerstin Ekman. Motivet av den skrivande kvinnan och hur hon förhåller sig till sitt skapande utifrån könsnormativa förväntningar, analyseras utifrån ett genusteoretiskt perspektiv med Beverly Skeggs respektabilitetsteori som ramverk. Jag använder även ett intersektionellt perspektiv som analysverktyg. Uppsatsen använder sig också av genreteori utifrån konstnärsromanen och dess konventioner, som behandlas och undersöks i förhållande till de valda romanerna. / The paper is a study of how the female writer is portrayed in the Swedish novels Ingen manskvinna [No man’s women] (1919) by Ulla Bjerne, Kärlek i Europa [Love in Europa] (1981) by Birgitta Stenberg and Grand final i skojarbranschen [Grande finale in the humbug game] (2011) by Kerstin Ekman. The analysis of the novels portrayed female writer and how her writing interacts with society’s gender roles, are based on a gender theory, with Beverly Skeggs theory of respectability as the theoretic framework. I also make use of an intersectional theory as an analytic tool. The purpose of the paper is also to apply genre studies and investigate the form and conventions of the artist novel and how the selected novels relate to the genre.

The Swedish artist Ulla Wiggen (b. 1942) started her artistic career in the early 1960s with detailed paintings of the insides of early electronic devices. In the early 2010s she turned to the interior of the body in the series Intra where organs and cells are fictionally combined. Here, she used a similar pictorial style as in the electronic paintings. This thesis seeks to analyze the relationships and tensions between body and machine that are found in Wiggen’s works. Questions are posed about the relationship between scientific and artistic imagery, as well as the role that fiction plays in knowledge-producing representation. This thesis looks to Wiggen’s use of the grid and connects it to historical and modernist images by showing its inherited paradoxical relation between rationality and spirituality. Through the anatomical picture, focusing on the Renaissance and Rationalism, this thesis explores the meanings of portraying bodies in cross-section. The role of the opened body has been oscillating between a body filled with spiritual meaning to a divided body, seen as an object for knowledge production. By using Donna Haraway’s figurations of the hybrid and the cyborg, the text proposes to re-think dualistic tensions between the human and the machine, science and fiction, realism and magic in Ulla Wiggen’s works. Through this perspective and post-humanist theory, it becomes clear that these boundaries have always been in flux. Instead of thinking either machines or bodies, the thesis suggests that we see the two series of Ulla Wiggen’s works as hybrid constructions that are both body-machines and machine-bodies.

Understanding how different parameters affect the dynamic response of high-speed railway bridges is crucial to selecting an efficient structural form. Despite existing numerous publications within this field, only few address the importance of torsional deformations. The main objective of this thesis is to investigate the influence of the torsional resistance of the deck on the dynamic response of an existing bridge. Ulla River Viaduct is presented as a case study, allowing to analyse some aspects of its design and what their alteration entails. To this end, 6 different 3D FE models are compared, 5 of which show a modification from the original configuration. In addition, several positions of the train are considered to contrast the effects when the torsional modes are excited. The performed dynamic calculations are based on the implicit direct integration procedure. The analysis of the case study demonstrates the benefit of closing the torsional circuit of the deck. The results also evidence the need of including torsional effects in its dynamic assessment when low values of torsional rigidity are considered. All this is not easy when simplified 2D or 3D beam models are used. As a final remark, the original design of the Ulla River Viaduct is found highly efficient from a dynamical point of view.

Freie Univ., Diss.--Berlin, 2003. / Literaturverz. S. [285] - 310.

<p>Ulla Isaksson (1916 – 2000) wrote many novels, often with a woman or several women as protagonists. In <em>Dit du icke vill</em> (“Where Thou Willst Not”) from 1956 she depicts a crisis of faith in a woman, which would not have been successful had she chosen a contemporary setting. She uses an adequate historical framework, the prosecution of witches in Sweden in the 17^th century, well documented in reliable sources. Her novel includes a message about oppression of women, manifest in patriarchal ambition to control ancient wisdom about healing and herbs and the denial of pre-Christian habits that include knowledge about female fertility, earlier exercised by midwives and wise women and men.</p><p>In “The Root of Evil” the novel is placed in a feminist tradition, where the author, like older writers like Fredrika Bremer, Ellen Key and Elin Wägner, pleads for “social mothering”.  A major difference is that, in her own life, Ulla Isaksson has experienced pregnancy, giving birth and breastfeeding which none of the pioneering Swedish feminist writers had. Emilia Fogelklou, pioneering theologian, wrote about witches as wise women, a study that influenced Ulla Isaksson. The witches are described as mirroring Hanna “the Good Mother”. Their fantasies about life at “Blåkulla” are similar to the everyday life at a wealthy farmstead. This kind of mirroring reminds of the theories of Gilbert and Gubar, who assume that female writers in the 19^th Century hid their revolt against patriarchy in mad women, like “The Madwoman in the Attic” in Jane Eyre. In the 1950s, golden age of the Swedish housewife, a female writer might well hide her anger at the circumscribed role model dedicated to women in a similar use of Anti-Women. The real witches clearly contrast the obedient protagonist, a true “Angel in the house”.</p><p>The villagers´ struggle to clear the ground from the ensnaring roots that hinder the male prosecution of witches imply a symbolic reading: this evil root is ancient matriarchal knowledge of childbearing and birth control. A theory on the original causes for the witch hunts in western Europe is introduced: the population sank in the 15^th century and one reason, beside plagues, starvation and warfare, was that women aware of how to prevent childbearing and giving birth to a lot of children were killed during the witch hunt. Churches and kings introduced the prosecution of witches and wise women, including midwives.</p>

Ulla Isaksson (1916 – 2000) wrote many novels, often with a woman or several women as protagonists. In Dit du icke vill (“Where Thou Willst Not”) from 1956 she depicts a crisis of faith in a woman, which would not have been successful had she chosen a contemporary setting. She uses an adequate historical framework, the prosecution of witches in Sweden in the 17th century, well documented in reliable sources. Her novel includes a message about oppression of women, manifest in patriarchal ambition to control ancient wisdom about healing and herbs and the denial of pre-Christian habits that include knowledge about female fertility, earlier exercised by midwives and wise women and men. In “The Root of Evil” the novel is placed in a feminist tradition, where the author, like older writers like Fredrika Bremer, Ellen Key and Elin Wägner, pleads for “social mothering”.  A major difference is that, in her own life, Ulla Isaksson has experienced pregnancy, giving birth and breastfeeding which none of the pioneering Swedish feminist writers had. Emilia Fogelklou, pioneering theologian, wrote about witches as wise women, a study that influenced Ulla Isaksson. The witches are described as mirroring Hanna “the Good Mother”. Their fantasies about life at “Blåkulla” are similar to the everyday life at a wealthy farmstead. This kind of mirroring reminds of the theories of Gilbert and Gubar, who assume that female writers in the 19th Century hid their revolt against patriarchy in mad women, like “The Madwoman in the Attic” in Jane Eyre. In the 1950s, golden age of the Swedish housewife, a female writer might well hide her anger at the circumscribed role model dedicated to women in a similar use of Anti-Women. The real witches clearly contrast the obedient protagonist, a true “Angel in the house”. The villagers´ struggle to clear the ground from the ensnaring roots that hinder the male prosecution of witches imply a symbolic reading: this evil root is ancient matriarchal knowledge of childbearing and birth control. A theory on the original causes for the witch hunts in western Europe is introduced: the population sank in the 15th century and one reason, beside plagues, starvation and warfare, was that women aware of how to prevent childbearing and giving birth to a lot of children were killed during the witch hunt. Churches and kings introduced the prosecution of witches and wise women, including midwives.