Denna uppsats är en genusanalys på filmen The Young Victoria (2009) och TVserien Victoria (2016-2019) om drottning Viktoria av Storbritannien. Analysen undersökerhur Viktoria framställs ur ett genusperspektiv med hjälp av Yvonne Hirdmans teori omgenussystemet och Jens Eders karaktärsklocka. Utifrån specifikt utvalda scener jämförsadaptionerna med varandra, med slutresultatet att adaptionerna liknar varandra så till vida attkärleken mellan drottning Viktoria och hennes make Albert spelar en stor roll i bådafilmatiseringarna, men skiljer sig åt i hur Viktoria framställs som kvinna och hur hon självförhåller sig till detta.

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The Jurassic Ferrar large igneous province of Antarctica contains significant mafic volcaniclastic deposits, underlying the Kirkpatrick flood basalts. In South Victoria Land, the mafic volcaniclastics are referred to as the Mawson Formation. At Coombs Hills, the Mawson is interpreted as filling a large vent complex, which was re-examined in detail to better understand vent-forming processes. Two contrasting types of cross-cutting volcaniclastic bodies were found in the complex, both of which are interpreted to have been forcefully emplaced from below into existing, non-consolidated debris. The first type consists of country rock-rich lapilli-tuff pipes. These are interpreted as fossilized remnants of subterranean debris jets which originated when phreatomagmatic explosions occurred near the walls or floor of the vent complex, causing fragmentation of both magma and country rock. The second type of cross-cutting body consists of basalt-rich tuff-breccias and lapilli-tuffs, some of which could have been generated by explosions taking place within pre-existing basalt-bearing debris, well away from the vent walls. Other basalt-rich zones, accompanied by domains of in situ peperite and coherent basalt, are inferred to have originated by less violent processes. At nearby Allan Hills, the Mawson can be divided into two informal members, m₁ and m₂. Member m₁ is exposed only at central Allan Hills, consists essentially of sedimentary material from the underlying Beacon Supergroup, and is interpreted as a [less than or equal to]180 m-thick debris avalanche deposit. Most megablocks in m₁ were derived from the late Triassic Lashly Formation, parts of which were probably only weakly consolidated in the Jurassic. Sandstone breccias dominate volumetrically over megablocks within the deposits. This indicates pervasive and relatively uniform fragmentation of the moving mass, and probably reflects the weak and relatively homogeneous nature of the material involved. The avalanche flowed into a pre-existing topographic depression carved into the Beacon sequence, and flow indicators reveal a northeastward movement. Sparse globular basaltic megablocks suggest that Ferrar intrusions played a role in triggering the avalanche. Member m₂, which is exposed at both central and southern Allan Hills, consists predominantly of metre-thick basaltic volcaniclastic layers that fall into three broad categories: (1) poorly sorted, coarse lapilli-tuff and tuff-breccia; (2) block-rich layers; (3) tuff and fine lapilli-tuff. The former type is interpreted as the deposits of high-concentration pyroclastic density currents (PDCs), probably formed during the collapse of phreatomagmatic eruption plumes. Occasional block-rich layers probably were formed by both ballistic fall from local vents and pyroclastic flows, and the finer-grained layers were probably deposited by dilute PDCs. Dilute, moist turbulent currents were also likely responsible for the generation and deposition of large ([less than or equal to]4.5 cm) rim-type accretionary lapilli. The thick layers are locally underlain by or interbedded with thin tuff ring-style volcaniclastic layers, and all the layers are underlain and invaded by basalt-rich tuff-breccias and lapilli-tuffs. COMPLETE REFERENCE: Ross, P.-S. (2005) Volcanology of the Mawson Formation at Coombs and Allan Hills, South Victoria Land, Antarctica. PhD Thesis, University of Otago, Dunedin, New Zealand, 400 pages, 46 tables, 162 figures, plus appendices.

This thesis is about the teaching imagination. By this term I refer to three things. First, the teaching imagination is how teachers define and practice imagination in their classrooms. Second, it is the imagination that teachers themselves use as they teach. And thirdly, it is the imagination I am taught to identify and enact for doing social science research. / The thesis is based upon participant-observation research conducted in grade four (and some composite grade three/four) classrooms in primary schools in Melbourne, a city in the Australian state of Victoria. The research took me to five schools of different types: independent (or fee-paying); government (or state); Steiner (or Waldorf); special (for low IQ students); and Catholic. These five classrooms provide a range, not a sample: they suggest some ways of doing imagination. I do not claim a necessary link between school type and practices of imagination. In addition I conducted semi-structured interviews with each classroom’s teacher and asked that children do two tasks (to draw and to write about ‘a time you used your imagination’). / From this research I write a thesis in two sections. In the first I work to re-imagine certain concepts central to studies of education and imagination. These include curriculum, classrooms, and ways of theorizing and defining imagination. In this section I develop a key theoretical idea: that the most recent Victorian curriculum is, and social science should be, governed by what I call a logic of realization. Key to this idea is that knowers must always be understood as participants in, not only observers of, the world. / In the second section I write accounts of five case studies, each learning from a different classroom teacher about one way to understand and practice imagination. We meet imagination as creative transformation; imagination as thinking into other perspectives; imagination as representation; imagination as the ability to relate oneself to the people and materials one is surrounded by; and imagination as making connections and separations in thought. In each of these chapters I work to re-enact that imagination in my own writing. Using the concept of the ‘relational teacher’, one who flexibly responds to changing student needs and interests, I suggest that some of these imaginations are more suitable to a logic of realization than others.