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  • 1.
    Agadagba, Kelvin Yoreme
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    PRIVACY AND IDENTITY MANAGERMENT ON SOCIAL NETWORKING SITES WITH REFRENCE TO FACEBOOK2011Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [en]

    According to Nicole B. Ellison and Danah M. Boyd in their article on “Social network sites: Definition, History, and Scholarship”, they defined Social Networking Sites as “Web-based services that allow individuals to (1) Construct a public or semi-public profile within a bounded system, (2) Articulate a list of other users with whom they share a connection, and (3) View and traverse their list of connections and those made by others within the system”( 2007). In other words, Social Networking Sites (SNSs) are websites that are designed to simplify communication between users who share similar activities, attitudes and interests. Today the growth and role of social networking sites has become an issue not only for the users themselves but also for scholars and industrial researchers. My aim in this research will be to explore Social Networking Sites in general. The concept of Social Networking Sites is very broad; therefore my main study will be dealing primarily with how privacy and restrictions plays a role in identity management with reference to Facebook.

  • 2. Bäcke, Maria
    "Freedom for Just One Night": The Promise and Threat of Information and Communication Technologies2007Inngår i: WomenWriters.net, ISSN 1535-8402535-8402, Vol. Spring, nr Special Guest IssueArtikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    ’Freedom for Just One Night’ The Promise and Threat of Information and Communication Technologies Not many novels have been written about technology from a female perspective, but Jeanette Winterson’s The PowerBook and Pat Cadigan’s children’s book Avatar are two examples where information and communication technologies (ICT) play a major role. That women often see the benefits of a less regulated space provided by the technology is explored in these two novels. In this essay I will study them through the lens of Deleuze and Guattari’s concept of smooth and striated space. The focus has been on three different issues: information and communication technology’s impact on identity; privacy and security on the Internet; and also – since both of the authors are women, who consider gender-related strategies – female views of ICT. The novels contradict the idea that there is a virtual reality entirely separated from the real world; both imply that although ICT creates a virtual environment, the meetings and communications that take place in it are real, especially from an emotional perspective. The novels suggest that the characters’ sense of identity and security often is tested when opposites – smooth/striated, online/offline, virtual/real, emotional/technical, private/public – collide, when this collision triggers an emotional response. In Avatar emotions are in fact a method to authenticate the validity of what happens in a virtual environment. Furthermore, the collision and its impact on the emotions create an indeterminacy, a smooth space, and seems to be a narrative strategy for both Winterson and Cadigan, which they both use to examine a number of issues, including patriarchy, which shows what these female authors think is possible to do with the help of ICT. Both texts study how the Internet – and the thoughts mediated through the Internet – influence individuals and societies. As a new medium, Internet can be considered new territory, a new frontier. Whose thoughts are going to be trendsetting on the Net? Who colonizes Cyberspace? Both authors point towards the benefits of a more balanced viewpoint, where more angles than one are taken into account, and what can happen when a hegemonic world-view has been shaken. These novels convincingly show that it is in the dynamic tension between smooth and striated that new viewpoints can be found.

  • 3. Cervin, Cecilia
    Det illojala barnets uppror: Studier kring jan Myrdals självbiografiska texter1997Doktoravhandling, med artikler (Annet vitenskapelig)
    Abstract [sv]

    Jan Myrdal has often been considered a controversial author. During the sixties he was mostly regarded as a political figure, much appreciated by those who shared his political views and even more abhorred by those who did not. On the international scene his Report from a Chinese Village (1963) is perhaps the best known of his books, having inspired, for example, the sociologically orientated studies of the American author, Studs Terkel. In his abundant and multifacetted œuvre Myrdal has been working in most of the established genres, and also developed new ones. In my work on Myrdal’s texts I have, for a number of reasons, focused on his Childhood books (1982 - 1989). They represent an important part and, in some ways, the very kernel of his work. They deal with a child, growing up in a very special environment - his parents are internationally orientated radical politicians and, both are Nobel prize winners - developing his mind mostly in opposition to that environment. The story of that child, written by a son of famous parents and himself internationally well-known - a number of his books are translated into several foreign languages, - is in itself an interesting subject for a study. From the critical point of view its concentrated attention on the child and the child’s viewpoint, involving an interesting narratological pattern, invites a close reading in the spirit of the French critic, Gérard Genette, and his follower, Michael Riffaterre. Methodically and theoretically the study of autobiographical writing constitutes a complex task. With regard to generic definitions, the critic will find Childhood an interesting intermediate case between autobiography and autobiographical novel. Regarded historically, Myrdal's Childhood books are part of the great tradition from S:t Augustine and Rousseau and more especially of the rebellious, “réfractaire“ branch formed by Stendhal, Vallès and Strindberg. In the context of autobiographical writings, considered as a genre, Myrdal's books were written at a time when new subgenres were being formed by sociological and psychological case stories and also by a media interest in people - famous and unknown alike - speaking freely an openly about their lives and personal problems on the radio, in magazines and in TV-shows. Myrdal's’ readers certainly had their expectations formed by these variations of autobiographical writing. For these variations I have chosen a term proposeded by Pillippe Lejeune: “littérature personnelle“. In my “Introduction“ after a brief survey of generic theory put forward by Johnny Kondrup och Eva Hættner Aurelius, I discuss my reasons for turning to the French critic, Pillippe Lejeune, as a seminal force among generic theorists. His emphasis on generic distinctions, not as a norm of classification but as a reader’s tool towards his generic understanding of the text, has been adopted as a guiding principle. Particular attention is given to Lejeune’s discussion of the autobiographical pact: through the name identity between author and protagonist the former signs a kind of contract obligating himself to tell the truth, or perhaps his truth about the life and the experiences being related. This pact, be it implicit or explicit, appeared to be of great importance to Myrdal's’ readers, delimitating their horizon of expectations as well as their understanding of the text and, in particular, their evaluation of the text. A survey of the actual stage in generic history during which the Childhood books were published, follows, special regard beeing paid to those new kinds of “littérature personnelle“ which have been conditioned by developements in the mass media. In this context, different readers’ expectations in relation to various kinds of auto-biographical writings will be discussed. Lastly we arrive at the extensive collection of reviews which forms the basis of my next chapter, “The Reception“. Myrdal's Childhood provoked an intense debate. The book was first brought to public notice by the author in person, who read it on Swedish Radio, and many people reacted against what they regarded as an evil and false description of the famous parents. A large number of reviews followed, the study of which is an important part of my work. Here the marriage of genre theory and reception theory, proclaimed in Le pacte autobiographique by Pilippe Lejeune, comes into its own. His conception of genre viewed as a reader’s tool - “understanding is genrebound“ - informs my understanding of the reviewers’ different readings and evaluations. The reception of Myrdal’s Childhood books raises the following questions: With what kind of previous understanding, with what kind and degree of consciousness of genre (genremedvetande) and with what horizons of expectations did the readers meet those books? What kinds of readings were put in motion by the different generic expectations? How was the reader’s evaluation influenced by those presuppositions? Those reviewers who read Childhood as an autobiography or memoir emphasized the author’s duty to tell the truth about his childhood, including an appreciative attitude towards his parents. As that attitude was highly critical, these reviewers evaluated the book according to their generic expectations: this could not possibly be the truth about those famous and generally esteemed persons, and so the description was an outrageous lie. On the other hand, those who chose to read the book as a novel, as a story of a neglected and unhappy child, found it a true and deeply moving tale. So the reception of the Childhood books took on in a way the character of a trial, the readers taking the parts of prosecutors, witnesses and judges: had the author, or had he not, exercised fairness and justice to his famous parents in his description of his childhood? Several reviewers, who found it both possible and rewarding to read the Childhood books simultanously as autobiography and as autobiographical novels, could find numerous qualities in the books. They found the story a true picture of a very special child in very special surroundings, but also found a universality that made them identifiy themselves with the child (and also, in a few cases) with the parents. The evaluations of the reviewers changed in an interesting way with respect to the later books in the series. Many reviewers of the first book, Childhood, appreciated its finer qualities, but in many cases critics took a dismissive attitude.The second book, Another World, was highly estimated, however. The reviewers now tended to read the book less as a biography of the famous parents and more as a story of the child, told by the child itself. They were increasingly able to regard it as a hybrid between autobio-graphy and fiction, and, accordingly, could accept the personal descriptions of the parents as the experiences and the subjective truth of the child. Most reviewers of the third book, Getting on Thirteen, applied this model of reading. Correspondingly, the evaluations were changed; with very few exceptions the books were highly regarded by later reviewers. A new and more variated generic consciousness was fundamental to their evaluation. And so much for the reception. In my own readings I have asked the corresponding questions: What possibilities are offered to the critic by the different generic expectations, and by the different models of previous understanding and evaluation? What happens when the reader regards the much-debated works as free artefacts, as parts of the authors complete œuvre, as parts of a tradition, as descriptions of an existing and referential reality, or as authorial expressions in the making of his own consciousness, his personality, his ego? These are the questions that prevade my reading of the Childhood books. I have chosen to consider Myrdals’ books mainly as artefacts belonging to the autobiographical tradition, having their existence on the border between autobiography and novel. The chapter “The process of Growth“ aims at a description of Myrdals early and various declarations of his writing intentions, even these forming part of his autobiographical writing: this is his view of himself as an author, the author also of the Childhood books. Myrdal considers his authorial intentions a question of loyalties: whom will his writing serve? He has made a deliberate choice of loyalties; they remain not with the educated, well-manœvered people, but with the poor and oppressed, who show resistance towards those in power. This resistance often takes forms which are vulgar in a Bachtinean sense. This vulgarity assumes a programmatic value: the author chooses his tradition from popular tales of rich and poor, which often contain vulgar resistance to and rebellion against all kinds of oppression. For such resistance he has found a word: he regards himself a “réfractaire“, a resister and a rebel, in the tradition of the French Enlightenment authors and their heirs, e.g. Strindberg and Jules Vallès. The task and the resonsibility this “réfractaire“ tradition entails, are the foundation of Myrdals’ view of himself as an author, one of his many descriptions of his self, the explanation of which, he finds in those experiences from his childhood contained in the Childhood books. Myrdal has been working on autobiographical material in various guises. In “Littérature personnelle before Childhood“ a short account is given of Myrdal’s use of “I“ for different purposes. In public performances, not unlike those of the parents so profoundly despised by the son, appears an “I“. That “I“ is used by the author as an example in a political analysis. Another “I“ comes forward in the deep and earnest self-examination in the author’s earlier autobiographical works, e.g.Rescontra and Confessions of a Disloyal European. Still more important: is the fact that from the novels of his early youth, Myrdal has been working continually on his childhood impressions. There is a permanent discussion between critics of autobiography about the relation between the autobiographer and his memories; are they truly remembered and truthfully rendered, and can anybody remember the exact truth? To this discussion Myrdal’s texts offer an interesting contribution: they enable the reader to study the same episode in different contexts and under varying lightning conditions; and there are also memory changes under the impression of later experiences, the author becoming more and more critical towards his parents and his environment. His criticism is directed towards both the personal behaviour of the parents and the radical modern vision of society they represent. His rebellious, “réfraktaire“, criticism defies the parents personally both in their educating rôle in the spirit of the new modernism, and their parttaking in the mecanisms of oppression inherent in radical politics. In my next section, “The tradition“ the classical autobiographical tradition is considered, with particular regard to its description of the child, an aspect which is far from obvious among previous early autobiography. My guide is Albert Wifstrand, representative of early critical interest in autobiographical childhood descriptions. In his study “The view of the Child“, he has stated the necessary conditions for such a description: an interest in the child for its own sake, and a regard for its singularity. He finds two tendensies in later, Romantic, childhood descriptions, which run counter to those of classical Antiquity, namely the conception of the child as both good and happy at the same time. Of these ascribed qualities the former is found to be the more enduring, while modern texts tend to emphasize the deep unhappiness of the still innocent child. Building on Wifstrand’s view of the child, and still more on Hættner Aurelius’ stressing on the trial as an essential pattern in autobiographical writing, I offer a brief discussion of some classical episodes in S:t Augustine and Rousseau. While S:t Augustine, in the retrospective trial of the child, tends to pronounce the accused child quite as guilty as its adult judges, Rousseau averts the accusations from the child towards the adult accusers and judges, who are to bear the real guilt: through an erraneous, perhaps even malvolent education, they have destroyed the originally good child and made it at the same time unhappy and less good. In the child such education, and especially the unjust judgments of adult people, awake a justified opposition and a deeply-rooted resistance to any kind of oppression. Taking Rousseau as a turning-point in the history of the trial theme, I give attention to three classics in the autobiographical tradition, to whom the term “réfractaire“ may reasonably be applied, i.e. Stendhal, Vallès och Strindberg. Their impressions of childhod are examined, as were those of Rousseau, from three points of view: social environment, family pattern, and above all, the trial theme. The similarities found between these writers as a group, and between that group and Myrdal, are my reason for positing the “réfractaire“ tradition to which Myrdal adheres. They originate in the different writers’ sense of childhood’s deep injustices, not least in those trials where the innocent child is found guilty. A humiliation of this nature tends, in the eyes of the adult narrator, to take on a pattern-making rôle. Just as the child reacted against the injustice of childhood, these writers have, in their adult lives, reacted against every form of oppression - religious, political, or otherwise. The adult “réfractaire“ was formed by his childhood experiences. In the chapter “The Œuvre“ I have chosen to regard Myrdal’s texts mainly as artefacts belonging to the “réfractaire“ autobiographical tradition, my aim being to reflect on the pattern of the text while making use of different kinds of generic understanding. The reader, on encountering any kind of autobiographical writing, tends to connect it with the actual situation it describes. The reader will therefore always ask himself - and the author - which kind of truth the author is telling. Is he telling his own internal truth about his own feelings - a truth which no one can deny him - or is he telling the truth about facts possible to control from other sources? Thus the reader will always compare the text with the referential reality it presupposes. The referential truth behind the autobiographical story, and the author’s as well as the protagonist’s relation to phenomena typical of his time, are discussed in the sub-chapters “Attitude to psychology and psychoanalysis“ and “The ’réfractaire’ and radicalism“. In accordance with the earlier “réfractaires“, Myrdal takes a very conscious attitude towards his own text. More often than most authors, he has stated his (sometimes contradictory) intentions in an ongoing and highly articulate discussion with his readers, implied readers as well as critics. These declarations of intent are discussed under the heading “The autobiographical project“. The main thing, however, is the text considered as such, and read both as as fiction and autobiography. A review of certain motivic and thematic points - corresponding to that previously applied to Stendhal, Vallès, and Strindberg - is put forward in the sub-chapters “The social continuity“, “The picture of family“, and “The child on trial - the trial of the child“. While taking some account of the referential reality behind the text, I am primarily concerned to investigate how these themes takie on the character of a truth deeply embedded in the textual pattern. “Fictional truth“, according to Riffaterre, is the internal truth to be found in the grammar of fictionality. Lastly,under the heading “The growth of the Ego out of dreams and fantasies“, the numerous dream and fantasy sequences are examined. In these, the growing Ego is formed, as well as consciously forming itself, in opposition against the environment, not least by dint of reading habits and dream-worlds. While taking on an increasingly “réfractaire“ character, the Ego at first finds its dreamworld terrifying. Subsequently, it learns how to master its fantasies and to use them not only as a refuge from an odious reality, but also with a view - at least on the plane of thought - to oppose and take vengeance of its opponents. In the third stage, the world of dreams and fantasies forms the framework of an increasingly intellectual treatment of material furnished by reading and thinking. Eventually, this process of growth is sufficiently advanced for the protagonist to bid farwell, albeit not without pain, to the world of dreams and fantasies.

  • 4.
    Chohan, Imran Riaz
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    Identity, hyperreality and Science fiction: Matrix and Neuromancer2012Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [en]

    My Bachelor’s thesis is a comparative analysis between humans and machines in a science fiction novel (Neuromancer) and a movie (Matrix). I explored in these works how the machines used technologies to influence on the humans. I used examples of characters from the text and movie along with the references of other writers writing on the same topic to help convey my message. I explored mainly the identity and reality issues among characters. William Gibson in Neuromancer portrays that technology has become a part of human body. While in the Matrix we see how machines are taking control on humans. In my thesis I started with Neuromancer and write about identity and reality issues of characters and artificial intelligences. In the second part of the thesis I write the same with the characters of the movie Matrix but also I compared these characters with characters of Neuromancer. Some other discussions in my thesis are about hyperreality, simulation, simulacra with reference to mostly Baudrillard. Overall this thesis explores the issues of identity and reality to the characters in the works and also to the readers as well. Key Terms: Identity, Reality, Hyperreality, Simulation, Simulacra.

  • 5. Davies, Bronwyn
    et al.
    Browne, Jenny
    Gannon, Susanne
    Hopkins, Lekkie
    McCann, Helen
    Wihlborg, Monne
    Constituting "the subject" in poststructuralist discourse.2006Inngår i: Feminism & Psychology, ISSN 0959-3535 , Vol. 16, nr 1, s. 87-103Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this article, we describe a collective biography that we convened in order to revisit the site of the radical theoretical break with the liberal humanist individual marked by the poststructuralist work of Henriques and colleagues and the feminist poststructuralist work of Weedon. These writers suggest that the new subject of poststructuralist theory will be more open to the changes desired by feminist and social justice movements. They describe the break with the liberal humanist subject as a break that heralds new possibilities of personal and cultural transformation. In this article, using the medium of collective biography stories, we revisit the relation between the liberal humanist individual and the transformative possibilities poststructuralist writers envisaged for the new subject of poststructuralism. We situate the discussion in the context of our transformation into neoliberal subjects over the last three decades.

  • 6.
    Engberg, Maria
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    Aesthetics of Noise in Digital Poetry2010Inngår i: Cybertext Yearbook, ISSN 1457-6899Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this essay, I analyze the phenomenon of digital poems represen-tative of the use of a visually “busy” and typographically dense aesthetic.1 As my primary examples I investigate three poetic works: Spawn by Andy Campbell, Diagram Series 6 by Jim Rosenberg, and Leaved Life by Anne Frances Wysocki. I argue that a dominant aesthetic technique of these works, which I propose to call “visual noise,” is generated by a tactilely responsive surface in combination with visual excess which requires an embodied engagement from the reader/user in order for a reading to take place.2 I focus on visual noise, excluding for the moment the common and widespread practice of sonic noise. Analyses of sound and practices of sonic noise in literary practice are an important twin to the analyses I offer here.

  • 7.
    Engberg, Maria
    et al.
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    Bolter, Jay
    Cultural expression in augmented and mixed reality2014Inngår i: Convergence. The International Journal of Research into New Media Technologies, ISSN 1354-8565, E-ISSN 1748-7382, Vol. 20, nr 1, s. 3-9Artikkel, forskningsoversikt (Fagfellevurdert)
  • 8.
    Engberg, Maria
    et al.
    Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad.
    Bolter, Jay
    Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad.
    How Is Digital Poetry Avant-Garde?2008Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In this paper, we discuss the opportunities and the difficulties of applying the concept of the avant-garde to digital poetry and poetics. We examine the question with reference to a body of critical and poetic works and performances from the recent E-poetry 2007 symposium in Paris. These works suggest that digital poetry treats the historical avant-garde as a tradition to draw on, rather than a model to emulate through truly disruptive practice.

  • 9.
    Erel, Sarper
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    From 2001 A Space Odyssey to Minority Report: Reflections of Imagining Future on Science Fiction2012Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [en]

    My Bachelor’s Thesis is a comparative analysis that identifies a paradigm shift based on how imagining and portraying futuristic technology and human - computer (or machine) interaction within science fiction works and explore how they depict the technology and the future thinking of their own era. I use two very popular and influential works from two different eras: 2001 A Space Odyssey from the late 1960s and Minority Report from the early 2000s. In the first part of this analysis, I analyze the technology and human interaction with technology in 2001: A Space Odyssey and argue what this tells about the technology thinking of the late 1960s, the high time of the Space Race. During the second part, the analysis continues with the other primary source, Minority Report. However, in this part I make direct comparisons with 2001: A Space Odyssey in order to illustrate the paradigm shift with clear examples.

  • 10. Gislén, Ylva
    Rum för handling. Kollaborativt berättande i digitala medier2003Doktoravhandling, med artikler (Annet vitenskapelig)
    Abstract [sv]

    Avhandlingen fokuserar på kollaborativt berättande i digitala medier, och tar avstamp i relativt detaljerade beskrivningar av de designprojekt som utgör avhandlingsarbetets ryggrad. Kännetecknande för dessa designprojekt är att de kombinerar fysiska och virtuella rum och/eller flera medieplattformar. Utifrån kritiska läsningar av designval och bruk av de koncept och prototyper som designprojekten utmynnat i presenteras argument för föreslagna "sätt att se" på design av berättande i digitala medier och centrala kvaliteter i miljöer för kollaborativt berättande. Grundläggande är att se berättande som en överenskommelse, som måste springa ur den berättarsituation, den fysiska och sociala verklighet, som utgör en oavvislig del av allt berättande. Denna överenskommelse upprättar ett "rum" för att undersöka och värdera möjlig mänsklig handling, ett rum vars estetiska egenskaper inte kan skiljas från de etiska och politiska frågeställningar som sätts i rörelse av allt berättande. Utifrån detta grundläggande synsätt diskuteras frågan om utformandet av handlingsutrymme i relation till interaktivitet i digitala medier, begrepp som roll, karaktär, samarbete och konflikt samt rytm, poesi och mångtydighet. Argumenten och resonemangen grundas, utöver i den kritiska läsningen av designprojekten, också i en bredare översikt av narrativitetsbegreppets utveckling inom human- och samhällsvetenskaperna de senaste två decennierna samt i en diskussion av teorier, synsätt och vanliga grundantaganden kring berättande i digitala media. Utrymme i avhandlingen ges också åt en kunskapsteoretisk diskussion kring frågan om design som forskning, främst ur ett perspektiv grundat i STS-fältet men också i relation till förda resonemang ifråga om praxisbaserad forskning i allmänhet och designforskning och designteori i synnerhet.

  • 11.
    Harrysson, Henrik
    Blekinge Tekniska Högskola, Institutionen för humaniora och samhällsvetenskap.
    Under ytan i Hjalmar Söderberg romankonst.2002Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [sv]

    Hjalmar Söderbergs romaner presenterar en hel del olika kvinnobilder. Det handlar om dom svaga typiserade och schablonmässiga från romanerna: Ellen, en förtyckt arbetarflicka, Dagmar som på något sätt försöker bevara husfriden till allt pris, Harriet Skotte en kvinna för kärlekens och tidens ideal. Det handlar även om de nya starka kvinnobilderna från perioden kring sekelskiftet: Märta som representant för den borgarkvinna medveten om sin tids moral, den okända kvinnan som skildras med en inre styrka som gör att hon håller emot den orättvisa könsrelationerna och samtidigt älskar sin man för kärlekens skull, inte lojaliteten, vi har Helga Gregorius som tar sitt äktenskap i egna händer och försöker styra sin framtid, och slutligen den starkaste kvinnobilden av dem alla, Lydia. Lydia, en kvinnobild som tävlar på samma villkor som männen, som är i makt över sin egen sexualitet och samtidigt lever ett liv som sedan länge innan hade varit vigt åt männen. Detta är vad uppsatsen försöker presentera, en ny syn på Hjalmar Söderbergs romankonst och hans kvinnobilder. Hur nära den verkliga samtiden låg Söderbergs beskriving av kvinnorna? Det är en central fråga för uppsatsen. Söderberg var medveten om sin samtid, ytterst medveten.

  • 12.
    Jansson, Robin
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    Silence in Adventure Games and Space2012Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [en]

    As video games have evolved, the focus on impressive graphics and surround-sound has become increasingly prominent. Stepping away from their roots, video games have toned down the interaction and put the cinematic parts of the experience on the forefront. However, some games stand outside the norm, taking down the sound-level to a minimum, even going as far as removing text entirely. In my essay, I explore the functions of silence, specifically in two works: the computer game Machinarium, and 2001: A Space Odyssey, the film, along with the novel. By analyzing these works, I highlight how silence can have widely different effects on how the users experience the work. Employing different techniques, the authors manipulate the experience, using visuals as well as audio to increase the sense of immersion and connectedness to the characters on screen. In my essay, the close ties between video games and film is central, and it discusses how the former has been influenced by the latter. Comparing the use of silence to techniques found in literature, I discover surprisingly many similarities to the narrative techniques used there. My research shows that video games employing silence can, even while being influenced by more cinematic media, still retain its core essentials and provide an experience that encourages exploration and imagination of the individual user.

  • 13.
    Jönsson, Ola
    Blekinge Tekniska Högskola, Institutionen för humaniora.
    Autobiographical Existentialism in Norman Mailer's The Executioner's Song2003Independent thesis Advanced level (degree of Master (One Year))Oppgave
    Abstract [en]

    This essay investigates how Norman Mailer’s “true-life” novel The Executioner’s Song may also be read as an autobiography. The novel contains strong traces of Mailer’s existential philosophy as related to sexuality, non-conformity and death. The essay discusses the nature of the relationship between truth as defined by the author and the function of autobiography to tell the truth about a life. The discussion centres around Mailer’s conviction that the novel is a better, i.e. more accurate vehicle for truth than is the autobiography. The essay argues that the truth which Mailer imparts is less the “true” story of Gary Gilmore and more the “true” story of Norman Mailer.

  • 14.
    Kiraly, Thom
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    An Angel Passes By: Posthuman and Acousmatic Voices in Digitally Mediated Contemporary Live Poetry2012Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [en]

    This paper is a comparative analysis between two digitally mediated live poetry performances: Frikativ by Jörg Piringer and This Loud by Amy X Neuburg. More specifically, I examine how these poets use digital technology in their live performances to challenge traditional notions of the human voice. My main argument is that their modes of exerting controlling over their voices ultimately serve similar purposes; those of establishing the voice as a relationship between speaker and listener, a phenomenon rather than a discreet object or bodily organ possible to observe on its own. This phenomenological point of view draws on Karen Barad’s concept of posthumanist performativity as well as on philosophical works on the voice, such as Mladen Dolar's A Voice and Nothing More. Moreover, I give an historical account of sound poetry, tape poetry and tape loops as they relate to Frikativ and This Loud. In this, I also discuss live-looping; a technique used by both Piringer and Neuburg and connect it to Gilles Deleuze's ideas of difference and repetition. Finally, Piringer's and Neuburg's works is compared based on how they attempt to control the voices-as-relations in their performances. My conclusion is that Frikativ constantly destabilizes the establishment and recognition of voice-as-relation. This Loud, due to the extensive and focused use of live-looping, does not destabilize as much as it multiplies the possible configurations of voices-as-relations.

  • 15.
    Lindhé, Cecilia
    Blekinge Tekniska Högskola, Institutionen för humaniora och samhällsvetenskap.
    Världar i kollision. En läsning av Kerstin Ekmans roman Gör mig levande igen"2001Inngår i: Samlaren: tidskrift för svensk litteraturvetenskaplig forskning, ISSN 0348-6133, E-ISSN 2002-3871, Vol. 122, s. 74-94Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [sv]

    ABSTRACT. Cecilia Lindhé. "Worlds in Collision: A Study of Kerstin Ekman's Novel Gör mig levande igen." Kerstin Ekman’s novel Gör mig levande igen (1996) [Make me Alive Again] is a rewriting and continuation of Eyvind Johnson’s Krilon-trilogy (1941-43). This essay addresses the different challenges which Ekman’s novel makes to Johnson’s trilogy. It is argued that these challenges do not simply take the shape of a confrontation of the male perceiving subject, but appear also as a questioning of literary traditions in the wider sense. Through these challenges Gör mig levande igen manages not only to give a voice to women but also transgresses conventional female representation. Exploring the novel’s intertextual relationship with the traditions, conventions, and genres that constitute it, Gör mig levande igen is revealed to be a contradictory novel working within the system it attempts to destabilise. This essay shows how the novel re-evaluates the distinctions and boundaries that mark the idea of a hegemonic subject and a literary canon by undermining boundaries that run between worlds of different ontological status. These worlds, that consist of reality/myth, fact/fiction, and original/imitation are set in motion and collide, opening up a structure that strives toward closure. By highlighting these collisions together with the oscillation between epistemological and ontological dominants, between literary modernist techniques and postmodernist devices, it is possible to see how Gör mig levande igen works to open up a closed structure thus making room for women’s perspectives.

  • 16.
    Mahzoon, Alireza
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    Manipulated Private and Public Spheres: The Use of Control Technologies by Totalitarian Regimes2012Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [en]

    In my paper, I explore how totalitarian regimes use technology to break the borders between the private and public spheres, through the study of two fictional works. Reflecting how real regimes operate, these fictional totalitarian regimes apply technology to extend the sphere of public authority. Exploring the idea, I am going to compare two totalitarian regimes in different periods of time. The first one is the Republic of Gieald, which is depicted in The Handmaid’s Tale 1985 by Margaret Atwood, and the second one is the society presented in the movie The Island, directed by Michael Bay. By technology in my paper, I mean it in the most comprehensive sense of the term, modern invented technologies and institutions after 18th century in post Industrial Revolution era. In what follows, I am applying the concepts, which are the product of control invention. I will argue that the states penetrate into private sphere by imposing repressive rules for having sex or reproductivity. Moreover, I portray that the states use different forms of media and surveillance in private and public spheres, to enlarge the state.

  • 17.
    Söderberg, Micael
    Blekinge Tekniska Högskola, Institutionen för humaniora.
    Selma Lagerlöfs konstnärliga metod, en studie av idé och gestaltning i Körkarlen1999Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [sv]

    The essay deals with the patterns of storytelling in Selma Lagerlöfs novel "Körkarlen". The focus is on the relationship between idea and form. Selma Lagerlöf tries to show how the drinker David Holm comes to insight about his own shortcomings and faults without knowing that he is in fact educated by his old friend. The author of this essay tries to show that Selma Lagerlöf use the same method in relation to the reader of the novel. Selma Lagerlöf wants to enlighten the reader without actually preaching. To som extent the essay deals with typical patterns of storytelling that Selma Lagerlöf uses, such as her symbolic method, her use of patterns from legends and ghost stories and finally her esthetics.

  • 18. Søilen, Klaus Solberg
    Macklean som ekonom2009Inngår i: Svaneholms Årsbok, Svaneholm Andelsförening , 2009, s. 37-48Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
    Abstract [sv]

    Rutger Macklean (1742-1816) står ofta beskriven som friherre, politiker, och skiftesreformist. I vilken grad var han också ekonom? Frågan kan verka något långsökt vid en första anblick, men då får man komma ihåg, att ekonomi är ett gammalt grekiskt ord för ”hushållningsadministration" och att det var just detta som präglade mycket av hans verksamhet på Svaneholm, både för egen och för andras räkning . På Mackleans tid fanns det inte ekonomer i den betydelsen som vi idag förstår begreppet. Adam Smith (1723-1790), som ofta räknas som grundläggaren av det vetenskapliga studiet av ekonomi, var t.ex. moralfilosof. Hans mest kända verk Wealth of Nations från år 1776 finner vi också i Mackleans bokhylla. På den tiden benämndes inte det vetenskapliga fackområdet ekonomi, men politisk ekonomi vilket var en blandning av vad vi i dag skulle kalla statsvetenskap och ekonomi.

  • 19.
    Wolf, Fredrik
    Blekinge Tekniska Högskola, Institutionen för humaniora.
    Kärlekens ambivalens: en studie i Ann Jäderlunds diktsamling Som en gång varit äng2000Independent thesis Advanced level (degree of Master (One Year))Oppgave
    Abstract [sv]

    Att beträda Ann Jäderlunds poetiska landskap i samlingen Som en gång varit äng är en omtumlande upplevelse. Den värld man möter i dikterna är rik på symboler/metaforer och bilder insvepta i bedrägligt prunkande grönska med starkt erotiska undertoner. Dikternas utgångspunkt är ofta traditionella bilder av kvinnligt/manligt som sedan bearbetas och dekonstrueras. Denna dekonstruktion av konventionella och vedertagna begrepp analyseras i min uppsats, ur ett feministiskt/eklektiskt perspektiv, genom fördjupade närläsningar av den poetiska texten.

  • 20.
    Wu, Di
    Blekinge Tekniska Högskola, Sektionen för planering och mediedesign.
    What Distinguishes Humans from Artificial Beings in Science Fiction World2012Independent thesis Basic level (degree of Bachelor)Oppgave
    Abstract [en]

    In my thesis, I explore how advanced robotic technologies affect human society and my particular concern centers on investigating the boundaries between actual humans and artificial beings. Taking Steven Spielberg’s film Artificial Intelligence (2001) and Philip K. Dick’s novel Do Androids Dream of Electric Sheep (1968) as my primary sources, I illustrate how humans are experiencing dehumanization whereas artificial beings are acting much more like humans by analyzing the main characters and events that depicted in both sources. Further on, based on Nick Haslam’s theory of two main forms of dehumanization (animalistic dehumanization and mechanistic dehumanization), I discuss the interrelationships between social categorization, empathy, alienation and dehumanization by comparing actual humans and artificial beings as counter-parts. According to the descriptions of the strained relationship between these two parties, I argue that the rigid social hierarchies set foundation for dehumanization and the characteristics that define a human being, such as humanity is not a trait that only exits in humans. It can be both gained and lost.

  • 21.
    Åkeson, Ann Carolin
    Blekinge Tekniska Högskola, Institutionen för humaniora.
    Att synliggöra jämlikhet mellan skillnader: en bildningsgång i humor1999Independent thesis Advanced level (degree of Master (One Year))Oppgave
    Abstract [sv]

    Dikterna "Självbiografi" och "Partitur" kan ses som ett bidrag till 60-talets seenderelativistiska litterära debatt, genom att de visar hur ett liv som är präglat av 'osynlighet' och oförstående kan uppfattas som ett "döden-i-livet"-tillstånd. Men de visar även hur man genom dialog kan åstadkomma en förändring. I "Självbiografi" synliggörs två dialoger. En inre dialog i form av minnets cirkularitet mellan nu och då och en yttre mellanmänsklig dialog som blir synlig genom diktjagets replik. I dessa dialogers möte formas en kritik mot patriarkatets selektiva seende, i såväl den litterära traditionen som den samtida seenderelativistiska litterära debatten. Kritiken kommer till uttryck i potatismetaforen och visar att en ohälsosam yttre miljö påverkar det inre och gör att en 'osynlig' människa, bildligt talat, ruttnar bort. Även i "Partitur" syns två dialoger. Den inre dialogen försiggår mellan explicita och implicita, ibland motsägelsefulla, röster i en språkfilosofisk anda. Detta tolkar jag inte som kontaktlöshet och språkpessimism, så som den tidigare receptionen menat. Jag ser det istället som en synliggjord del av diktjagets bildningsgång: att bolla tankar fram och tillbaka inom sig gör att hon kommer vidare i sin bildningsgång; genomgår en egen attitydförändring, som möter andra människors tankar i en yttre dialog. Var för sig visar diktjagen, i respektive bildningsgång, att ett jämbördigt dialogiskt möte kan komma till stånd som en "jämlikhet mellan skillnader" i enlighet med Gunnar Ekelöfs 'strountes'-poetik och Lars Ahlins humorbegrepp, båda aktuella på 60-talet. Olika perspektiv i dialogiskt möte synliggör den 'osynlighet' som vid olika tillfällen i dikterna har liknats vid "döden-i-livet". Därigenom kan diktjagen erhålla en existensiell bekräftelse som ger dem förmåga att kunna bejaka livets svårigheter: att se sorg och glädje som förutsättning för varandra, istället för att genom distansering försöka uthärda svårigheterna.

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